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Nucoda User Manual

1. 34 Project List a 35 Creating Projects UU 35 Output Formats ganan ap Ga ED ANI AA PAKAY GNG WAG 37 Output Format Attributes 21 eee eee eee eee enees 39 Project Sources and PTONGS 2 keinoina 43 Project Colour Scaling 45 Attach Detach Project 45 Opening Projects O 1 46 Delete Project 48 Recovering a Project 48 Location and Configuration 50 The Project Library 52 Folders a 53 Library Contents 54 Properties and Metadata 56 Library Filters 60 Cache Management 61 Composition Save and Load 63 UM 2014 1 07 2 Nucoda User Manual Importing Material 67 Importing Media 68 Import Options ccc a 69 Folder Import dd ccc cee eee 71 Library Folders a
2. 191 Effects eee eee 193 Colour Correction Layers 194 Managing Layers and Effects 197 Applying and Editing Effects 199 Split Panel View dd cece ee ee AA Aka 201 Adding User and Layer Effects 202 Transition Effects 206 Retime a 209 Brightness Regions a 211 Printer Lights aan 212 Gamma Matrix eee eee 213 Gamma gt cebu ENG UA alang taga a BG 213 Mana it cc GALE AA LALLY LAAE L co 215 PESE EB PBA KARO 217 Preset Definition aa KA NGANGA ADA ADAN APA mp a NE 217 Preset Layout he 217 Hue CurveS aa 221 Soft Clip eee 223 UM 2014 1 07 4 Nucoda User Manual Effect Notes O 224 Lens Distort 226 Warper __ 230 Warper Introduction 230 Warper Basics 231 DVO Effects 237 Introduction 237 DVO Stereo Fix 241
3. 140 Export Media a 140 The Export Browser eee 141 File Format and Options eee 142 Filename and Number eee 142 2014 Digital Vision Contents 3 Global Options a eee dd Rs Sn hdi 144 Export Modes APAPAP 146 Mixdow n Rec TC lt xeesedvcavcacedeeiatbatadwmd nee heehee beat beeeee Seasons 146 Visible Multi Rec TC ares 6056540606446 GRE a6 550460055440 BRAD LALARGA LAGA KANY 146 Tracks Muht Rec TO eed ee csc ce AG a ba Le demo NG UA Pani Bee NG oc mecs ere 146 Visible Multi Sre TC ae D KA os ee se ne eu cn nm sed co ANA NG 146 HU CAN CI ES KAC toe eee eee ee cee sede ee eareet lt coed 146 Folder Hierarchy Presets and Variables 153 Export File Formats 0 0404000 156 Export Composition eee 156 Scene Detection 161 Viewer Tools 164 Head up Display HUD 165 Grids erreur 167 Masks aa 169 Graphs na 171 Histogram Au 173 Audio Waveform UU aaa 176 Handy Hotkeys O 177 Comparison Mode 180 Stereo Multitrack 185 Setting Up Stereo a 185 Using Stereo 186 Colour Management
4. 495 Appendices 498 Application Preferences 499 General NL ae ed Rd node 500 Capture Conform UU uuuuuuuse 503 Rendering 508 Memorii LULU en ie 511 Control Panel UG a 512 OL LL LE ADD ABAD LANG ALAK NG Gu KB UNAWAAN 517 Monitoring Video IO a 521 Preferences Assistant 528 Keycode aa 533 Automatic Naming 3 2 cece cee eee eee renren 534 Effect Identifiers 538 Effect Selector Configuration 540 Output Format Confguration 544 Colour Tool Order 549 2014 Digital Vision Contents 3D LUT File Format 0 551 Icon Tools Reference 556 Format Support OO aaa 558 Image Formats ad BEDA KKK KG WL GAL etic deen d sunOctacses aceaguens 558 DO cc Wo ANG NAN KG ni kA AN NAKA BAG BN DB 558 ei APAPAP AA AA 558 558 e t w AA 558 Lu AA AA 558 PG qt eee eb ee eee E E NNEN BRAND DAA AW NANA 558 MG CH ec bono sh bahs hg ago ga asks TELL TL LL 558 CA PAPA PP 558 P
5. 448 Attach and Detach Project 453 Creating a Composition a 454 Importing Clips 455 Importing Movies 457 Importing Folders 458 Adding a Version 461 Replacing a Source 462 Splice and Overwrite Clips 463 Applying a Note to a Shot aa 468 EDL Import and Conform 469 Capturing and Conforming 476 Generating Local Proxies 480 Exporting Shots O 482 Exporting an EDL UU ccc raana eee ee eranen raneren 485 Saving and Loading Compositions 486 Rendering a Composition Cache 487 Running Batch Operations 488 Interactive Mode OU a 490 Listing Information a 490 Removing HeMs a 492 Counting and Adding Tracks 494 Testing fora GUI Lock
6. 2014 Digital Vision UM 2014 1 07 Applying and Editing Effects EI The bold indicator in the effects tree signals that the effect has been edited not that the effect is active User effects can be active by default and will not appear bold unless the effect parameters are edited You can reset an effect back to its original parameters by selecting the effect so that it s highlighted and pressing the Reset Effect button on the effects toolbar You can also reset an entire layer which will recursively reset all the effects within the layer Split Panel View Hot key CTRL F4 When editing effects it can be useful to view the timeline or the shot list at the same time as you re editing the effect parameters You can do this using the split panel view This will switch the composition editor display to an extended panel mode and will split the tabs so that you have the timeline and list tabs available across the top and the effects tracker and scene detect tabs along the bottom You can then click on the tabs as normal to change the combination e g to view the shot list and effect parameters 2014 Digital Vision UM 2014 1 07 Adding User and Layer Effects ci Effects ae DYO Dust eee OVO Alias m 8 Base CC Layer p P 1 CC Layer b B 2 CC Layer b 2 2 FX Layer b CT Master O Composite You can add individual effects to any segment in your composition in addition to the exi
7. Interplay Projects The nterplay folder settings are configured in the Avid project settings window as shown below astest project dv Bins Settings Format Usage Info B dw Etnail User Export Audio Vizion User Export Avid 3D Audio i Map User Poet Muid Oro Tanke E rhihaw MES lear EE LEE Interplay Folder Project Inerplay SEFrYEr Site Interplay User User Avid project settings showing Interplay Folder parameter 2014 Digital Vision UM 2014 1 07 400 Avid Integration Note that the Avid project name is configured inside the general prefs file and is not available as a GUI preference This means you need to restart the Nucoda application if you want to check your media into a different Interplay project 2014 Digital Vision UM 2014 1 07 AAF Back to Avid with Interplay ao Record Order AAF Out In this work flow the Nucoda system exports an AAF to the Avid for finishing EI Note that the Record AAF back to the Avid route is only available for Nucoda compositions originally created from imported AAF files This is illustrated in Figure 1 below 4 Interplay U MXE Shared Storage 1 Avid exports AAF 2 Nucoda loads AAF conforms and grades 3 Nucoda exports graded AAF 4 AAF with Sequence checked into Interplay Figure 1 AAF from Nucoda back to Avid This work flow is almost identical to workflow 1 Edit Modified AAF Back
8. COMP A composition timeline The active composition is shown with a Status property set as Current Edit and a COMP icon Thumbnail Type Status COMP Active composition shown as Current Edit Editing a Composition You can set the selected composition active as Current Edit by e Double clicking it or e Pressing the Edit button The active composition displayed in your timeline will update Copying the Composition You can make a copy of the selected in orange composition by pressing the Copy button 2014 Digital Vision UM 2014 1 07 DU The Project Library The copy will be named using a prefix Copy of and is completely independent of the original but caches will be shared MOVIE This is source media composed of a movie sequence e g Quicktime or Red PROXY A proxy source or clone A proxy source is grouped with its corresponding source media An arrow to the left can be expanded to show the proxy or clone Y Thumbnail Type Name Width Height scale Arrow Icon to Display Proxies __ A f Ni CLIP O45 16 Proxies fo J PROXY proxy 043 160 610 51 MA JEN pee CLONE proxy 043 160 1828 1556 The proxy scale is shown in the Scale property Item Deletion You can delete on or more selected library items by e Pressing the delete key on your keyboard or e Pressing the Delete button Delete Properties and Metadata Press the Properties button to bring up a propert
9. Source Section Parameters These parameters appear inside an input section scale Required Values lt int gt Default Sets the scale of the source proxy This integer will divide the width and height to set the proxy size A scale N gives an N 1 proxy 2014 Digital Vision UM 2014 1 07 Creating a Project ass bitDepth As output section above convertFilter As output section above Only applicable if scale 5 1 Notes e The key values are case sensitive e Values are case insensitive e g use rgb or RGB Attach and Detach Project detach project lt name gt Detach named project delete project caches when attaching Attaching a project makes it available for use by the application and adds it to the list of available projects on the project screen Attaching a Project HALL dCN project path This command attaches the specified project The named project is the full path to the project folder Command 5s nucoda film master attach project D archived project x INFO Imported Ds archivyed project zY project nama ies projece x Attach multiple projects by separating them with a space e g atlach pro ject Di projectl Ct blue sky Detaching a Project detach project lt name gt This command detaches the named project 2014 Digital Vision UM 2014 1 07 aga Command Line Command 5 nucoda film master detach project project x INFO Det
10. This sets whether we create the folders under our currently selected library folder ff off the folders are created under the library root folder Capture and Conform Capture and conform a Capture timecode from 1st TC File Reader FI Match Mame Conform tape name from folder up Here we are configuring how we assign and set some other important information when importing capturing material into our library Timecode Keycode Capture and conform 3 Capture timecode from 13t TC File header Capture timecode 15t TC File header Capture keycode 2nd TC File header File name The Capture timecode Capture keycode drop down list specifies where we extract the timecode information from The timecode can be an actual timecode or a film keycode and both can uniquely identify a frame in a sequence Timecode A timecode can be extracted from e file header if available The DPX file format has a timecode field The RED R3D file format contains two timecodes e filename numerics e g clip 090000 dpx is timecode 01 00 00 00 25 fps 1st and 2nd Timecodes 15t TC File header H 2nd TC File header The 2nd timecode is only used for the RED R3D file format which contain two timecode fields In all other circumstances use 1st TC File header See the Red Support section 2014 Digital Vision UM 2014 1 07 Application Preferences 507 Keycode A keycode can only be extracted from a DPX file header
11. 01 00 02 00 FROM FILE S media annotated 4 tc 1 723400 dpx Conform to material C Conform to material f the media is available in the library perhaps pulled in via Import material from file paths Conform to material will try and conform i e link the list events to it Create ASC CDL layers Create ASC CDL layers If the EDL list we import includes ASC Color Decision List information selecting this option will create effect layers for the shots The ASC CDL information includes e ASC SOP Slope Offset Power values Encoded as ASC SOP SlopeR SlopeG SlopeB OffsetR OffsetG OffsetB PowerR PowerG PowerB e ASC SAT Saturation value Encodes as ASC SAT Saturation e g 002 A049 C013 0706DS V C 11 14 16 22 11 14 24 15 01 00 07 22 01 00 15 15 FROM CLIP NAME FROM FILE S tests Day 1 A049 C013 0706DS RDC A049 C013 0706DS 001 R3D ASC SOP 1 1029 1 1223 1 1110 0 1162 0 1061 0 1046 0 6293 0 6277 0 6179 ASC SAT 1 2000 pa Application version 2010 0r1 and before contains a bug such that the ASC lines must not contain a space after the i e you must use the syntax ASC SOP no space between and ASC This issue has since been fixed 2014 Digital Vision UM 2014 1 07 Importing Material Conform to record TC 7 Conform to record TC TG offset 00 00 00 00 Tape name Master Fill record event gaps VI Match name Selecting Conform to record TC cha
12. 1080p 23 98 1080p 24 1080p 23 98 1080p 24 10801 50 10801 50 1080i 59 94 1080p 29 97 720p 59 94 1080i 59 94 1080p 29 97 720p 59 94 PAL NTSC 720x486 720x576 HD 1920x1080 ses Appendices D Bits Notes 8 1 8 1 8 2 8 3 8 3 8 3 8 5 8 8 8 8 10 8 10 8 10 8 8 10 4 UM 2014 1 07 Format Support ses 1 2 3 4 5 Sony XDCAM Foma leo DV25 DV50 For NTSC DV sample height is actually 480 These formats are DVPRO not consumer DV 4 2 0 DVPRO100 The 1080 i50 format is actually sampled 1440x1080 IMX Samples are actually 16 lines greater vertical blanking making the formats 720x608 and 720x512 Actually a YUV 4 2 2 format Will offer a 10 bit version if using 10 bit output depth Avid will treat and label DNxHD 40 as DNxHD 36 XDCAM SD DVCAM 4 1 1 4 2 2 25 Mbps XDCAM SD MPEG IMX 30 40 50 Mops 4 2 2 2014 Digital Vision UM 2014 1 07 570 Appendices Camera Formats Red The Red digital camera format Read only Extension R3D See the Red chapter for details ARRI D 21 The ARRI D 21 camera is an advanced digital camera from ARRI The camera has a 3K sensor and generates ARRIRAW data an uncompresssed 12 bit RAW format as well as a variety of HD output formats Read only Extension ari We support the ari ARRIRAW file format only Timecode The timecode can be retrieved from e The file
13. 2014 Digital Vision UM 2014 1 07 MXF Back to Avid as Once completed the Nucoda exports the finished sequence as MXF media as described previously A Note on DS Media Storage Note that the Avid DS has a list of defined Media Storage folder locations configured via menu Data Management Configure Storages Media Morag Configuration DYAYID installed Media Storages Marne Status Add TWiT PCr audi osbora ge Hornal Vunticdraudiostorsge l p Wuanityfcvdredavid medkafilest Nornal Yunityfcldredavid mediafiles eno TOVAVIONS media Hornnal Caudiosborage Change DS Media Storage Windows Name unityfc dnx avid mediafiles K Avid MediaFiles These are predefined for specific storage configurations and media types e g MXF video files You can export the graded MXF files to any folder within this root folder The DS indexes these folders and will pick up the new MXF files automatically DS Relinking Once the new graded MXF files have been exported the Avid DS will re index and pick these up automatically The DS timeline will refresh and reflect the new graded sources and no manual intervention is required The DS may take a short while to refresh depending on the length of your timeline and the size of the media databases DS Effects lf any shots on the DS have effects applied these effects will be re applied automatically to the newly graded MXF sources when they
14. All events into current composition Record events only to mark current composition 2014 Digital Vision UM 2014 1 07 Importina List Files All events as new composition A new composition is created from the list file If the list has a TITLE field this will become the name Material Name in the Library of the new composition All events into current composition The list file is added to the active composition on a new Video track You can also set the imported list events to overwrite a current track by selecting Overwrite existing track and selecting the track to overwrite from the drop down list EDL import Car Commercial Take 1 Import AIT events into current composition C Import as audio 7 Dverwrite existing track H Video track 2 Record events only to mark current composition The list record events are used to add cuts only to the currently active composition Use the track selector to the right of Overwrite existing track to choose which video track to mark EDL import Car Commercial Take 1 Import Record events only tq mark Eurrent composition Import as audio Overwrite existing track a Video track 3 Note that the cuts will be scene cuts See the Compositions chapter Import as audio Import as audio This imports the EDL a normal video EDL but creates audio events on an audio track not video 2014 Digital Vision UM 2014 1 07 Importing Material Overwr
15. Auto Assign Library Folder Auto create library folder filename 1 folder up adding folders This setting defines whether we create named library folders automatically on material import The folder names are created according to rules defined here Once we have our basic name string described above we determine its use via a drop down selector of no auto folder tabe name filename filename hierarchical e no auto folder e tape name e filename e filename hierarchical Note that if we choose no auto folder the name calculations detailed below are not used and any imported material is imported into the current folder The folder string constructed is only used for the settings filename and filename hierarchical See the chapter on Capture Conform preferences for details If tape name is selected a library folder is created and named as per the tape name extracted from the file or its path 2014 Digital Vision UM 2014 1 07 Automatic Naming 537 Tape Name The tape name field in the library can be assigned from both the file header and the file path These parameters assign the tapename inside the project library C Match Mame Conform clip name If we take the tape name from the file path our choice is a single value extracted from the filename filepath M folders up e g Example five four three two one clip 0001 dpx 5 up 4 up 3 up 2 up 1 up 0 up
16. Filler will be exported as black frames at the level defined by project colour space Example No folder hierarchy or variables required Mixdown Rec TC 2014 Digital Vision UM 2014 1 07 Export Media 149 Visible Multi Rec TC Visible Multi Rec TC Exports as e Multiple clips created e No BL AUX or filler e Handles allowed Adjust via Handle size slider Handle size e Record order and timecodes e Clips are only exported if they are visible even partly Example Here we use event folders see Folder Hierarchy and Variables to ensure exported shots do not overlap See Multi Mode Exporting for a description of why multi mode might cause exports shots to be overwritten sometimes Event 91389 odes cl SSSR Visible Multi Rec TC 2014 Digital Vision UM 2014 1 07 150 Exporting Tracks Multi Rec TC Tracks Multi Rec TC Exports as e Multiple clips created e No BL AUX or filler e Handles allowed Adjust via Handle size slider Handle size e Record order and timecodes e Clips are exported even if hidden by other clips Example Here we use event folders see Folder Hierarchy and Variables to ensure exported shots do not overlap See Multi Mode Exporting for a description of why multi mode might cause exports shots to be overwritten sometimes 0005 DJ 91814 0004 J ag Event 4 90564 Folders 0002 CJ C1 oo CI E 90000 Trac
17. Hot key F8 The grids functionality allows you to apply preset grid overlays to your image Grids are displayed over the viewed image and are useful for displaying lines borders and layout information This is display only and is not rendered into any final output Options Safe areas Center Cross 16 9 grid 16 9 blank 2k to HO 1644 43 1 85 grid 2 cara grid kK 1 66 1 85 This drop down list defines the grids available to display over the image 2014 Digital Vision UM 2014 1 07 168 Viewer Tools Sample grids included are e full border e 16 9 grid e 16 9 blank e 1 85 grid e 2 35 grid 16 9 blank Grid Specifications For the Grid format and specification see Appendix Grids Specification 2014 Digital Vision UM 2014 1 07 Masks Update Split full info all 2 39 grig cineon hist 5 Li 10bit CMS Setup 1920x1080i 103 1 77 et ne et iE C E ole e m Hot key F9 Masks crop black out rectangular areas of the displayed image Press the masks button to activate the picture mask function and then select the mask that you want to apply from the drop down menu This is display only and is not rendered into any final output Options This drop down list defines which mask to apply to the image Sample masks included are e user e 4 3 e 16 9 e 1 8
18. Layer focus on shot change Q Remember per shot O Match between shots Layer focus default gt Base 2014 Digital Vision UM 2014 1 07 Application Preferences 513 Trackball speed Trackball timeout 200 Ring speed Trackball trigger Ring timeout Ring trigger Yj Fine sensitivity The Control Panel tab configures global settings used as defaults for various control panel parameters Trackball Orientation See Colour Preferences Modifier Timeout Modifier timeout Default 3 seconds This specifies how long a modifier key will stay active locked before timing out when no other key is pressed The modifier keys affected by this setting are e Ctrl e Shift e Delete e Event e Dyn e All e Clear Setting this to 0 zero will disable locking the modifier key and require both the modifier key and the action key to be pressed together Shape Scale Control Shape scale control 6 Aspect Scale This controls how shapes are scaled using the control panel and whether scaling happens in X and Y independently or together with separate aspect ratio control 2014 Digital Vision UM 2014 1 07 sn Appendices The choices relate to the control panel menus visible under Shapes on the Image panel Values Aspect Scale Scale X Scale Y Default Aspect Scale e Aspect Scale This is the default On the control panel Shapes menu we have an Aspect parameter and a Scale para
19. 00451008331 t1ff Export Modes export mode lt single multi gt REQUIRED 2014 Digital Vision UM 2014 1 07 484 Command Line multi mode lt visible srclvisible rec tracks src tracks rec gt export handles lt N gt You can export your composition as a single contiguous clip single in multiple shot chunks multi using source timecode src or using record timecode rec There is one single mode and four types of multi mode each multi mode laying out the exported shots slightly differently The four multi modes are e multi mode visible src multi mode vrisribl r c multi node tracks sric m lti mode tracks rec Because shots might be overwritten if they have overlapping timecodes you should consider the use of an event folder variable e when exporting See the Exporting chapter for a fuller description of Export Modes Example The following examples are split over two lines using a line continuation character In reality the command would be on a single line only export S export Se Sc dpx export mode multi multi mode visible rec export handles 20 Producing multiple event folders each containing one shot with record order timecodes 0001 NOCLIP 090000 dpx 0002 fixed 0090078 dpx etc Frame Number Padding frame padding lt N gt This sets the numeric padding on exported filenames Numbers are zero padded i e 008999 dpx is
20. Amount The Process group sets the basic processing parameters for the DVO Clarity algorithms Amount Range 0 to 100 Default 75 The Amount parameter sets the overall level of noise grain reduction Aggressiveness Range 0 to 100 Default 50 Aggressiveness sets how far and how strongly we attempt to reduce noise grain taking motion into account The higher the value the more motion we ignore Care should be taken because at higher settings there is an increased risk of introducing motion artifacts Details The Details group controls the level of detail preservation versus noise grain reduction performed Base Level Range More Less Auto Default Auto The Base Level sets the overall bias used for preserving detail When set to Auto the default the algorithm will adapt automatically Setting this to Less or Morewill change the overall detail preservation bias such that 2014 Digital Vision UM 2014 1 07 DVO Clarity 295 e Less try and preserve less detail e More try and preserve more detail Preservation Range 0 to 100 Default 75 Given the Base Level the Preservation parameter will fine tune detail preservation Higher settings preserve more detall Detail Preservation Workflow Analyse the shot and note the amount and size of any noise artifacts e g grain size Based on this and the level of detail in the shot we can choose settings for the Details parameters Detail Le
21. Before output each event is checked and rendered if necessary This is an automatic process e Processing This means the event is still being checked or rendered e Rendered amp Found This means the event is ready for layoff Rec In Rec Out The Record In time of the first event matches the start time of the composition on the timeline and the Record Out time of the last event matches the end time of the composition These two columns show the Record In and Record Outtimecodes of the event as it appears on the composition timeline These values are used when laying events off in Record Order Src In Src Out These two columns show the Source In and Source Out timecodes of the source material for that event These values are used when laying events off 2014 Digital Vision UM 2014 1 07 374 Video O in Source Order Material This column shows the location of the rendered material on disk This may or may not correspond to the location of the source material shown in the library screen Tape Name This column shows the tape name corresponding to the source material for that event Event Handles f a source order mode e g Source Order Tape is selected the Event Handles option is enabled 4 Event Handles This numeric slider is located directly below the event list and allows the option of laying off more frames than each event requires i e adding handles The handles are added on either
22. It only describes how pictures were captured and whether to maintain this EI The project must set up to render frames even if the output mode is interlaced Internally the effect needs to use a progressive frame based format for optimal results when both input and output are interlaced Fill Values Auto Vertical Horizontal Both Default Auto Controls how the input picture is mapped scaled to the output picture Scales input picture until vertical or horizontal limit of the output picture is reached without changing aspect ratio Vertical Fills the output picture vertically without changing aspect ratio E g scaling a SD 4 3 picture to an HD 16 9 output format will result in a pillar box format Fills the output picture horizontally without changing aspect ratio E g scaling an HD 16 9 picture to a 2k 4 3 picture will result in a letter box format Fills the output picture both vertically and horizontally Does not keep the original aspect Overrides the Keep Input Aspect E g scaling an SD 16 9 anamorphic to HD 16 9 will result in a full 16 9 format Keep Input Aspect Reads clip properties and keeps the input aspect ratio and will also automatically compensate for non square pixels This should normally be enabled especially when up converting from standard definition sources 525 or 625 RE If the clip has an incorrect aspect ratio you will have to change the clip properties in the lib
23. Motion safety Adaptively reduces the unsteadiness correction based on motion Range 0 10 Default 5 In high motion sequences errors are more likely to occur A high Motion Safety setting limits the allowed unsteadiness correction so that any errors will become less obvious A low setting ignores almost all motion 2014 Digital Vision UM 2014 1 07 286 DVO Effects oF Quality Safety Adaptively reduces the unsteadiness correction in accordance with an analyze quality measure recorded during the analyse pass Range 0 10 Default 3 Under certain circumstances the analysis may be complex and more difficult This is signaled by a quality value When the analysis quality is low errors are more likely to occur In this case a high setting of the Quality Safety control limits the allowed unsteadiness correction in such parts of the material so that any errors will become less Obvious A lowsetting generally ignores the analysis quality Mask Mask iode Follow Max djust S ZE 20 Soft Border room Disable Mode Determines if and how the shaking borders should be masked Values Disable Follow Max Adjust Specific Default Follow Max Adjust where e Disable Less safety Less accurate e Follow Max Adjust Use settings as per Max Adjust parameter 2014 Digital Vision UM 2014 1 07 DVO Stead 287 e Specific use settings as per Max Size parameter Size Sets the mask
24. NUCODA 3D CUBE version number int version number TITLE colour conversion title string optional title in quotes LUT 1D SIZE size of 1D LUTs int call this N LUT 1D INPUT RANGE min1lD float max1D float optional LUT 3D SIZE number of levels per axis in 3D LUT int call this M LUT 3D INPUT RANGE min3D float max3D float optional specify 1D LUT comes directly after the header specifications red 0 float green 0 float blue 0 float red 1 float green 1 float blue 1 float red 2 float green 2 float blue 2 float red N 1 float green N 1 float blue N 1 float specify 3D LUT comes directly after 1D LUT specification R lvl O G lvl O B lvl 0 red 0 0 0 float green 0 0 0 float blue 0 0 0 float R Lvl 1 G LVL O B lvl 0 red 0 0 1 float green 0 0 1 float blue 0 0 1 float R lvl 2 G LVL O B lvl 0 red 0 0 2 float green 0 0 2 float blue 0 0 2 float red level M 1 green level 0 blue level 0 red 0 0 M 1 float green 0 0 M 1 float blue 0 0 M 1 float R LVL O G lvl 1 B lvl 0 red 0 1 0 float green 0 1 0 float blue 0 1 0 float R Lvl 1 G lvl 1 B lv 0 red 0 1 1 float green 0 1 1 float blue 0 1 1 float R Lvl 2 G lvl 1 B lv 0 red 0 1 2 float green 0 1 2 float blue 0 1 2 float red level M 1 green level 1 blue level 0 red 0 1 M 1 float green 0 1 M 1 float blue 0 1 M 1 float R lvl O g lvl 2 B lvl 0 red 0 2 0 float green 0 2 0 float blue
25. Open projects in SAFE mode Normally opening a project automatically selects to edit and display your current composition Selecting Safe Mode will not do this and open a project with no composition selected This may be useful if a composition causes errors or problems when opening a project EI This should be left off in normal use Other Settings Yj Yarn when playback sync is lost C Ripple Mode on C Reset Recall Selection C Audio notify default C Auto Keyframe persist on shot change 2014 Digital Vision UM 2014 1 07 502 Appendices D Warn when playback sync is lost This controls the display of a warning indicator red arrow on your monitor when playback drops below realtime as defined for currently selected output format If off this warning will not be shown even if playback is less than realtime ie Changing this setting requires an application restart Ripple Mode on ae 7 Whether ripple mode should default to off or on in new projects Reset Recall Selection Whether the source of a Recall action effects layers recalled should reset afterwards or persist Audio notify default This enables an audio notification sound event on event shot change Control panel only Auto Keyframe persist on shot change Auto Keyframe Auto Keyframe This enables the persistence of the Auto Keyframe button on shot change Preference File Location Preference file locatio
26. e A character at line start delimits a comment Rest of line is ignored e Strings should be quoted i e string e There should be a space between each identifier and before the terminating semi colon Mask Specification name name lt STRING gt This is the name of the mask as shown in the GUI drop down list Mask names should be unique units units lt UNITS gt where UNITS are pixels By default the coordinate system is absolute image pixels lower left to top right Elements are drawn relative to the lower left corner of a pixel normalise Normalised coordinates map the range 0 0 1 0 to the monitor d source full image pixel size in x and y unitsImageAspect unitsImageAspect lt FLOAT gt The normalised region may be mapped to an image aspect extraction of the monitor source full image pre or post monitor mask This is achieved by specifying the target image aspect Given the monitor source image and aspect ratio the normalised region will automatically be adjusted for letterbox or pillarbox display of the target aspect ratio rect rect lt INT x05 lt INT y05 lt INT x1 gt lt INT y1 gt Where x0 y0 is rectangle bottom left x1 y1 is rectangle top right Mask rectangle defined from x0 y0 to x1 y1 using the current coordinate 2014 Digital Vision UM 2014 1 07 54 Appendices system The area outside this rectangle will be blanked User Masks A special ma
27. monitorGrid 1 0 1 name full info all units pixelsFullWindow anchor top left Origin top left textSize 14 0 text 20 20 segmentVersion text 20 50 Name srcName text 20 80 Description srcDescription text 20 110 Tape Name srcTape text 20 140 Keycode srcKeycode anchor bottom Left Origin bottom Left textSize 14 0 anchor top right Origin top right textSize 14 0 text 20 20 audio audioName text 20 50 originator audioOriginator 2014 Digital Vision UM 2014 1 07 se Appendices HUDs Specification The Head Up Display HUD configuration is the same as for the Grids Masks Specification Mask Blank areas of the image This is a view only mode and is not exported or rendered 2 35 extraction User defined File Specification e A masks file must end in the extension masks e g test masks e lt should be a plain text file Each specification file specifies one or more masks each identified by unique name a name parameter Format The mask file format is as follows monitorMasks 1 0 1 monitorMask 1 0 1 lt mask specification gt monitorMask 1 0 1 lt mask specification gt SC The mask specification section is described below 2014 Digital Vision UM 2014 1 07 Confiqurable Viewer Tools ses NOTE e Mask specification lines must end with a semi colon character
28. 350 DVO Tracker y 8 4 Car Highlight fa Matte es Kever Matte Tools Channel Mixer Saturation SOP Printer Every Shapes parameter pane includes the new DVO Tracker control parameters as shown in the figures below The DVO Tracker controls become available once a shape is drawn 40 40 OF Oh Image Enhance Feature Points On Other Tracked shapes U O O Offset i Predict Tracking smooth il be lb _ Track Buttons 4Q 40 O Oh These buttons start the tracking process You can track forwards or backwards in a shot to the shot end or start respectively or a frame at a time From left to right we have maa Track backwards from current frame to MO start of shot 2014 Digital Vision UM 2014 1 07 Reference 351 mn Track backwards one frame from current SGM frame Track forwards one frame from current ELE frame BI Track forwards from current frame to end of shot Feature Points Feature Points Off The Feature Points button toggles display of the feature points used by the DVO Tracker at each frame Feature Points are points inside our shape that are calculated to be good patterns to use when tracking They are chosen automatically and appear inside the shape we have defined Feature Points in green found inside the defined shape Feature Points are chosen dynamically on a frame by frame basis They are not user selectable or editable Tr
29. All rights reserved Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution The name of the author may be used to endorse or promote products derived from this software without specific prior written permission 2014 Digital Vision UM 2014 1 07 Legal Notices 60 THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE 8 Mesa Mesa
30. Amount Amount The amount of correction to apply strength 2014 Digital Vision UM 2014 1 07 Radius Radius 1290 7 The Radius determines the distance before we see distortion Scale This scales the source image from its center Center X Center Y Center X Center Y The center point of the distortion Default to image center point A1 A2 A3 B1 B2 These define the lens distortion coefficents A1 deals with the major fish eye style distortion while A2 and A3 are more distant edge distortion B1 and B2 deal with distortion considered as pans in Z space or up and down Channels Channels RGB Values RGB R G B Default RGB Correct distortion in a single RGB channel or by default all three 2014 Digital Vision UM 2014 1 07 Gi D O 230 Warper ES Warper 1 Wa Ip o o lib Warp 4 and Warp 9 are sophisticated image warping tools They can be used to fix geometric issues and distortion within image sequences Both have a broad application but are of particular use when working with Stereoscopic 3D sequences The two Warp tools are Warp4 The Warp 4 warper is a classic four point warper and allows warping through the manipulation of the four image corner points Warp 9 The Warp 9 warper extends the Warp 4 warper with extra control points on each side mid point and the center point Both warpers allow warping of all three RGB channels
31. Conform link any material referenced when importing the EDL The material is assumed to be in the project library unless the option import material is also used Command mico Film mac eri proe PEROU Z inpor cc Ss ea e a aa import material conform material ME Opening projects PROG trom Dy Id COL Cro INFO ttt edl imported Import and Conform in One Step autoconform This will import EDL referenced material into the library and conform link it to the composition at the same time Command Ss nucoda film master project PROJ1 import edi S edl ttt edl new autoconform INO Opening project EROTIC IE UN pee INFO ttt edl imported The aut oconf or moption is equivalent to import material conform material Conforming to Record Timecode conform record tce When conforming composition events use the record timecode when doing the match Merging Grades merge from lt N mixdown gt match lt source record clip gt Use these options to import and add a new EDL to an existing composition preserving existing grades where shots match You must specify the track you take the grades from and also how to match the shots thus selecting the correct grades to merge over 2014 Digital Vision UM 2014 1 07 474 Command Line To ensure that any EDL referenced material is imported and conformed you will also need to use some combination of the conform optio
32. High Default High Values Low Medium High Set Via Clip prefs file Parameter detail 2014 Digital Vision UM 2014 1 07 Properties and Metadata an This is detail extraction Detail is only used for Full Premium mode Detail Example Normal Diff Red showing areas affected by Detail setting Kelvin 6544 0 Default From R3D file A measure of colour temperature used here to represent white balance The value will match the Kelvin setting as applied by the camera operator Color Space Color space RE SpacCE Default REDspace Values REDspace Rec 709 CameraRGB Gamma Curve Gamma Cure REDIog Default From Project Colour Scaling Values Linear Rec 09 REDspace REDlog PDlog685 PDlog985 2014 Digital Vision UM 2014 1 07 aga Red Support Ea PDlog685 PDlog985 is a standard linear to Cineon log conversion with a white point at 685 985 Although standard Cineon style conversions you should test and exercise caution because the PDlog settings may have variable lesser dynamic range compared to normal REDIog Default The default R3D Gamma Curve element will be assigned to match the project colour scaling Linear SMPTE Linear Ce ST Default colour scaling EO Lo E The values map as follows Project Colour Scaling R3D Gamma Curve Linear SMPTE Rec 709 Linear CGR REDspace Film Log RE
33. Higher values give more sensitivity Fine Sensitivity M Fine sensitivity Ticking this box will make the rings and trackballs sensitive to very small changes without affecting the sensitivity for larger changes This means tiny changes can be applied via tiny movements of controls Compare Modes more These parameters are on the next page of the Control Panel settings Go to the next page by pressing the More button compare modes Vi split 4 Dual Cut Mi Diff red C Diff luma C Subtraction O subtraction 10 O Diff monochrome Enabled ticked items are available as compare modes inside the application Colour Trackball orientation Vector 1 Default Colour Scaling Printer points per f stop g T Positive C Outp Printer neutral Default layer show mode Grey s Outside area Default Keyer Input Compare diff threshold The Colour preferences screen specifies global configuration settings controlling colour related controls and display Trackball Orientation This specifies the orientation used for the colour correction trackballs both on 2014 Digital Vision UM 2014 1 07 m8 Appendices D the control panel and the GUI interface This configures the colour arrangement on the trackball Values Vector Offset Offset 30 Offset 330 Default Vector Offset corresponds to the old Rank system As you change this setting the trackball image next to the drop down will update ind
34. Insert the RID specific library columns by right clicking on the library header row and choosing to insert the desired column T a Set columna size Clip Name Remove column Insert Thumbnail Insert Material Name Insert R3D columns Insert Create Clone Insert RID ASA Insert R30 GammaCurve Insert RSD Colorspace Insert R3D OLPF Insert R30 DecodeQuality Insert R30 Kelvin Insert R3D Detail Insert RSD Saturation Insert R30 Tint You can also use Insert Metadata to add a column that displays all the RID metadata in a single instance this is the same data as shown in the Properties dialog described below For more detail on tables and their use see the Tables section Shot Properties APPORT E You can also view the properties of a single shot and set these properties for single or multiple shots using the Properties button in the application library With an R3D shot selected press the Properties button Create Clone Bit Depth Fixed R3D metadata CI Editable R3D metadata R3D Properties Window 2014 Digital Vision UM 2014 1 07 Properties and Metadata 427 Only the properties you modify will be set saved This is also true when you select multiple shots lf a property is changed the property dialog will display an asterisk beside the R3D label NI IN Jl 1 4 Medium Quality An asterisk means an R3D property has been changed Single Shot Multiple
35. Menu 3 labeled Inverse is active the selected color is left unchanged and the other 5 points are adjusted Menu 3 nverse makes it very easy to create black and white images with 2014 Digital Vision UM 2014 1 07 tte Curves 223 one color retained Color panel Menu 1 labeled All selects all six points and configures the Hue Curves to work the same as the HLS tool This might seem redundant but the default processing path puts Hue Curves firstin a layer and HLS as last Hue Curves All is useful for creating duotone and split tone effects in one layer whilst HLS modifies the layer correction as well as the natural color Soft Clip The Soft Clip effect allows full control over black and white point clipping and threshold values Each RGB channel can be independently controlled white Enable Clip softness Threshold White he black Red 1 000 Ped 0 200 rec 1 000 Green 1 000 Green 0 200 green 1 000 Blue 1 000 Blue 0 200 blue 1 000 Parameters The Soft Clip effect has separate white and black modes chosen via the toggle buttons to the left e The white mode includes Threshold White settings e The black mode includes Threshold Black settings Clip This setting controls the level of clipping done per RGB channel Softness This setting controls the fall off softness in the clipping performed Threshold White Threshold Black These settings control the cut off values for white black clipping Di
36. NOTE e Grid specification lines must end with a semi colon character e A character at line start delimits a comment Rest of line is ignored e Strings should be quoted i e string e There should be a space between each identifier and before the terminating semi colon Grid Specification The following identifiers are used name name lt STRING gt This is the name of the grid as shown in the GUI drop down list Grid names should be unique units units lt UNITS gt where UNITS are pixels By default the coordinate system is absolute image pixels lower left to top right Elements are drawn relative to the lower left corner of a pixel normalised Normalised coordinates map the range 0 0 1 0 to the monitor source full image pixel size in x and y unitsImageAspect unitsImageAspect lt FLOAT gt The normalised region may be mapped to an image aspect extraction of the monitor source full image pre or post monitor mask This is achieved by specifying the target image aspect Given the monitor source image and aspect ratio the normalised region will automatically be adjusted for letterbox or pillarbox display of the target aspect ratio unitsObeyMask unitsObeyMask lt INT gt where INT can be 0 or 1 The normalised region may be mapped to the visible post monitor mask image pixel size in x and y 2014 Digital Vision UM 2014 1 07 Confiqurable Viewer Tools ss line line lt FL
37. Sample File Created Noe nothing typed 078456 dpx 4883 0004883 dpx A Rec export mode 4883 7 0000096 dpx A Src TC export mode testexport testexport0006734 dpx Frame Padding 7 Sc graded lo shot677 graded 89345 dpx Global Options The Global Options panel displays options available to all file formats Global Options Mixdown Rec TC Frame padding 6 25 Target Output Cache None SMPTE Level Clip Export Mode Misdown REC TO The export mode determines how a composition is exported See Export Modes below Frame Padding Frame padding Use this slider to choose the width of frame numbers added to exported sequences Numbers are zero padded 2014 Digital Vision UM 2014 1 07 Export Media as Pasang en Padding o fa e loo 456789 Target Output Export graded material or source ungraded only Target Output Output graded material as per timeline Play Output view Target Source Output source ungraded material as per timeline Play Source view Handle Size Handle size This sets how many head and tail handles frames are exported with each shot You can only set handles when using a Multimode export see below Caching Cache None The Cache option lets us choose whether to save internally any cache renders or proxies created as part of a render export process Description None No internal caches or required proxies are saved in the applic
38. Short cut N A GUI CE You can toggle a scene cut to a normal cut and vice versa by pressing the toggle edit button Joining Contiguous Segments Short cut N A ou FE You can join two contiguous segments together by selecting them both and pressing the Remove Matched Edit button The segments you are joining have to be from the same media source adjacent to each other in the timeline and in increasing source time order Trimmed out frames from either of the segments is allowed as the underlying material will still exist and the join operation can put the segment back together Shots View lb Timeline Shots ls Keyirame Editor The second view we have of the timeline is Shots view To select Shots view click the Shots tab or press the F3 short cut key The Shots view shows a video mix down of the shots in your composition such that we only see the segments that are topmost in the timeline view We show e We show a single frame of each timeline segment e An indication of any applied effect layers are placed on top optionally e Gaps in the timeline are shown as black shots 2014 Digital Vision UM 2014 1 07 122 Compositions The two illustrations below show the timeline view and its associated Shots View lb Timeline 01 00 00 00 01 01 00 00 01 02 00 00 01 03 00 00 01 04 00 10 0002 sone B071 C017 OD 0004 Timeline view Shots Shots view of timeline above The
39. This will not provide in a clean cut but is sometimes preferred as it is the most accurate representation in terms of alignment in time Inside Scene This aligns the cut to the nearest video field Inside Scene Frame Aligned This aligns the cut to the nearest output video film frame and so results in the cleanest cut 2014 Digital Vision UM 2014 1 07 36 DVO Effects _ DVO Upscale DVO Upscale provides optimised up scaling of material and is of specific value when converting from SD to HD The algorithm maintains the high quality of edges including diagonals and is especially useful for graphics Basic Parameters Enable Optimisation Advanced Mode P P Fill Auto Keep Input Aspect Data Linear Enable The Enable button must be on to enable processing Optimisation Values Fast Advanced Default Advanced Optimisation determines the balance between speed and quality In Advanced mode a special algorithm is used for the high frequency parts of the image to reduce scaling artifacts In Fast mode this algorithm is disabled to gain speed at the expense of quality Mode Values P 5P I P I i Default P gt P DVO Upscale has an internal de interlace function in order to deal with multiple formats e Pis Progressive e is interlaced 2014 Digital Vision UM 2014 1 07 DVO Upscale 327 The setting of progressive or interlaced here is not the same as video image format e g HD 1080i 50
40. Ut l Come imported from C Temp et edl 2 Graded 001 Tue 16 Feb 2010 o 22g So Check Tue le Feb 27010 oa EA List Captured Material Capcure 1list This option lists the status of captured material from the specified composition It is only relevant if the composition contains list captured material Command s film master project et2 composition Comp capture list INFO Opening project Ver2 rrom EC Nuceda 2014 1 rcook projects et ING Opening con o Comp lap sh rrom Composicion Comp im oec kh TEt or Clip Stare maal Tape Su 1 blis l2 NO 0e 00 0A SC COS KO NS 07 blue Re Z green 205 1A OUE200 508203 OU OO 00270 green Re 58 purples TOSE5EEESL DO 700 74 2 100 O02 OO eA sw purple Re 4 yellow l gt 9 66l T OO 00s Oia Oe OO AUS Een yellow Re INFO Opening Composition Comp Once captured the shot Status field will change to Found List Clips and Associated Material no te UNE le 2014 Digital Vision UM 2014 1 07 aga Command Line This option lists details of all clips in specified composition including e The clip material name e The clip date and time of import If you include the argument s the clip Material GUID is also displayed Command die Er Jee Er co kA CO clip list INEO Opening project TeC From Cd Nuod 2014 al rook pro c to Hk INFO Opening Composicion Coma Clips in Project Tek
41. Width 2880 Silicon Imaging SI 2K The Silicon Imaging SI 2K camera is an advanced 2K digital cinema compliant camera from Silicon Imaging Inc The camera records directly to the CineForm RAW format Read only Extension mov We support the SI 2K mov file format only 2014 Digital Vision UM 2014 1 07 Format Support 573 Timecode The timecode can be retrieved from e The file header or e The filename Tapename The tapename is from filename only Properties Sa The application exposes the following shot properties via the Library Properties dialog Look File C Sea TA Look File g Log 30 Cure anally Advanced Detail 1 saturation 1 000 Look File Look File LI Look File The Look File option lets you select and enable an SI 2K CineForm RAW LUT file SI 2K Look Files have a look extension To select a LUT click on the file browser icon navigate to your LUT file location and press OK To apply the LUT enable it via the Look File toggle Look File 7 2014 Digital Vision UM 2014 1 07 574 Appendices SI 2K Look File LUTs have to be installed before use See below Decode Resolution Set the resolution we decode to Options e 1 1 e 1 2 e 1 4 Decode Quality Set the RAW camera data decode mechanism Options e Automatic e Advanced Bilinear e Advanced Matrix5x5 e Advanced Smooth e Advanced Detail 1 e Advanced Detail 2 e Advanced Detail 3 Ga
42. You can filter the main contents display to show only items matching chosen criteria Al Current Marked lUnused Comp Clip Proxy BE Note that all filters will apply to the contents of the selected library folder and sub folders if Recurse is enabled All Display all items 2014 Digital Vision UM 2014 1 07 Library Filters ot Current Display the library item that corresponds to the segment under the active play head Marked Display the library items that correspond to the marked segments Unused Display the library items that are not in use in the composition or marked region Comp Clip Proxy Display compositions clips proxies Cache Management The Clean Up button lets you selectively purge unused or unwanted caches and proxies Clean Up Clean Up caches and proxies unused only Proxies l Thumbnails f Paint Mattes Older than U Days U Hours Cleaning up unused caches proxies thumbnails and paint mattes will free up UME disk space Clean Up Clean Up dialog You can choose to delete any combination of caches proxies thumbnails and or paint mattes Proxies include any source caches e g from MXF Paint mattes are temporary mattes created using the Paint effect or DVO Fix paint 2014 Digital Vision UM 2014 1 07 a The Project Library Filters Select a filter via the drop down menu Unused only The filter will operate on all library item types
43. a The active play head position or b Any Mark In location set Splice Hotkey v The splice operation is non destructive and any clip segments that already exist on the timeline will be shifted along by the length of the media you insert The overall length of time used on that track will therefore change by the length of the new media clip that has been added 2014 Digital Vision UM 2014 1 07 108 Compositions Overwrite Hotkey b This operation will not move existing clip segments out of the way so the overall length of time used on that track will not change Any existing clip segments will be overwritten Once a media clip has been added to the timeline we refer to it as a media segment The source clip remains the same but a segment can be edited Drag and Drop You can select one or more library clips and drag them to the composition timeline The shots will be placed onto the video track they are dropped on and this is indicated by the track enabled light being active 00 55 00 00 00 55 00 00 01 00 00 00 Cursor Drag and Drop track indicator light matches cursor position 2014 Digital Vision UM 2014 1 07 An edit mode defines the behaviour of the timeline manipulation tools including editing moving slipping sliding and selection There are four modes the default being a direct selection tool CF SSS S B persse LES vows spmeris mada agmantodi Direct Select Thi
44. available for a Red R3D shot R3D R3D Properties Kelvin 5600 0 Tint saturation 1 000 Exposure Contrast O Brightness DEX T Scale Quality o 1 2 Premium sama e Rene Color space FEOcolor Curve ASA Le 200 Detail High OLPF Comp Medium Original FLUT Shadow 0 Format Properties panel showing extra properties for a Red Camera shot Miscellaneous Metadata The Miscellaneous Metadata panel shows the extra metadata available This will be the complete display of all item metadata some of which will overlap with the Format Properties panel ASA 200 Brightness 0 Contrast 0 LIRA 0 Detail High Exposure U FLUT at Kelvin 5600 ee l OLPF Medium A portion of the displayed miscellaneous metadata for a Red shot This metadata is shown as a more raw form as found in the original item 2014 Digital Vision UM 2014 1 07 Properties and Metadata 59 Nucoda Properties The Nucoda Properties are an extra set of metadata fields that can be set on library items Nucoda Metadata SOuUrceld Take scene OU Nucoda properties part Available properties include Sourceld Take Scene Camroll Slate Soundroll Director ProjectName DoP Cameraman Dailies Colorist DateOfShoot These Nucoda Properties will be included in any ALE List export and facilitate interoperability in a dailies environment with products from Avid etc Relinking Clips The Relink Clips dialog allow
45. batch mode option is new and much more flexible and powerful It also supports all CLI commands Batch Mode batch mode lt file gt Run the command line commands from the given text file Each command line should be placed on a separate line of the file and any valid command line is allowed The application will load the file and run each line as if you were typing them interactively You do not need to include the application executable on each batch file line i e write batch file lines like p TestProject c Compname splice lt path gt Example Batch File SE ro Jeck TE CC lt tom Cy HE EHE cps OU 200 lado x cp P ce Compname splice 242 Shot dx 07320212001 de record in S997 project Projectx import folder S images testfiles Ops File ops file lt file gt This options allows you to take commands to run from a specified text file but is more limited in the commands it supports 2014 Digital Vision UM 2014 1 07 Running Batch Operations 489 Command Reco NM Ste Soro ean PRO COMeoS Le Lom COME ops file ops txt INFO Opening Project PROJI INEO Cpentng COPOS Cion COMP I MIROR Fenrd tanga INFO Clip added bo Composit elon INFO SELICE in server shoes shoul clip O000l sop 0 03 sees INPO Found kanga OMS INFO Clip added te Composition INFO TOPLICE 2 servyer shore ho Clip N0001 cox 0 01 secs INPO Pound range 1 3 INFO Clap added to composi zion Commands ar
46. review 10 30 90000 90660 Clip 1 clip 2 36262 362940 clip 3 clip 4 clip 5 red 1443656 1444993 Save will stored selected library items Composition review 10 30 and everything it references plus clips clip 2 and clip 3 explicitly Any items we Save or Store are copied and the original items are untouched We Load or Recall the copy These copies will have the same metadata properties as the original items and because these are copies we can safely change any metadata without affecting the original 2014 Digital Vision UM 2014 1 07 a The Project Library Save Load Save Pressing the Save button will open a File Browser dialog and let you choose a path and filename for the saved information This file will have a content extension added automatically and stores metadata only The content file is a text file Load Pressing the Load button will open a File Browser dialog and let you select a previously saved content file for loading You can load this saved content into any project including the current one and the result is that a copy of every included clip and composition will be loaded and made available immediately No conform or re linking is necessary Project A Compositions Project B snapshot content Only metadata is written out to the content file no actual image sequence data itself This metadata includes the full path to any sequences stored
47. you can apply a filter to improve the proxy image quality The Filter options are described in the Filtering section in Output Format Attributes 2014 Digital Vision UM 2014 1 07 Creating Projects 4 Project Colour Scaling s Linear SMPTE Output Clipping The default colour scaling is a per project setting and is defined via a drop down list below the proxy setup These scaling modes defined below affect e Video capture and layoff e Timeline monitoring via SDI including Timeline filler Transitions Pan Scan blanking Fade to Colour e Colour tool behaviour black white pivot points etc e Scene detection Be very careful with this setting f you change the scaling on an existing project a warning dialog will request confirmation before application of the change The change will affect SDI monitoring capture and layoff settings and the mode used in new colour tools It may also cause a re render of colour adaptive tools on your timelines Attach Detach Project Attach Project Attach Project We can only open and edit projects once they appear in our main project list The Attach Project button lets you insert an existing project project folder into our project list Clicking the Attach Project button brings up the file browser so that you can select the location of the project folder you want to add to the list Select the project folder and click the OK button or browse insid
48. 0 2 0 float R Lvl 1 G lvl 2 B lv 0 red 0 2 1 float green 0 2 1 float blue 0 2 1 float R Lvl 2 G lvl 2 B lvl 0 red 0 2 2 float green 0 2 2 float blue 0 2 2 float red level M 1 green level M 1 blue level 0 red 0 M 1 M 1 float green 0 M 1 M 1 float blue 0 M 1 M 1 float R LVL O G lvl O B lvl 1 red 1 0 0 float green 1 0 0 float blue 1 0 0 float R Lvl 1 G LVL O B lvl 1 red 1 0 1 float green 1 0 1 float blue 1 0 1 float R Lvl 2 G LVL O B lvl 1 red 1 0 2 float green 1 0 2 float blue 1 0 2 float red level M 2 green level M 1 blue level M 1 red M 1 M 1 M 2 float green M 1 M 1 M 2 float blue M 1 M 1 M 2 floe red level M 2 green level M 1 blue level M 1 red M 1 M 1 M 2 float green M 1 M 1 M 2 float blue M 1 M 1 M 2 floe 2014 Digital Vision UM 2014 1 07 556 Appendices Icon Tools Reference File Browser Navigation icon function User preset directories Opens the preset directories configuration panel s Back to previous directory Navigate backwards by one folder level Directory rename Renames the selected folder sv Add folder Adds a new folder as a sub directory of the current one Open Close Panels Opens closes the multiple panel display Move panels right Navigates forwards through multiple panels Move panels left Navigates backwards through multiple panels Library Folders icon function Add Folder Creates a new folder in the
49. 100 Default 70 Vertical Range 10 to 100 Default 70 Sharpness Range 0 to 15 Default 0 2014 Digital Vision UM 2014 1 07 DVO Brickwall 23 DVO Clarity DVO Clarity is the fifth generation noise and grain reducer from Digital Vision and is designed to automate as much configuration as possible while still producing the highest quality output The new DVO Clarity algorithms are designed to preserve detail and keep the original image sharpness while being artifact free DVO Clarity includes e Automated grain characteristic analysis e An enhanced motion estimation engine e Detail enhancement e A new spatio temporal filter Enable Process Details Intensity per channel Amount 75 Base Level Auto Aggressiveness 50 Preservation 75 Speed vs Quality Balanced Colour Linear SMPTE EE F pond LY i Unprocessed Processed Enable The Enable toggle button allows you to enable disable the effect By default as soon as the effect is added it is applied enabled Colour Colour Film Log The drop down list will default to the project setting for the input format You need to set this control according to the material that you are working with If the footage was shot with a video camera select a linear format If this control is not set correctly the material may not be processed properly Default From Project 2014 Digital Vision UM 2014 1 07 ga DVO Effects oF Process Process
50. 1152 or a full 2K format 2048 x 1556 in center mode Initially we can work at 1 4 Medium quality mode and using an offline version loaded onto a second video track we can check e Shot resolutions match e Edits match and adjust trim mode if necessary e Any pans tilts or zooms match and adjust as required Once complete we can switch to 1 2 Premium 2K mode and export DPX frames of the sequence for use elsewhere Working with R3D Files These are some hints at best practice when working with R3D files Note that there is great flexibility in R3D metadata and the following notes are a general guide only Colour Space Set this to REDSpace this is the default Gamma Curve Set this to REDlog the default if using a Log project With the Colour Space and Gamma Curve settings as above you may want to check the application histogram output and ensure that your white levels are good and no clipping is taking place 2014 Digital Vision UM 2014 1 07 Working with R3D Files an Check the display histogram via the F11 hotkey or by pressing the histogram GUI button as shown below Histogram display and histogram button OLPF Turn OL PF filtering off and replace with DVO Sharpen See below Kelvin f the Kelvin value is low e g 3200 you may want or need to use DVO Grain to improve image quality Half Premium 2K vs ZOM 2K Resize The following images display the quality difference between the Hal
51. 72 Importing Audio eee 72 Importing List Files 73 List Capture coven SeudeuedudancvesvesdGunedaueaseaSedceeteseuseewaada 79 Capturing Media esse 81 Conforming the List a 85 Compositions 87 Creating Compositions eee 87 Composition Elements 89 Video and Audio Tracks 6 ccc eee eee cece eee eeeeeeeuneues 89 Media Segments secure 92 Audio Segments Un 93 Positions and Lengths aa 97 Play Heads near mummmeemumememecuuee 98 Timeline Marks a 98 Bookmarks aa 99 Adjustment Segments 6 ccc cece ce cece eee eeeuues 102 Segment Status Colours L aaau anaana anaana 103 BL and AUX Segments a 105 Grouped Shots UU 106 Manipulating Compositions 7 106 Adding Media aaan anaana naea aaa 107 Editing and Selection aa 109 Marking Regions dd a 112 Deleting Media QIU aaa 113 Ripple Mode iu aana anana 114 Trim Modes aaa 115 D rS 119 Shots View a 121 Handy Hotkeys ee 124 Versions gt aa EEan 128 Adding Versions eee 129 Managing Versions 000 130 Rendering eee epee sense caecneseuesnesnecn renrencesrecs 134 Automatic Render Controls 135 Manual Render Controls 137 Task Queue eee 137 Exporting
52. A source cache is always 1 1 equivalent to 1 71 Clone proxy and b A source cache requires no explicit proxy format created on the project The cache proxy is created automatically and transparently Note that b is only true if you leave the createClone parameter true for the relevant file format in the preference file C Nucoda 2014 1 root Clip prefs 2014 Digital Vision UM 2014 1 07 The following buttons control the rendering process in your project Export Media Render FG Fender EG Cache Transition Render Controls The automatic render controls toggle between different rendering behaviour and the manual render controls let you set off specific rendering tasks Automatic Render Controls Fender Fis Fender Bi Cache Transition These controls are automatic in that they are toggled on or off and affect the render processing from then on Render BG KEN Default On With The Render BG button enabled some resources are devoted to rendering the active composition in the background while you work This background rendering will only occur if the application is otherwise idle and will pause when a more important workload surfaces e g if you play the timeline or need interactive response during grading adjustments By default all new projects have the Render BG button enabled 2014 Digital Vision UM 2014 1 07 1 Rendering Render BG can greatly reduce rendering requirements
53. AKON 122A Found Handles handle length lt N gt Use this option to specify how many head and tail handles to capture Capturing with Exact Timecode exact timecode lf our EDL looks like the following ICE IS SG BNG OOL NAE THEA where e T1 is the source in timecode e 2 s the source out timecode And our source clip looks like TS HU Ha TE T1 T2 where e TS is the clip first frame timecode e TE is the clip last frame timecode Then e Normally a capture operation would find a match for this source clip because our EDL source in out timecode is completely enclosed within the clip e Using exact timecode Will only match during a capture if the EDL source in out timecode exactly matches the source clip i e T1 TS AND T2 TE 2014 Digital Vision UM 2014 1 07 480 Command Line Command a SE OL OMECE PRO comoocelenoim lee IDLY capture Z server shots exact timecode Conform eonform After the capture stage we can do a conform This will link captured material to the composition timeline where the capture status is Found Command gt Hil mMescec orog PINOU CC oo SEC VISEE DI N conform INFO Opening project PROS INFO Opening cenpesicicn Test EL ENERO Cote ming material Generating Local Proxies Generating Proxies for a Composition generate proxies Generate all the proxies for specified composition Command s film
54. An adjustment segment is a special kind of segment we can create that has no associated material This type of segment is transparent and any effects we apply to it will be applied to the material we cover on visible tracks below An adjustment segment is narrower than a normal segment and by default drawn in a grey green colour 0007 C017 0 D00 G01 POOF 6014 QOO CO02D0 08051 The adjustment segment middle is narrow and a different colour If active it will be shown in the usual blue colour Effects you apply are only applied to covered segments on tracks below 01 00 16 00 01 0012 00 01 00 20 00 01 00 22 00 01 00 24 00 01 00 6 00 nal es A Doo ri J E SAU AS A PS ee Adjustment Segmen An adjustment track and the material it can affect on the track below Note that an adjustment segment has no thumbnails Adjustment segments are useful for adjusting a group of shots the same way You can apply any number of effects to the segment in the normal way 2014 Digital Vision UM 2014 1 07 Composition Elements og Creating an Adjustment Segment To create an adjustment segment use marks to select the timeline area for the segment and then use splice or overwrite with no library material selected e Set a Mark In mark e Set a Mark Out mark e Press SHIFT v splice or SHIFT b overwrite Segment Status Colours Various colour codes are used to identify the cache and render s
55. Arrow edit or Up Arrow Jump play head to the start of the next edit Ctri or Jump play head to end of the previous Ctrl Down segment Ctrl or Ctrl Up none Jump play head to the end of the segment Set mark in point at the play head position O Set mark out point at the play head position Set mark in and out points around selection Ctrl Clear the mark in point Ctrl O Clear the mark out point Ctrl P Clear the both mark in and mark out points none Shift Jump play head to the mark in point none Shift O Jump play head to the mark out point lt t bid O Splice a clip onto the active track B Insert a clip onto the active track overwriting segments if necessary 4 DELETE Remove selected segments from the timeline 2014 Digital Vision UM 2014 1 07 126 Compositions O Shift C Ctrl C Ctrl U Ctrl T Ctri F8 2014 Digital Vision Remove marked region from the timeline Insert an edit cut Insert a field edit cut Remove an edit cut rejoining two adjacent segments Toggles between Direct Select Mode and Trim Mode Toggles slip mode on off when in Trim Mode and activates the segment trim handles Toggles slide mode on off when in Trim Mode and activates the segment trim handles Trims the active handle back 10 frames Trims the active handle back one frame Trims the active handle forward one frame Trims the acti
56. BI 107 200 107 200 107 200 1024 000 eft Y Centre Y Top Left Y Middle Left Y 1556 000 778 000 778 000 Using Left All Left X to select and move only one side of the image in the X axis Basic Controls Scale i J 1 000 Scale Values 0 5100000 slider Default 1 000 The Scale slider lets you scale the image from image center 2014 Digital Vision UM 2014 1 07 Warper Basics 235 You may want to hide warper boundary artifacts in some circumstances and the Scale control can push these outside the visible frame Channels Channels RGB Values RGB R G B Default RGB You can choose to warp only a single RGB channel or by default all three This can be useful for cases e g stereoscopic sequences that have distortion that differs in one or more colour channels Reset Selected Points Reset Selected Points This button will reset any selected control points ET This also removes any keyframes associated with the control points Warp 9 Extended Controls Interpolation interpolation Linear Values Linear Bicubic Default Linear Linear interpolation is faster but less accurate than Bicubic Center Pinning Center Pin Pin Radius Pinning the central control point stops it moving when manipulating other control points and so protects the central part of the image Use the Pin Radius to hold a proportion of the central image area stea
57. Bin easier Double clicking the sequence will activate it and let you review and continue 2014 Digital Vision UM 2014 1 07 Edit Modified AAF Back to Avid 35 AAF Back to Avid with Interplay In this work flow the Nucoda system exports an AAF to the Avid for finishing and selects to do an Avid Interplay check in See Figure 3 below a AAF Avid Interplay CN OS TON Check in Shared Storage 1 Avid exports AAF 2 Nucoda loads AAF conforms and grades 3 Nucoda exports graded AAF selects Interplay Check in 4 Avid imports graded AAF for finishing Figure 3 This work flow is almost identical to work flow 1 AAF Back to Avid For Nucoda nterplay setup see Interplay Setup pa Interplay Licensing Avid Interplay check in require an Interplay login which requires an Interplay license You will need to make sure you have enough licenses to cover every client using the Interplay system or your Nucoda checkins will fail the error will be reported in the Nucoda console 2014 Digital Vision UM 2014 1 07 ss Avid Integration Nucoda Exports Edit Modified AAF In the Nucoda application we will export the AAF Switch to the Library Library And press the Export Media button Export Media Navigate to the location we wish to write our exported AAF file to this should be shared with the Avid When using the Export AAF function MXF media will automatically be
58. Default 0 Residual Strength Determines the strength of processing the residuals e g very jagged scratch may need additional processing Range 0 0 1 0 Default 0 5 2014 Digital Vision UM 2014 1 07 28o DVO Effects _ DVO Steady DVO Steady is used to reduce unsteadiness due to film weave during scanning or camera shakes during capture of footage A two pass solution including advanced motion estimation provides better separation of random instability and pan tilt movements DVO Steady can be used for both film and progressive video material The two passes are e Analyze data collection e Processor actual processing Analyzer Processor Analysis Analyzer ik roOceSssor The first pass collects analysis data from the pictures This is used in the processing stage The default settings work with most types of material so just enable the Analyze control and let the shots be analyzed before processing takes over A key frame is added for every analyzed frame containing the analysis data Complete analysis of the selected clip s should be done before looking at the result and adjusting the processing parameters 2014 Digital Vision UM 2014 1 07 DVO Steady 28 Mode Size and Density Mode Full Size Medium Density Medium Mode Mode Full Mode Centre Yeighted Mode Border Velqhted Mode Frame Only The analysis looks at the complete frame with
59. Digital Vision UM 2014 1 07 330 DVO Effects oF Advanced mode only Edge sharpening amount Texture Values 0 100 Default 100 Advanced mode only Balances flat area texture and sharpening noise Recommended settings are 100 for normal images and 0 for graphics If flat area noise is intrusive a setting lower than 100 will give less noise at the expense of texture definition Deinterlace Control Deinterlace Control Half Line Fix Top Fix Lines 1 Bottom Fix Lines 1 In an analogue video signal there may be a visible half lines unless removed when captured i e half the line is blanked and the rest of the line contains image information The last half line is usually unwanted when de interlacing To remove the blanked part enable Half Line Fix and select the line s to address for top Top Fix Lines and bottom Bottom Fix Lines This will ensure that the blanked part of the line is not visible in the final image Blanking Blanking Top Bottom Lefi Right Blanking controls can be used to cover up soft image edges or any other edge related problem 2014 Digital Vision UM 2014 1 07 DVO Upscale 331 2014 Digital Vision UM 2014 1 07 U D U Y Base CC Layer Ea Matte Combine hatte Tools You can use an unlimited number of editable shapes for isolation mattes or as an effect themselves shapes are available as separate user effects as part of an Eff
60. Digital Vision UM 2014 1 07 Properties and Metadata 42 ASA Default From R3D file This is the speed of the film and its sensitivity to light The value will match the ASA setting as applied by the camera operator Decode Quality 14 Medium BIN P Li Default 1 2 Premium Set Via Clip prefs file Values Full Premium 1 2 Premium 1 2 Medium 1 4 Medium 1 8 Medium 1 16 Medium This is the decoded size and quality generated from the raw R3D shot data and used as a source Note that if you change the decode quality for an R3D shot the reported width and height of the clip will update dynamically in the library Any caches present will be invalidated and need to be regenerated OLPF Compensation OLPF Comp Mediurn Default Medium Values Off Low Medium High Set Via Clip prefs file Parameter olpfComp OLPF Compensation compensates for the camera low pass filter and has the effect of sharpening the image OLPF Compensation can be used on both Full and Half Premium modes 2014 Digital Vision UM 2014 1 07 ago Red Support OLPF Compensation Examples Note that the results of OLPF compensation require viewing on a proper output display device The following images show a very rough view of the sharpening effect OLPF Medium Diff Red OLPF Medium Diff Red OLPF medium OLPF high Digital Vision DVO Sharpen will often give better results Detail
61. Dot DVO Brickwall DVO Brickwall helps reduce signal entropy making compression easier lt provides an extremely sharp cut off beyond a user defined frequency enabling you to create an accurately defined spectral content of material for various types of compression pre processing This means that compression artefacts can be reduced and the quality of the compressed image can usually be greatly improved Enable Colour Linear SMPTE Enable This toggle button allows you to enable disable the DVO Brickwall effect By default as soon as the effect is added it is applied enabled Colour The drop down list will default to the project setting for the input format You need to set this control according to the material that you are working with If the footage was shot with a video camera select a linear format If this control is not set correctly the material may not be processed properly Default From Project Parameters Filter Cutoff Type Rect sharp Film Horizontal Size Normal vertical Filter Type Values Rect Sharp Film Rectangular Circular Diagonal Default Rect Sharp Film 2014 Digital Vision UM 2014 1 07 22 DVO Effects oF Size Values Small Normal Large Default Normal Cutoff This numeric slider allows you to precisely control the horizontal filtering of the luminance as a percentage of the maximum bandwidth A setting of 10096 equals a full bypass Horizontal Range 10 to
62. Fix Lines and bottom Bottom Fix Lines This will ensure that the blanked part of the line is not visible in the final image Data Values Linear Log Default From Project Process using the selected the data format 2014 Digital Vision UM 2014 1 07 DVO Deinterlace 323 DVO Twister DVO Twsteris an advanced software standards conversion tool Enable Mode 50 00i gt 23 98p Proc Mode Narrow Motion Mode Motion Comp Cut Mode Inside Scene Data Linear To use DVO Twister you should set up a project and composition configured for your target format Parameters Enable This toggle button allows you to enable disable the DVO Twster effect By default as soon as the effect is added it is applied enabled Mode Mode 50 001 gt 23 98p Mode 50 001 gt 24 00p Mode 50 001 gt 29 97p Mode 50 001 59 94j Mode 50 001 gt 6000p Mode 59 94i 23 98p HAR Fu The mode option lets you choose the source and target format for the conversion Available modes include 2014 Digital Vision UM 2014 1 07 34 DVO Effects oF 501 to 23 98p 50p to 60p 16 00p to 24 00p 501 to 24 00p 60p to 50p 16 00p to 25 00p 50i to 29 97p 23 98p to 29 97p 18 00p to 24 00p 50i to 59 94i 23 98p to 50 001 18 00p to 25 00p 50i to 60 00p 29 97p to 23 98p 20 00p to 24 00p 59 94i to 23 98p 29 97p to 50 001 20 00p to 25 00p 59 94i to 24 00p 59 94i to 25 00p 59 94i to 50i 59 94i to 50p Processi
63. In and Out points on the selected track 2014 Digital Vision UM 2014 1 07 Oom Compositions Ripple Mode ae el Ripple mode is a state that affects the behavior of all delete move and trim operations it can be toggled on off via the button on the timeline toolbar Any operations performed while ripple mode is on are rippled throughout the rest of the timeline so that any gaps created by the operation are closed If ripple mode is turned off then a gap filler will be left on the track in place of any segments that have been removed or trimmed down See below Ripple mode does not apply to splice and overwrite operations because these operations are inherently rippled splice or not overwrite The following example shows the effect of deleting the middle of three segments with and without ripple mode on Select the middle segment and press the delete key on keyboard 01 00 00 00 01 00 00 10 01 00 00 20 Ripple Mode Off With ripple mode off the gap remains 2014 Digital Vision UM 2014 1 07 Manipulating Compositions _ 115 01 00 00 00 01 00 00 10 01 00 00 70 mil PU ra r4 B Ripple Off gap remains Ripple Mode On With ripple mode on the segment to the right is shifted left and closes the gap 01 00 00 00 01 00 00 10 01 00 00 20 Ripple On segments collapse and fill gap Trim Modes A timeline segment can be considered a window on the sequence as it exists on
64. LOL937 161L1965 US EN ME IN TZ Found VAIN 2265 26 O Seas ES T 253 206 ko 228 found Our status changes to Found and we will have clips four in this case loaded into the library These clips are still offline in the monitor however COMP Test EDL comp EER 056 001 SEIR 056 002 Normally when searching for source material we will look at both a clip timecode and its tapename field when attempting to identify a match to the EDL composition Matching Names match name lt 0 1 gt The match name option lets you specify whether to take a name into account when searching for material to conform The name we use is as set in the preferences and might be clip name tape name or film name If we do not specify this option the settings are taken from the preferences Our capture operation would then look like 2014 Digital Vision UM 2014 1 07 Capturing and Conforming 479 Command s film master project PROJ1 composition Test EDL o Gap ea CAO match name 0 INFO Opening project PROUI INFO Opening composition Test EDL Cie le Sieysteie End Tape Srtacus TLA 100447 1L160462 01 51 25 07 DI STS T21A Foune I2 220197 226296 02337 0421 I 02 57 06 12 t22 Found AA LEO TE R LS CS OL 52 OS NEE AG 121A Found ABA 16056 221689 1 02 56 05 1116 I O 550G
65. Library Remove Folder Removes the selected folder from the library Folder Depicts a Library folder Caches Folder Depicts the Caches folder in the library a NG Tree Expand Expands the Tree branch being viewed Tree Close Closes the Tree branch being viewed Playback Tools icon function p Step Back a frame f fume to previous edit point j f Play backwards Toggle plays backwards then stops f i Play forwards Toggle plays forwards then stops g Bump to next edit point 2014 Digital Vision UM 2014 1 07 Icon Tools Reference 557 j B Step Forward a frame g f Scene Detect Applies scene detection on next playback Viewer Tools icon function Apply monitor Aspect Ratio correction Show Video Fields Shows individual video fields of interlaced footage Show Mask Edit Mask Shape Transform Tools icon function Translate Rotate ha Scale 2014 Digital Vision UM 2014 1 07 558 Appendices Invert Tracker Tools icon function B Track Forward Plays through the shot tracking as it goes E Track Backwards Plays backwards through the shot tracking as it goes E Track Step Forward Tracks forward one frame EI Track Step Backwards Tracks backward one frame Format Support The following sections describe media formats supported by the main application Image Formats DPX Digital Moving Picture Exchange SMPTE 268M Extensions dpx Read
66. Local Mode Normal Area Size Medium Sensitivity 64 These controls allow us to correct the colour match between the left and right eyes Colour Match Values to Left to Right Default to Left Sets colour processing to match the specified eye Setting this to to Left will process the right eye to match the left Scene Mode Values Disable Uniform Non Uniform Default Non Uniform Sets the colour matching mode for a scene such that the scene is analysed and processed equally throughout all frames The different modes relate to how colour matching may vary spatially over the image This is unrelated to any spectrum transformation being uniform or non uniform No colour match processing is performed on scene basis Colour matching is assumed to be spatially uniform Colour matching is allowed to be spatially non uniform This mode typically works just as well when the colour differences are spatially uniform 2014 Digital Vision UM 2014 1 07 246 DVO Effects oF pak Scene Mode requires proper scene edits as normally one scene will behave very differently to another Frame Mode Values Disable Uniform Non Uniform Default Disable Sets the colour matching mode which is applied per frame individually The processing and modes are the same as described above for Scene Mode This option can be used as an alternative to Scene Mode processing if it appears that colour differences cha
67. Look nstaller program compiles the look file and installs it as a Cflook file to the folder C Program Files Common Files CineForm LUTs To use the LUT you can select either the original look file or the installed look file in above folder Because the files are installed to the same location the names have to be unique Vision Research Phantom The Vision Research Phantom camera is an advanced digital camera Supporting both RAW data and various HD output formats Read only Extension cine Timecode The timecode is from file header only Timecode is calculated based on cine file Trigger Time and the frame rate Tapename The tapename is created based on e lt Camera Serial Numbers CINE x6 Digit Dates This facilitates an easier conform re conform in a tape less work flow Properties TRESSES The application exposes the following properties specific to each Phantom shot via the Library Properties dialog 2014 Digital Vision UM 2014 1 07 Format Support 577 CINE Properties Scale f ip Quality Medium WB Red Gain 1 820 WB Blue Gain URATA Brightness I Contrast Gamma i Saturation CINE Properties Options e CINE e Custom Scale Set the resolution we decode to Options e 1 1 e 1 2 e 1 4 e 1 8 Decode Quality Set the RAW camera data decode mechanism Options e Low e Medium e High WB Red Gain Slider 0 to 2 WB Blue Gain Slider 0 to 2 Brightne
68. Names for details on calculating the basic name string no auto folder tabe name filename filename hierarchical 2014 Digital Vision UM 2014 1 07 Application Preferences 505 no auto folder Do not create library folders automatically Material is imported into current library folder Folder none created tape name Name the folder from the tapename extracted on import The tapename is extracted as per the Conform tape name settings below This ignores any basic name file folder calculations folder up additions lf the tapename cannot be determined the folder is named NOTAPE Folder one if we take tape name from filename 1 folder up filename Name the folder from the file structure on disk Folder three two W Im project root folder a pa Caches filename hierarchical Name the folder from the file structure on disk Unlike the filename option this creates folders subfolders recursively whereas filename is flat Folder three two folder one is inside two W im project root folder W mp three T See Appendix Extracting Names for an explanation of the rules Folder Up Which folder we start counting from The folder containing the imported file sequence is index 0 Adding folders How many file folder levels do we add to create the final name 2014 Digital Vision UM 2014 1 07 506 Appendices Start from Selected Start from selected folder
69. No marks splice to active play head Mark In With a Mark In only a clip is inserted full length at the Mark In position J 1 00 00 01 01 18 00 01 01 30 00 01 01 45 00 0102 00 00 01 02 B065 C017 080425 6065 0017 Mark In splice to it Mark Out With a Mark Out only a clip is inserted at the active play head position lf the clip extends beyond the Mark Out point it is truncated C 1 00 00 01 01 19 00 0101 30 00 01 01 45 00 0102 00 00 01 02 Mark Out splice at play head to mark 2014 Digital Vision UM 2014 1 07 Manipulating Compositions _ 113 Mark In and Mark Out With both a Mark In and a Mark Out the clip is inserted at the Mark In position ff the clip extends beyond the Mark Out point it is truncated J C 1 00 00 01 01 19 00 0101 30 00 01 01 45 00 0102 00 00 01 02 Mark In and Out splice from in to out Deleting Media To delete one or more segments from your timeline select the segment s then e Press your keyboard Delete key or e Press the ift remove toolbar button The track does not need to be enabled but must be unlocked If you have ripple mode on you may see timeline segments move to fill the space created See below Removing Marked Regions To delete a marked region a Set your Mark In and Mark Out points b Enable and unlock the track you want to affect Pa c Press the Lift Marked button ae All media will be removed between the Mark
70. Result Folders Up Tape Name Result Note 0 clip Use filename at level 0 1 one 2 two 2014 Digital Vision UM 2014 1 07 538 Appendices Effect Identifiers Effect Identifiers are unique names for application effects and are used to uniquely specify an effect in the general prefs preference file Master layer The following table lists the effects available for the master layer and their corresponding IDs in the general prefs file Effect Tree Name Effect ID saturation Saturation printer PrinterLights lift gamma gain LifttGammaGain balance Balance col curves DifferentialColorCorrect bright contrast BrightnessContrast bright regions Brightness Regions soft clip SoftClip saturation Saturation pan scan n a always available Base layer The following table lists the effects available for the base layer and their corresponding IDs in the general prefs file Effect Tree Name Effect ID matte n a isolation always available keyer n a isolation always available shapes n a isolation always available matte blur n a isolation always available hue curves HueCurves printer PrinterLights lift gamma gain LifttGammaGain balance Balance col curves DifferentialColorCorrect bright contrast BrightnessContrast bright regions Brightness Regions 2014 Digital Vision UM 2014 1 07 Effect Identifiers 539 soft clip SoftClip HLS HLSColorCorrect blur Blur 2014 Digital Vision UM 2014 1 07 540 Appendices Eff
71. SDI 2014 Digital Vision UM 2014 1 07 Application Preferences 523 EI The Enable Dual Display checkbox should be on when using NVIDIA SDI direct output 7 Enable NVIDIA SDI direct output SDI Link Tod ed ee Default format a HO 1080 Always use default format for monitoring NVIDIA direct SDI is our term for the application taking direct control of the NVIDIA card SDI monitoring signal This means that no configuration is needed in the NVIDIA display control panel SDI Link This specifies the default NVIDIA SDI colourspace and format RGE 444 YCrCh 444 Dual Ca 422 12bit Crh 422 12bit ee alee Values YCrCb 422 RGB 444 YCrCb 444 Dual YCrCb 422 12 bit YCrCb 422 12 bit YCrCb 444 Default YCrCb 422 Default Format This specifies the default NVIDIA SDI video format to use PAL NTSC 20p HO 1050 HO 1080psf HD 1080p 2k p zki Values PAL NTSC 720p HD 1080i HD 1080psf HD 1080p 2k p 2ki Default HD 10801 2014 Digital Vision UM 2014 1 07 54 Appendices Always use default format for monitoring Vv Always use default format for monitoring When enabled the monitor is locked to the format set above and will not try and switch to a new format even if its input changes This is useful if your output monitoring device does not support some output formats and you wish to lock it to a supported format Enable OpenGL readback to Video C Enable OpenGL readback t
72. SI 2K e Vision Research Phantom Command Na Sic apoc PIROUI a Con import movie C media qt sample mov INFO Opening projece PRO INFO Opening cerncs ich Compl 2014 Digital Vision UM 2014 1 07 aga Command Line Importing Folders import folder lt path gt Import clips found in named folder and all sub folders filter format lt fmt gt Filter clips we import by file format filter res lt w gt lt h gt Filter clips we import by image resolution splice order lt file timecode gt Splice clips found to composition in specified order timecode header 1 2 3 Take timecodes from file headers timecode filename Take timecodes from file names paths tapename header Take tapenames from file headers tapename filename lt level gt Take tapenames from file names paths These options control the import of supported image sequences recursively from a specified folder path Importing a Folder import folder lt start folder path This command imports all supported image files found in the specified folder and any sub folders recursively Command s film master project code2 import folder Z scans reel4 INFO Opening project cole From NEO Pakeht perang dire Cory Wei Lk XO TUFO Batch Ipon irecord Ct 5 NAO INO Bacch moore eompleced sos O OE 100 The command shown above has imported the given folder into the specified project code2 This is a total of six
73. The brightness of the LED display screens on the panel Key Brightness Key brightne Values User Set 0 255 Default 255 brightest The brightness of the lights on the panel keys Trackball Timeout Trackball timeout Default 200 This setting controls how fast the trackball stops This parameter is deprecated and should not be changed Trackball Trigger 2014 Digital Vision UM 2014 1 07 m6 Appendices D Trackball trigger Default 5 This setting controls how fast the trackball starts This parameter is deprecated and should not be changed Ring Timeout Ring timeout Default 200 This setting controls how fast the rings stop This parameter is deprecated and should not be changed Ring Trigger Ring trigger Default 1 This setting controls how fast the rings start This parameter is deprecated and should not be changed Speed Settings Trackball speed Too Ring speed 100 Knob speed 100 100 These speed settings control the overall sensitivity of the panel controls e Trackball Speed the three trackballs on the Colour panel e Ring Speed the three rings on the outside of each trackball on the Colour panel e Knob Speed the parameter control knobs on the Colour and Image panels e Wheel Speed the navigation wheel on the Media panel and the comparison wheel on the mage panel 2014 Digital Vision UM 2014 1 07 Application Preferences 517
74. This sets the In timecode to the current deck position e Erasing and typing in a new timecode via your keyboard Use mark as in point Ticking this box will set your layoff in point to the n timecode set Your list will be recorded starting at this n timecode Output List This button is enabled when there are events in the event list Pressing it will Start off the layoff to tape of all the events in the list Bk Unlike the VTR Capture module you cannot select a group of events for layoff from the event list All items in the list will be output To select a sub section for layoff see Laying Off Sections 2014 Digital Vision UM 2014 1 07 Video Layoff 379 Output Single This button is enabled whenever a single event is selected highlighted in the event list Pressing it will layoff that specific event only Stop Output This button is only enabled when there a layoff is in progress Pressing it will halt the layoff Output List Output Listwill layoff the entire event list Checking the List Before the list is output to video the events are first checked to ensure they are fully rendered and available Validate Output Output List stop Output single Default On f Validate Output is enabled a final output validity check is performed after any rendering is complete Once layoff starts the button will turn red and the Stop Output button will become enabled and turn green Output List st
75. Write Optimised for realtime playback Options Mode Big endian default Little endian Depth 10 bit RGB 12 bit RGB 10 bit YUV The DPX format is optimised for realtime playback and includes support for alpha channels lt is the native format for cache renders and source proxies in 10 bit projects default 2014 Digital Vision UM 2014 1 07 Format Support 559 Cineon Cineon File Format Extensions cin Read Write Options None 2014 Digital Vision UM 2014 1 07 TIFF Tagged Image File Format Extensions tiff tif Read Write Options Bit Depth SGI SGI Image Format Extensions sgi rgb Read Write Options Bit Depth JPEG JPEG Image Format Extensions jpg jpeg Read Write Options Quality 0 100 default 75 2014 Digital Vision UM 2014 1 07 PIC Softimage PIC Format Extensions pic Read Write Options MPEG MPEG 1 Video Extensions mpg mpeg Read Write Options Width Height Stoer l Frame 0 10 default 8 Interval Bitrate Kb s Slider default 400 Kbps Tolerance Sider See the MXF Formats section MXF Material Exchange Format Extensions mxf Read Write Options Availability is output format dependant Avid Project From MXF File From DV Project User Set Name See MXF Formats section 2014 Digital Vision UM 2014 1 07 562 Appendices EXR OpenEXR High
76. Y U V Default Y The adaptation works on one channel only normally Y By setting the signal to R for example when only red scratches are visible the DVO Dustwill more precisely detect the dirt minimizing the risk of affecting actual picture content Motion Estimation This drop down button allows you to choose the motion estimation Values off normal best Default normal When enabled the motion estimation module gives a performance boost both in dirt detection and concealment This means that much more aggressive settings can be used without introducing smearing Scene Change This drop down button gives options for how to process the frames surrounding an edit cut point e Inside processes the frame before a cut using only the current and previous frame and processes the frame after a cut using only the current and next frame Stays inside the shot e Across ignores cuts use the previous current and next frame Goes across shots e Bypass doesn t process the frames before or after a cut 2014 Digital Vision UM 2014 1 07 260 DVO Effects JU Values Inside Across Bypass Default inside Channels This control is for selecting the channels from which dirt will be removed Normally the processing should be set to all channels but in some cases especially with small dirt better results can be achieved by processing only one or two of the channels Values Any combination of R G and B De
77. a Mode from the basic modes all settings in the Processing or Setup tabs will be adjusted automatically to fit the selected mode and basic mode will be automatically enabled Presets The Mode sets a basic preset level of grain reduction Values Default Film fine or video Film medium Film coarse Default Default Default is roughly equivalent to Film medium Strength The amount of grain noise reduction is automatically set up in the basic mode This slider control allows you to tune this and increase or decrease the amount of grain reduction done Range 2to2 Default 0 Out Mix The Out Mix control determines the mix between the processed image with grain removed and the input image to give the final output image 2014 Digital Vision UM 2014 1 07 DVO Grain 29 This makes it possible to mix in some of the original grain into the processed picture for a better film look Range 0 to 100 Default 100 The default value of 10096 results in an output with full grain removal whilst a setting of 0 results in an output equal to the input image This control is also available in the Processing section and changes here are mirrored there Processing Filters Enable Basic mode Processin B Temporal and spatial filters are available on the Processing screen DVO Grain utilizes a process that adaptively selects the best mix of spatial and temporal recursive filtering for each pixel Start wit
78. a higher degree of detection If the Strength parameter is pushed too high we may correct lines unnecessarily and introduce jitter Analyse the resulting output before committing to a long render Note that the processing time is dependent on detected and processed lines The more line sync issues we find the longer it will take to process 2014 Digital Vision UM 2014 1 07 32 DVO Effects oF Processing Processing Shin stretch Shift Enables correction of pixel shifting left right Stretch Enables correction of stretched shrunken lines Noise Reduction Noise Reduction NR Enable NR Strength 30 This is Adaptive Noise Reduction with non recursive spatio temporal filtering so ghosting will not occur Note that processing time will be considerably higher when active since all lines have to be processed NR Enable Enables Noise Reduction independent of shift stretch detection and correction NR Strength Sets the amount of Noise Reduction to perform 2014 Digital Vision UM 2014 1 07 DVO Line Sync 321 DVO Deinterlace VLC input Fx DVO Deinterlace accurately creates progressive frames from interlaced video originated material The de interlacer can maintain the fluid motion present in video e g 50p delivery from a 50i source or create a film look e g 25p delivery from a 50i source DVO Deinterlace uses advanced motion adaptation techniques to preserve sharpness while also a
79. appear if your sequence originated from an AAF file Select and choose a media export format e g Avid DNxHD 185X Formats dnxhd 1080p 120 25 Formats dnxhd 1080p 185 25 Formats dnxhd 1080p 165 25 The formats made available will depend on your project format You should also choose to export using e Mixdown Record Order TC See the Export Modes section for definitions of the export modes Name your AAF file and press the Export button MXF Staging Note that MXF files created as part of an AAF export are staged in the tempRootDir folder before being moved to their final destination See MXF Staging Once all the associated MXF media file have been successfully exported a new AAF will be created containing a sequence referencing to the original Audio tracks and also the new Mixdown video track Avid Imports Record Order AAF When the updated graded restored AAF is available from the Nucoda system the Avid can import it into a Bin 2014 Digital Vision UM 2014 1 07 404 Avid Integration When the Nucoda system writes new media to an Avid media folder the Avid system will do an automatic re scan of media folders Right click inside your chosen Bin and select Import New Sequence Go To Capture Mode Choose Columns Set Bin Display Get Bin Info Select Offline Items Export Navigate to the folder containing the new AAF select it and Open The A
80. by the current graphs setting This is display only and is not rendered into any final output 2014 Digital Vision UM 2014 1 07 174 Viewer Tools Options The available graph positions and types are as per the graphs cineon hist sy video hist 54 PAL cineon hist center Yideo hist 54 ideo hist center Unlike the Graphs settings the Histogram settings can be set in a histogram mode RGB values overlaid or a parade mode RGB values separated in columns 10bit Graph Setup _ Toggle display of graph Reset graph active area to default whole image Set the scale to use for the reported graph values aaa Values 8 10 16 bit or 0 1 Default 10bit 2014 Digital Vision UM 2014 1 07 Histogram 175 Area Selection By default the histogram will display RGB values related to the entire image You can select a region of interest with the mouse interactively 618 620 741 674 mg min avg max oo 406 621 f 369 A34 648 96 397 BO f You can also click anywhere on the image to display information about a single pixel Display Modes Histogram Parade a cineon hist Sw Pa 10bit pi 10bit Note that you can display graphs colour curves and histograms or parades simultaneously 2014 Digital Vision UM 2014 1 07 176 Viewer Tools ineo n parade S 48 10bit Audio Waveform Update Dual Tull info all 2 35 grid User r cineon hist
81. capture layoff ends No actual capture layoff takes place during a post roll Video Trim This numeric entry field slider allows you to correct timecode offset errors that might occur when capturing or laying off video The Video Trim controls which frame of video is recorded at the edit in point and can be used to help fix video routing or system delays Edit Trim VTR Output module only Similar to video trim it allows you to correct any timecode errors causing the recorded material on tape to be starting at the wrong timecode The difference between video trim and edit trim is that the video trim setting will make adjustments to the time when the frames start being sent from disk to tape i e when layoff starts whilst the edit trim setting makes adjustments to when the deck actually starts recording The point at which the deck actually starts recording prior to receiving the video is what can be adjusted using the edit trim control should you find that the layoff is not ending up at the correct timecode 2014 Digital Vision UM 2014 1 07 VTR Settings 363 Project Settings for Video Output Render Video Output f you intend to lay off video from your project make sure you enable the Video Output setting on the project output format See Cache Output Video Capture List Capture The VTR Capture screen is accessible from the library screen via the List Capture button This brings up the ist captu
82. current location Folder Navigation The button to the right of the location display lets you quickly go up one folder level Mere Gi Cmediatima gesitestsequences tce annotated pal 1 frames pal Oframes 2 Button to move up one folder level You can navigate up and down both local and remote folders using the panels in the centre of the window These panels have two modes of display Cascade Mode multi pane and Single Mode single pane These central panels display folders only never files Cascade Mode In Cascade Mode the central area will show up to three panels Each panel will display the folders that exist e In folder above us left pane e In current folder middle pane e In folder below us right hand pane The current folder is always high lighted in orange Click any folder to make it current Enable Cascade Mode via the button 2014 Digital Vision UM 2014 1 07 2 The User Interface FA 0001 0007 A001 2010 05 11 pal Folders Above Current Folder Folders Below Current Current Cascade Mode showing three folders above and below current In Cascade Mode you can jump backwards up and forwards down in your location history using the arrow buttons below the panels Cascade Left Cascade Right Up Down Single Pane Mode In Single Pane Mode the central area shows a single pane and the folders inside below the current folder only Folders Below C
83. currently viewed edited composition has status Current Edit in the library Thumbnail Type 4 7 a COMP Feel Tests The frame rate of the composition is set on creation to the project master format rate List Import and Capture Importing an EDL AAF or other supported list format will create a new composition with video and audio tracks media segments and supported effects e g retimes as per the imported list For an Avid AAF MXF workflow see the Avid Integration chapter With an EDL the composition will be named as per the TITLE field Media segments will need to be conformed to the timeline A composition will also be automatically created when you capture media from a VTR device 2014 Digital Vision UM 2014 1 07 Creating Compositions _ Composition Elements The main element of a composition is the timeline This view is where you can arrange your media segments edit segments add effects and control what is displayed in the monitor This is the default view for a composition and shows you e Video and audio tracks e Media segments e Play heads and position indicators e Timeline marks e Bookmarks HE Timeline Shots Video and Audio Tracks Video and audio tracks are laid out in horizontal strips in the classic way An empty composition defaults to one video and one audio track The monitor will display a mixed down viewot your timeline Amixed down viewis the view you see as if viewi
84. dalles 00 TC Event Controls Enable Event fe Consolidate on tape Disable Event 0 Match open library folder only Event Controls Detach Event Material Use the Event Controls to e Switch the selected event when multiple matches occur e Disable events to prevent them being conformed or found Disable Enable Event Enable Event Disable Event When you Disable an event you prevent it changing status such that e A Found event will not conform link to material when pressing Conform it will stay Found e A Needed event will not be found it will stay Needed RE The Disabled state of an event is reset if you close and re enter the List Capture module Enable Event will reverse the disabled state and allow the event to take part in capture and conform operations once again 2014 Digital Vision UM 2014 1 07 sm Importing Material Detach Event Material Detach Event Material Detach Event Material will unlink the selected events from their conformed media and change their status from Conformed to Found The media itself remains loaded in the library but the affected events shots will go offline because the link to their media has been broken they become un conformed Match Open Folder C Match open library folder only f Match open library folder only is selected we will restrict the media we try and conform link to that inside the currently open library folder Conso
85. dirt detection in the current frame A higher value will result in more dirt being excluded and less processing carried out Range 0 to 255 Default 80 Trim Size The trim size corresponds to a window in the previous frame which is searched for dirt to compare against the current frame The smaller the window trim size the more filtering that will be achieved Range Oto 7 Default 5 Hit Growth Hit Growth Absolute Helalive The Hit Growth control is useful when the dirt in the image does not have very well defined edges 2014 Digital Vision UM 2014 1 07 266 DVO Effects oF By increasing the hit growth the processor is told that the dirt is bigger than it actually appears The result is that the soft edges also are processed Mode Absolute Use Relative button off The hit mask for all sizes of scratches are grown by the same amount as specified with the strength control Range 0to4 Default 4 Relative Use Relative button on default In relative mode large scratches cause a larger growth Range 0 to 15 Default 10 The Absolute and Relative sliders control the amount of hit mask growth for each mode The higher the value the larger the area around the scratch that will be processed 2014 Digital Vision UM 2014 1 07 DVO Dust 267 DVO Fix Brush Rect b Common Erase Mik Down DVO Fix facilitates the repair of specific areas and imperfections in a single frame such as
86. e g blurs Audio I O Interface AES EBU File Storage Broadcast WAY Bit Depth 16 Bit Note the audio settings on the right are only available in the Capture module The audio channel buttons give feedback and also act as controls They will automatically default to show how many audio channels are available highlighting them in green after which you can enable disable them for capture layoft EI 2014 1 currently supports eight 8 channels of audio The buttons for channels 9 16 are visible but disabled and not used Capture Only Interface Options AES EBU or Embedded SDI This sets the source of the captured audio data We support AES EBU audio with the Bluefish Lust card AES audio cables We support AES EBU and embedded audio on the DVS Centaurus2 card The audio capture path is set separately in the capture Controls tab File Storage Options Broadcast WAV Bit Depth Options 16 or 32 Number of bits per sample to capture 2014 Digital Vision UM 2014 1 07 Video v0 Roll and Trim controls Pre rall Video Trim O Post roll Edit trim 0 Pre roll How many seconds the deck should allow the tape to roll before capture layoff starts When capturing or laying off the deck will cue to the VTR in point minus the value set in the pre roll field No actual capture layoff takes place during a post roll Post roll How many seconds the deck should allow the tape to roll for after
87. eee EROS COC ON CONE splice Z images 008220 dpx nn CC RO INEO Opening pre jece PROJ INEO Opening Composition COMP i INEO Cip added co con ost Eron will splice the clip from frame 008220 apx i e splicing frames 008 220 300 dpx This is equivalent to using the option source in 8220 Splice Overwrite of Particular Material Lengths We can choose to splice or overwrite a particular length of clip using the length The following command will splice in the first 10 frames 1ength of clip slate onto the timeline at frame 100 record in 2014 Digital Vision UM 2014 1 07 468 Command Line Command Uc ece Ke eee EROMCEC Co Sie LOI COME splice name slate record in 100 1ength 10 INFO Opening proj Ce ERWJI INEO Opening cCommoosiciom COMelT ENEO Clip added to Composition Applying a Note to a Shot Apply note to shot we splice or overwrite Note can be specified by name or path Apply Note Use the set note command to apply a note to a shot The note can only be applied when the shot is spliced or overwritten to the composition See Splice and Overwrite Clips By Name set note NAME Apply the named note to the shot The note must exist in the project notes folder The named note must exist in the specified project Command s film master project PROJ1 TONO TLELON Come Nene SOI salaee recoil 0GS set note lowerlevels INEO Opening pro
88. effects from either layer by adding removing the appropriate IDs from the preferences file See appendix Effect ldentifiers for a list of available effect you can use in these preference settings Effects Layer The Effects layer at the top of the effects tree contains no effects by default When you add user effects to a segment they will be listed here Additional Secondary Colour Correction Layers Additional colour correction layers can be added to the active segment by pressing the A dd Layerbutton on the effects toolbar This will add the layers to the effects tree The layers are numbered from 1 according to their position within the effects tree List ss Effect IT 01 00 10 00 01 00 12 00 01 00 14 00 i 01 12 These additional layers will have the same set of effects available as the base layer You can add an unlimited number of secondary colour correction layers and each contains shapes keys and mattes pa Effects gt CB Base CC Laver Y c 1 CC Laver CB Matte Kever er sus latte Tools Hue Curves 2014 Digital Vision UM 2014 1 07 Layers are always added to the active segment only they are not added to selected segments or any other segments Rename a CC Layer by selecting it and pressing the F2 key Layer Router It is possible to use the layer router at bottom of every layer to set various layer specific parameters including how layers are composited blen
89. folders 1 Up adding 2 one no more folders 0 up adding 2 empty no folders The result here can be used as a name or as part of a name How we use this resulting basic name and whether we use it at all depends on other parameters Auto Assign Name Auto assign Name replace with filename 1 folder up adding The Auto Assign Name parameter in the Capture Conform preference tab defines what Material Name we give imported files sequences inside the project library This name is extracted from the file name and or folder structure according to rules defined here Once we have our basic name string described above we determine its use via a drop down selector of replace with filename ignore filename replace with filename this setting does not use the basic string we calculated above prepend filename append filename ignore filename These settings control whether we combine our basic string with the actual filename when creating the library material name apart from the replace wth filename setting For our first resultant basic string calculated above Calculation Basic Name String Note 4 up adding 2 four three We end up with 2014 Digital Vision UM 2014 1 07 536 Appendices Choice Material Name Note result replace with filename clip Use filename only ignore above calculation prepend filename clip four three append filename four three clip ignore filename four three throw filename away
90. folders searched the specified folder itself and five sub folders ez scans reel4 scans reel4 0008H scans reel14 0006 scans reel4 0005 gt scans reel4 0002 scans reel4 0002 high N N NNN 2014 Digital Vision UM 2014 1 07 Importing Folders 459 Filtering We can filter the sequences the command selects to import on image resolution e g choose only HD sequences and image format e g choose only TIFF sequences Filter on Resolution ilter fes lt width gt lt height gt This option will select only images that match the given resolution width x height in pixels Command Ss film master project code2 import folder z scans reel4 filter res 2048 1556 INFO Opening project codeZz From ENP O Pabechi Ipe clng rec Oo O Eh NO NEO Baech NV pOr inog ar O 5 020 ENDO Batch Import comoleved 4 6 Ob 100 shots that match the resolution specified will be loaded into the project library Filter on Image Format filter format lt extension gt This option will select only image sequences that match the specified file format given as the common format extension Command film master project code2 import folder z scans reel4 filter format dpx For a list of supported formats and recognised extensions see File Format Support Tapename tapename header tapename filename lt level gt These options override the source o
91. for a GUI Lock e Project Format Specification Be careful to quote any strings or paths you use on the command line In particular pay attention to any spaces in strings or paths or you will see syntax errors i e The argument format spec C data files specs test spec Will give an error due to the space in the data files folder Quote this to prevent the error format spec C data files specs test spec 2014 Digital Vision UM 2014 1 07 446 Command Line Conventions Required parameters are given in angled brackets lt gt i e format spec lt path gt Optional parameters are given in square brackets i e timecode header 1 2 Possible values are separated with a vertical bar as above Splitting Long Lines This document sometimes splits long command lines over multiple lines to make the command easier to read The split if delimited by a line continuation character i e export S exp o c dpx export mode single In reality you would type the above command on a single line only wthout the continuation character export S exp So Sc dpx export mode single 2014 Digital Vision UM 2014 1 07 447 User Login To use the command line interface as a specific user use the user option and specify the username to login to the application as Command 5 nucoda film master user steven list Brock iy SEC bh Cs Nuicoda os 2 Check Danger 002 SNe daN 3 Check Da
92. frame displayed is from the middle of the segment This is not configurable currently Shots View Switches To the left of the shots themselves are some buttons that affect the display and ordering of the shots Thumbnails This toggles the size of the displayed thumbnails Play heads Toggles the display of all play heads or only the active play head 2014 Digital Vision UM 2014 1 07 Shots View Effect Bars Toggles the display of the effects bars above the shot Src Rec Switch Toggles the display of the shots in record timecode order default or source timecode order This will affect VTR layoff and is linked to Tapename Sort below Set to SRC for a Source Order C VTR layoff Handles Mode Toggles handles mode Normally we can only play the visible non handle portion of a segment In handles mode we can step through and play entire shots including playing through head and tail handles The play head position will update to show us our position within the shot and accounting for handles This requires us to be in SRC order view Tapename Sort This will sort the shots to be in tapename order then source timecode order You must be in SRC timecode order SRC switch enabled This will affect VTR layoff and is linked to Src Rec Switch above Enabling this results in a Source Order Tape C VTR layoff 2014 Digital Vision UM 2014 1 07 aa Compositions Effect Indica
93. gt Add a new track of specified type to existing composition Count Tracks count tracks lt videolaud1o gt This command will count how many tracks of the type specified exist in the named composition Command s film master project PROJ1 composition COMP1 count tracks video INEO Opening Proje ct ce INEOCOpen NY Cm CN S OMP INFO Total Video trako gt Command S film master project PROJ1 composition COMP1 count tracks audio INEO Opening project ttr NEO Opera OONO T lon Coil ENERO Total audio tracks Add a Track add track lt video audio gt This command will add a track of the type specified to the named composition The number of the new track added is returned 2014 Digital Vision UM 2014 1 07 Counting and Adding Tracks 495 Command s film master project PROJ1 composition COMP1 add track video INEO Opening Proje E ur ENEO Opening Conpooc Itron M OMPI INFO New video track added number 4 We will now have a new track V4 in the composition COMP1 above Testing for a GUI Lock Test if the GUI has a lock and therefore GUI is open Testing if the GUI is Running testlock This command will test if the GUI is open and the application is holding a lock file Command s film master testlock cho 0 Return e 0 GUlis not running no lock e 1 GUlis running lock held This must be the first argument on the command l
94. head when playing composition Toggle display of composition segment thumbnails Toggle display of non active play heads Toggle display of audio waveform inside audio segments See Audio Segments In Shots Viewmode the centre active play head button is removed and the audio waveform button replaced with a button to toggle display of effects layers See the section Shots View Creating and Deleting Tracks Use the toolbar buttons to add or delete video and audio tracks 2014 Digital Vision UM 2014 1 07 a Compositions Icon pemp O i Create a new video track JM Create a new audio track Push selected tracks up a level Push selected tracks down a level Delete selected tracks You cannot delete a locked track Media Segments Media segments are displayed on the timeline with head and tail thumbnails You can toggle the display of thumbnails using the a button See previous section above Each media segment on a video track displays the tape name material name and any source offset head handles The source offset is given as a timecode WA ta p e material name source offset The segment in the diagram above has four seconds and twelve frames of handles at the front of the segment 004 scene Diva 00 00 04 12 Composition segments are colour coded Normal Segment 01 00 05 00 01 00 10 00 01 00 15 00 01 00 20 0 004 scene Oiva 00 00 04 12 Seg
95. header or e The filename Tapename The tapename is from filename only Care needs to be taken when using a standard EDL due to tapename length and character restrictions Resolution Frames are 2880x2160 pixels native 2014 Digital Vision UM 2014 1 07 Format Support 571 LUT A LUT is important in an ARRI D 21 workflow We include a standard set of ARRI LUT files in our cms folder C Nucoda 2014 1 root cms ArriD21 LUTS You can also download LUT files directly from ARRI by going to the URL http ww arridigital com technical luts Properties Properties The application exposes the following shot properties via the Library Properties dialog Scale ye oa ie Medium i Quality Brightness I Contrast O Gamma 2 S00 Saturation 1 000 Scale Set the resolution we decode to Options e 1 1 e 1 2 e 1 4 e 1 8 Decode Quality Set the RAW camera data decode mechanism Options e LOW e Medium 2014 Digital Vision UM 2014 1 07 572 Appendices e High Brightness Slider 100 to 100 Contrast Slider 100 to 100 Gamma Gamma correction used to transform the camera data for display Slider 0 1 to 10 Saturation Slider 0 to 2 Extra Metadata All available metadata is also displayed in a raw format ARI ByteOrder LITTLE END DeviceName west1 1 139 a Devicesettings FrameNum 24 FramePersec 24 rye TakeNum 0 TimeCode 16 39 16 08
96. history if Use Handles is set lf handles exist full and precise processing will be available from the first frame of a clip Default On The remaining controls on the Setup page are used to optimise the processing further These controls should only be used by experienced operators with a good understanding of the dirt and scratch concealment process Motion Sensitivity Motion sensitivity Motion sensitivity High This drop down allows you to set the level of sensitivity Values Low Medium High Default Medium Motion sensitivity adapts the temporal filtering with respect to grain size and intensity BE Motion sensitivity has great impact on processing and the type of filter spatial temporal being used It may be better to set Motion Sensitivity to Low rather than just increasing filter strengths 2014 Digital Vision UM 2014 1 07 DVO Grain 30 Spatial Filter Spatial Filter Spatio Temporal Temporal Mix High spike Narrow Spatio Temporal Enabling this extends the spatial filter to become a 3D spatio temporal filter by including the use of temporal taps This can enhance the noise reduction achieved Default On Temporal Mix The temporal mix controls the balance between the spatial and temporal taps of the spatio temporal filter Values Low Medium High Full Default High This setting affects the noise reduction achieved by the spatio temporal filter with more
97. in high light light areas The film grain added is in addition to the overall film grain as specified in Overall Amount above Range O to 400 Default 100 Midpoint Midpoint Balance controls the amount of the frequency range considered to be high light and low light and thus affects how the low light and high light amounts are applied Range 0 20 Default 10 To treat more of the spectrum as high light enter a low number To treat more of the spectrum as low light enter a positive number ff 10 is entered the gradual change between low and high lights is completely linear 2014 Digital Vision UM 2014 1 07 vO Retain 315 DVO Sharpen DVO Sharpen is an advanced sharpening tool that greatly enhances out of focus shots It uses adaptive picture analysis and processing to yield excellent results without the common side effects associated with standard algorithms such as amplified grain noise or halos around areas that were already sharp Before After Enable Colour Linear 5MPTE Enable This toggle button allows you to enable disable the DVO Sharpen effect By default as soon as the effect is added it is applied enabled Colour The drop down list gives two choices of input colour format log or video You need to set this control according to the material that you are working with If the footage was shot with a video camera select video If this control is not set correctly the mat
98. in the same place on the timeline A timeline bookmark is displayed above the timeline 01 07 25 00 J 01 07 25 20 Mazda Commercial Demo 00 00 00 0 Segment Bookmark A segment bookmark is attached to a specific segment and moves wth the segment A segment bookmark is displayed within the segment 01 07 26 16 01 07 27 12 Listing and Editing Bookmarks To list your bookmarks press Keyboard m Panel Book M A window opens and displays all bookmarks created on the current composition with their types Bookmark list source a R r ae j Timecode ecord Timecode Colour Created Bookmark Note Mon 25 Jan 2010 11 36 Timeline Mon 25 Jan 2010 11 36 segment Running Man Lighten 01 04 58 08 00262 Mon 25 Jan 2010 11 33 Timeline 01 10 27 06 Mon 25 Jan 2010 11 35 Timeline 01 07 25 15 Mon 25 Jan 2010 11 36 Timeline Mon 25 Jan 2010 11 33 segment 01 06 20 05 Mon 25 Jan 2010 11 33 segment 01 07 08 21 01 09 43 11 Delete You can select a bookmark and edit it delete or cue to the bookmark location 2014 Digital Vision UM 2014 1 07 tog Compositions Valhall Control Panel Use the UP DOWN arrows to navigate and ENTER to cue to the selected bookmark Exporting Bookmarks You can export timeline bookmarks not segment using a utility tool called Bookmarks Assistant supplied with the distribution This is documented in the Bookmarks Assistant appendix Adjustment Segments
99. is useful for synchronizing video segments to audio Slip Segment frames lt lTIITIIIIIIIII tj Fixed Fixed Slip Mode Segment stays fixed on timeline but start and end frames change To activate slip mode select the head and tail trim handles of the same segment You can do this via the short cut key CTRL t Slip Mode handles inside segment You can slip the shot by typing a value into the trim edit box or using the keyboard short cut keys as described above Slide Mode Sliding allows you to adjust the position of a segment within the timeline by sliding it left or right The tail of the previous clip and the head of the subsequent clip are trimmed automatically to match the repositioned segment and the overall length of the composition stays the same Segment frames Slide Slide Mode Segment moves along timeline start and end frames stay fixed To activate slide mode select the trim handles on the segments adjacent to the segment you want to slide i e the tail of the preceding segment and the head of the next segment You can do this via the short cut key 2014 Digital Vision UM 2014 1 07 CTRL y Slide Mode handles outside segment You can slide the shot by typing a value into the trim edit box or using the keyboard short cut keys as described above Cuts A cut or edit point splits a timeline segment up into two parts There are two types of timeline cuts defined a scene cut and a
100. keycode will give us both the keycode field in the project library and the timecode field See Appendix Keycode Assigning Tapename and Conforming A tapename can be automatically assigned to a shot e When importing a shot manually via the Library file browser e As part of an EDL capture conform process We can also choose if we use an EDL tape name film name or clip name in addition to the timecode for differentiating events during conform Tapename The tape name field in the project library is set via the preference parameters to the right of the Conform drop down list These parameters assian the tapename inside the project library C Match Mame 5 Conform clip name RE When importing image sequences it does not matter how the drop down list to the left is set whether Conform clip name Conform film name or Conform tape name The high lighted areas in the diagram above set the tape name in the library The tape name can be extracted from e file header if available This is supported in the DPX file format If the file format does not support this header field the library tape name field is blank e file name This will be a single folder name at the specified level A level of O zero selects the name of the file e g clip See Appendix Extracting Names For the DPX format we use field 38 input device name as a tape name clip name film name field Conforming A basic conform process will com
101. level of the Effect Selector An effects tag in a GROUP is displayed within the named name GROUP Example effects Blur ChannelExtract Saturation GROUP A GROUP groups a set of effects together as a unit with a name e The name will be displayed in the GUI e The listed effects are given inside the effects tag within the GROUP e You can have multiple GROUP sections Example MainEf fects effects Blur ChannelExtract Saturation i insertDefault 2014 Digital Vision This tag will insert the default effects list in its entirety where this tag is placed e true Insert the default effects list The list inserted is as per the defaultEffectList prefs file and inserted where this tag is placed e false Do not insert the default list of effects This may have the effect of minimising and simplifying the effects list If insertDefault is omitted this is equivalent of insertDefault true being added at the end Example insertDefault true UM 2014 1 07 Effect Selector Configuration Hidden Hide the effects set in the effects list given e This means they do not appear anymhere in the Effect Selector even if placed in a GROUP or a top level effects list e This means they cannot be added Example Hidden effects FieldSwap LiftGammaGain Example Configuration The example shown below will result in an Effect Selector drop down that l
102. master project PROJ1 composition COMP1 generate proxies INFO Opening project PROJI INFO Opening com cole ron CONE INE OV Gen rating PLOIOS hor compositions INFO gen O frames of 98 0 INEO Gen 22 Ll Frames OF Jo TF3 INFO gen 2 frames of 98 2 INFO gen 96 Frames oF 95 1005 2014 Digital Vision UM 2014 1 07 Generating Local Proxies as Generating Proxies for a Clip clip name N generate proxies To generate proxies for a specific clip in a composition give the clip name Command s film master project PROJ1 clip name CLIP2 generate proxies INFO Opening project PROJI INFO Generating proxies for clip INEO Creating New ceomeostelom CLIP INFO gen generated 0 frames of 15 0 INFO gen generated 1 frames of 15 6 INFO gen generated 2 frames of 15 13 INFO gen generated 15 frames of 15 100 Generating Proxies on a Range range A B You can generate proxies for a range of frames using the range option This will work on a range of frames within a clip or on a range wthin a whole composition depending on usage Within a clip Command s film master project PROJ1 clip name CLIP1 range 10 20 generate proxies INFO Opening teject EPEROTIT NEO Pound clap Origin is ik INFO Generating proxies for clip INFO Creating new composition CLIP1 INFO gen generated 0 frames of 10 0 INFO gen gener
103. matched to media on disk after searching Capture The media specific to this event is in the library and has been matched exactly given capture control criteria Found Multiple The media for this event is in the library but multiple matches have been found given capture control criteria By default we select the latest for use but you can choose to change this selection Disabled Needed As the Needed status but the event has been disabled so no attempt will be made to find or match it Disabled Found As the Found status but the event has been disabled so no attempt will be made to conform link the event to the media found Conformed The media for this event is found is in the library and has been linked conformed to the event 2014 Digital Vision UM 2014 1 07 Importing List Files HU Capturing Media Capture After importing our list we can proceed to Capture media into our Library via the Capture button The capture process will examine on disk file media and compare it with events in our list Those that match will be loaded into our library and have a status set to Found Matching can be performed on timecode alone or on timecode and tapename Capture Video VI Match Mame Capture Exact Range Capture timecode o Conform tape name Capture From 15t tc file header o From file name Folder Up 1 Because capture list events are always matched linked to material in the project
104. memory MB 3000 Bit Depth For efficiency reasons memory and processing R3D files will be defaulted to using a bit depth of 10 bits This default can be changed see the Properties and Metadata section Create Clone The Create Clone property will default to enabled see the Properties and Metadata section OLPF Compensation This compensates for the camera low pass filter and will sharpen the image The default setting is taken from the Clip prefs file see Properties and Metadata The Digital Vision DVO Sharpen tool will give better results 2014 Digital Vision UM 2014 1 07 Command Line Command Line 24 The Command Line Interface CLI lets you run application commands without starting up the application interface GUI The CLI is therefore useful for automating tasks that do not require an operator to be present The CLI supports many of the operations that can be performed interactively using the GUI interface e Project Definition and Creation e Composition Definition and Creation e Importing Clips to the Library e Adding a Version e Splicing or Overwriting Clips to a Composition e EDL Import and Conform e Capturing and Conforming Material e Generating Local Proxies e Rendering a Composition via Export e Rendering a Composition Cache e Running Multiple Operations from a File e Listing Project and Composition Information e Counting and Adding Tracks to Existing Compositions e Testing
105. normal cut Scene Cut Short cut c ou FE Ascene cut is a cut inserted manually inside the application via e The cut button or keyboard shortcut e The scene detect module e An EDL used to cut up pre loaded and spliced timeline media You cannot trim scene edits Normal Cut Short cut N A GUI NA A normal cut is an editorial decision and will be created via e An EDL e An AAF file 2014 Digital Vision UM 2014 1 07 ao Compositions Normal cuts will normally have handles and allow head and tail trimming Creating a Field Edit Short cut Shift c GUI NA In a field based project you can insert an edit on a field boundary Field edits are displayed with a stitched line as shown below Field Edit is stitched You will need to be in Field Mode to insert a field edit This is indicated by the asterisk button La a aa aa Bay Field toqalo button enabled To insert an edit on a field boundary enable field mode set the play head at the desired timecode and use the keyboard short cut Shift c Note that the timecode indicator displaying your current location on the timeline has an asterisk appended when you are on a field boundary 01 00 03 07 Field location BECHOD asterisk When play head on a field boundary location shows a 2014 Digital Vision UM 2014 1 07 Manipulating Compositions _ 121 Toggle Scene Cut to Normal Cut
106. opening the project your timelines will need rendering lf you remove cache references your project will require re rendering 2014 Digital Vision UM 2014 1 07 Delete Project DE Press the Delete Project Button to delete the selected project This permanently deletes the project and all its contents You will be asked to confirm the deletion and also asked if you wish to delete the project notes 7 Delete project notes To keep the project notes untick the tickbox before clicking the OK button The project notes folder will be left untouched in the notes folder on your media root directory e g C Nucoda 2014 1 root notes lt project name gt You can continue to view and use these notes in other projects RE Project deletion cannot be undone Recovering a Project Recover Project Using the Recover Project button you can revert to a previous version of a project Select the project you want to roll back in time and press the Recover Project button This can be useful if you want to revert to a previous project state beyond your undo stack or if you are unhappy with the past two hours of work you have done It can also be used to recover a previous version of a project if the current one has a problem A project snapshot is taken every few minutes every time the project is saved and then these are rolled up and merged as the day goes on On pressing the button a dialog window will o
107. patching on a composition is global and affects the entire composition Audio Clip Patching The properties dialog for an audio clip includes an audio patch panel section 2014 Digital Vision UM 2014 1 07 o Compositions Audio Patching In Out C gt C1 m a rare LA m mute C3 gt La z mute CA a mute Late Audio clip properties dialog and patch panel The audio clip channels In are labelled C1 C2 C3 etc up to a maximum of eight channels On import available audio channels are un muted by default and routed patched to the corresponding Out channel i e In C 1 to Out C1 etc Modify the patching of each channel via the n channel drop down menus Audio Patching rt Out la CT mute mute LI a a Lai mute a a mute mute MUTE isl Cg J Day 001 Grade 2400 Properties You can view and change the audio patching for the entire timeline via the composition Properties button in the Library The audio patching interface is similar to the interface used for an audio clip detailed above However extra selectors are available for choosing channels from any particular audio track on the composition Audio Patching Out In gt 1 p mute CA Gi MUTE gt CA mute MUTE Audio patching in the properties for a composition 2014 Digital Vision UM 2014 1 07 Composition Elements The available audio channels for the composition are in the In column and
108. placed in the the notes library and display a thumbnail Hovering your mouse cursor over a note will display the note contents 01 00 01 15901 00 12 17 1 name description geometry 720x576 0 1 333 layer 1 CC Layer Shapes record TE 01 00 01 15 event O source TE O0 00 01 15 tapename NOTAPE selecting a note will display the note effects in the note effect tree top right 2014 Digital Vision UM 2014 1 07 Lens Distort Presets are predefined settings organised as easy to apply button actions preset exists for some commonly used GoPro camera formats e g GoPro Hero at 1280x960 etc Unity 920x1080 Each preset will set up the Distort parameters described below Unity This removes all correction and disables Lens Distort The Distort parameter is changed from Remove Distortion to Off 2014 Digital Vision UM 2014 1 07 Lens Distort 227 GoPro Hero 1920x1080 This preset is the tool default This means that when we reset the tool it resets to the default value as per the GoPro Hero 1920x1080 preset Distort Parameters Distort Remove Distortion A 0 289 Amount 1 000 0 087 1290 7 A3 0 1 000 0 1024 0 2 0 778 00 Channels RGB Application Remove Distortion Add Distortion Remove Distortion Choose to disable tool add or remove distortion The default is Remove Distortion The Off setting tool disabled is equivalent to the Unity preset
109. preferences Projects listed Project System Preferences Selected Project Options maa ma pari Main Project Screen See the Creating a Project and Project Management sections of this manual The active component screen will be high lighted orange To access the component press the corresponding button on the main screen Froject System Preferences For the Preferences component see the appendix Application Preferences 2014 Digital Vision UM 2014 1 07 r poe maa 7 LL pa Lain PE PA y PA Ka PA IESKTOD oe DIN A d pe The Project Desktop is the main working environment inside your project reojo T r ami mamba of charts 0 Bs Toggle Library View 6 NG A450 rame 193145 ea A35 Par GAT COS ang aan dip a rak W es E La p T 3 ki ai area and the composition timeline below mm hs g the viewer SSeS TS oo MU The Project Desktop showin The desktop is composed of three main views e The Monitor in dual monitor mode this will be displayed on your second monitor e The Composition Timeline and GUI controls e The Memories view for notes memories and grouped shots Es In single screen mode the Monitor panel can display the Monitor the Library or the Memories panel alll LR Ke 2014 Digital Vision UM 2014 1 07 Main Screens 21 Project Library The Project Librar
110. r4 BIGSA 1 01 r4 BIB aj ATrim shot k ki Qif co Trim mode button Selected Transition A selected transition is displayed as orange 10 00 02 01 00 00 04 01 00 00 06 01 00 00 05 OC 5 01 5500 00 00 rd B165A 1 D1 rd B165h 1 If the transition is fully valid i e there are sufficient handles in the tail of the first segment and head of the second segment to carry out the transition then the line denoting the transition will be white as in the image above If there are insufficient head or tail overlap frames then the line be red instead of white over those frames which have insufficient underlying material To make the transition valid you can either adjust the transition handles i e the start end frames of the transition or you can trim the underlying segments to create the necessary handles For either operation you need to switch to Trim Mode via the button on the shared toolbar shown in the image above Once in trim mode you can click on the transition handles and drag them with the mouse to increase or decrease the length duration of the transition For trimming refer to the Trim Modes section Editing the Effect on a Transition To edit the parameters of the transition effect you first need to make the transition the active selection To do this place the active playhead in the first segment positioning it over any of the frames the make up the transition This will set the underlying segment as th
111. record timecode order This also affects the timecodes used header and filename EE Track Monitoring Every mode obeys track monitoring An un monitored track never takes part in any export mode Multi Mode Exporting Care needs to be taken when using multi mode export th Multi mode exports can cause shots to be overwritten on export Due to the fact that some shot metadata can overlap e g timecodes tapenames etc it is possible to export in such a way that shots get overwritten For this reason multi mode exports will warn you if you do not use an event folder output structure when exporting Export Settings Possible File Overwrite ou have selected to export multiple Events but are not using separate directories for each Event Continuing may cause some files to be overwritten Cancel f you know that your output clips do not overlap you can press the OK button to continue See Folder Hierarchy and Variables Mark In Out Points J 90120 90140 90160 90 Every mode will take account of any in or out points marked Begin an export from an In point End the export at any Out point or the end of the composition 2014 Digital Vision UM 2014 1 07 as Exporting n Mixdown Rec TC Misdown REC TE Exports as e Single clip a flattened mixed down contiguous sequence into one folder e BL AUX and filler included in export e No handles allowed e Record order and timecodes
112. scratches hairs and blotches It also works for repairing larger damage such as punch holes film tears and full frame reconstruction Using a brush or shape tool to select the damage DVO Fix automatically repairs the selected area by comparing it to adjacent frames and applying motion compensation to recreate missing detail plus grain compensation to blend in the recreated information In addition to Auto Fix and manual Clone an Auto Clone mode will automatically reposition and perform a best match of Surrounding frames as an alternative to complete regeneration of content DVO Fix is not enabled by default It is only enabled once an area to fix has been selected via the Brush or the Rectangle tool Brush Menu The brush tool appears in the viewer as an oval shape Use this tool to fix an area by either clicking or clicking and dragging the brush Size The size tool allows you to resize the brush in order to fix smaller larger areas You can also resize the brush by holding down the SHIFT key on either the keyboard or control panel the left mouse button and dragging The brush size will Range 0 1 to 5000 Default 20 pixels 2014 Digital Vision UM 2014 1 07 268 DVO Effects oF Rate The rate tool applies to when you drag the brush affecting how many brush stamps are performed during the dragging motion Range 2 to 1000 Default 10 Rect Menu The rectangle tool displays a cross hair in the viewer allowin
113. se Appendices Where STRING V Vertical alignment Values bottom center or centre top STRING H Horizontal alignment Values left center or centre right offset offset lt INT x gt lt INT y gt This is the x y position of the graph inside the monitor display area 0 0 is bottom left size size lt INT w gt lt INT h gt This is the width height in pixels of the graph style style lt STRING S gt Where STRING S Style chosen Values parade fill line This defines the type of graph to display Compare Section The compare section is optional compare Origin bottom Left f present this defines the location of the second comparison graph when in compare mode The origin parameter is as per the current section but refers to the location of the second comparison graph 2014 Digital Vision UM 2014 1 07 Confiqurable Viewer Tools se Example current origin bottom left compare Origin top right Dual Com parison Mode with Graphs 2014 Digital Vision UM 2014 1 07 600 Appendices Legal Notices The software described in this document is furnished under a license agreement This license is available in the docs licenses folder once the software is installed The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement It is against the law to copy the software on any medium exce
114. selected via the toggle buttons Proxies Thumbnails Paint Mattes Available Filters unused only Caches and proxies are deleted if they are not used in any composition all in project All caches and proxies in project are deleted all in current composition Caches and proxies are deleted if they are used in active composition all exclusively in current composition Caches and proxies are deleted if they are only used in active composition all not in current composition Caches and proxies are deleted if they are not used in active composition Age Filter To perform a clean up based on selected item age use the age boxes Older than items older than the set age will be deleted 2014 Digital Vision UM 2014 1 07 Cache Management _ ss Composition Save and Load You can use the Save and Load buttons and also Store and Recall see below to easily copy compositions and clips between projects We can copy image clips audio clips and compositions The projects can even be on separate computers as long as any selected sequences have the same file paths on each lf the paths differ you can change it by editing the clip Properties and pressing the Change button to open the Relink Clips dialog The Save operation and Store see below will save all selected clips and compositions If you select a composition we will also save all clips it references Thumbnail Material Name In Out Duration
115. should update List Capture Index Status Name Tape Name Clip Name Src In 000 Found 001 Found 002 Found 003 Found 004 Found 005 Found The Materia column will also update to reflect the path to the linked shot To complete the process press the Conform button 2014 Digital Vision UM 2014 1 07 436 Red Support Conform Using the Second Timecode f some shots are not found i e remain Needed we should change our settings and try using the secondary timecode Capture timecode From 2nd tc file he and Capture again Back in our timeline view we have our shots linked and visible on the timeline Note that once the shots are conformed their status will change to Conform ed The list Status changes Status Status Status Found Conformed Capture Conform 2014 Digital Vision UM 2014 1 07 Conforming with RED 437 lf we end up with a partial capture after the Capture stage some shots still in Needed state then it is best practice to conform the Found shots before undertaking another capture step CMX Style with Clip Names This EDL format will be similar to the following TITLE Bedhead Main Conform FCM PAL 005 A004 C02 VC 11 18 20 09 11 18 20 18 FROM CLIP NAME A004 C025 0806UL 006 A004 C02 VC Ja NGO OS LL 0622 Se ae FROM CLIP NAME A004 C024 0806UU 007 A002 COO V C 07 51 26 17 07 51 27 03 FROM CLIP NAME A002 C007 0806EB Note that the EDL t
116. side of the event on tape The addition of handles might be applied in order to layoff as much of each media clip as might be later needed when re importing the media as source material for a composition and to allow later trimming of the media clip within the composition Laying off Sections With no marks set the Output module will select all events for layoff To layoff a section of your timeline only use the timeline Mark In and Mark Out buttons to mark the desired range before pressing List Output IR Timeline IE List Tracker ss Effect a Mark In en Mark Out 01 00 20 01 01 00 22 00 01 00 24 00 0 26 00 01 00 28 00 V1 Kyn ssd TE a Mash si REEL1 S3 IL Marked Region Mark In Out Buttons cH Wi och The output module will only display and output the marked events 2014 Digital Vision UM 2014 1 07 Video Layoff 375 Output Controls The VTR Output Controls are shown below VT F Qi utp ut E oO rtr ol VT R fi d BO 0 utp ut 5 etti FI q O L J Cp L IT F d it M O d Cc a m g L J Cp L IT oh 7 l Timecode Order List In Qut Duration 01 04 20 10 Jn ag a Ans Tapes Insert Edit Record Order A If ticked use In point as list in point Output List stop Output Output Single Active Output Channels Mj video Mj Audio W validate Output VTR WF OOO 25 FPS still List lt List Output Status When in Progress gt Buffer 100 Frames Ready Status Fields The Actions buttons in t
117. simultaneously or each channel separately Warper Introduction Both warper tools are designed to be useful in a wide variety of situations The Warp 9 tool should be particularly useful in two important areas described below Both areas of specifically relevant to stereoscopic work For most Stereoscopic work you would use a warp tool directly after the DVO Stereo Fix tool Geometric Correction The Warp 9 tool makes geometric correction straightforward This issue arises due to distortion between the camera lenses or the mirror from the stereo rig and creates a non uniform vertical mismatch between the left and right eye images By correcting to the center of the image Warp 9 can then adjust each 2014 Digital Vision UM 2014 1 07 Warper Introduction 231 quadrant of the image adjusting the points in Y whilst leaving the center point unchanged This provides a much more accurate geometric match as a result Frame Violation The Warp 9 warper makes it very easy to bend the image forward or backwards in depth This is done by moving the control points in X only By moving selected areas you can minimise frame violation where objects are too far forward in space thus limiting the effect on the rest of the image Warper Basics Both Warp 4 and Warp 9 warpers share common features A warp is created by selecting and moving one or more control points These can be manipulated and controlled interactively using
118. single or multiple events from the list and use the Enable Eventand Disable Event buttons prior to pressing Capture List A disabled event will have a status that displays Disabled e g Disabled Needed or Disabled Found You can capture events in groups perhaps using a different number of handles for each Reset Event This option will reset the selected event s to the status of Needed whether or not the media had already been captured This allows a re capture of a previously captured event 2014 Digital Vision UM 2014 1 07 370 Video O Event Handles This numeric slider specifies whether to capture more frames than the events require i e handles Setting the Event Hanales to 5 will capture 5 frames of head and 5 frames of tail for each enabled event The addition of handles might be applied in order to capture as much of each media clip as might be later needed and to allow later trimming of the media clip within the composition Adding handles can also be used to lengthen events in the composition list so that their timecodes overlap with others and various events can be consolidated and captured as a single media clip using the Consolidate Events and Tapes function Consolidation Don t consolidate Consolidate on tape consolidate on clip Default Consolidate on tape Consolidation is the grouping together of overlapping events generally by timecode into a single event which can be proc
119. slate in the monitor To connect the composition shots to media we need to a capture find the referenced media and import it to the library b conform link the matching media to the shots We do this via a batch operation called List Capture With the composition active currently edited click on the List Capture option in the library Import Isenerate Source Render Output New Composition List Capture Tasks Library Timecode 01 00 05 01 01 00 01 10 In Cut Duration B C D This will bring up the List Capture window Capture List PR Status Capture Controls Event Controls 2014 Digital Vision UM 2014 1 07 80 Importing Material The List Capture Window displays an alternative view of the composition timeline showing each shot as a separate row in a table Each shot will have a Status You will only see the events listed on enabled video tracks After initial import the list will not be linked to any media and each list event will have a Needed status Index status Name Tape Name Sre ll 000 hy Master 001 Y Master OU a Master 90020 90073 Master 01 00 02 00 Each event has a Needed status after list import Media Event Status sre Out Handle Status O0 00 01 00 01 00 O00 Conformed O1 00 02 00 O00 Conformed 01 00 03 00 O00 Conformed 01 00 01 00 000 0i 000200 O00 hmt hmt Ft ELLE Needed The media specific to this event is not in the library or has not been
120. subclips Note that the Avid method for removing sub clips is not applicable to Avid Interplay Add Edits f you have a single clip containing Add Edits or scene edits the Nucoda will correctly see the these edits when imported However once graded and exported when the the new AAF is imported to the Avid system only the first part of clip will be seen to be graded All the graded material is available as part of the first clip so it can just be extended or cut in from the Avid Bin 2014 Digital Vision UM 2014 1 07 ao Avid Integration As a workaround when using Add Edit make sure each segment you create is placed on a different video track to the segments beside it V2 o Add Edits segments separated to break links between them f you used Add Edit with dissolves the Nucoda will automatically export enough material to rebuild them 2014 Digital Vision UM 2014 1 07 Red Support 42 Red Support Red Support 23 Digital Vision applications fully support the RED R3D file format the native recording format of the RED ONE camera Support includes e File import e Dynamic multi resolution decoding e Conforming from an EDL using tapename or clipname e Realtime playback 1 gg For important advice on working with R3D files see the Tips section L1 Note that realtime playback capability will depend on the size and quality decoded from the R3D file and your hardware Format and Conv
121. the T im eline tab and move the active playhead to the start of the segment you want to divide up KE The video track needs to be enabled for scene detection to work Turn on the Scene Detect button to start the scene detection process You will see the edits appearing on the timeline and a progress report will be shown in the Library screen Digital Vision IBC 2008 Showrt To stop scene detection at any point just toggle off the scene detect button 2014 Digital Vision UM 2014 1 07 Viewer Tools 16 Viewer Tools Viewer Tools 12 The viewer tools menu is opened from the project desktop by e Pressing the F12 hot key or e Clicking the up arrow button on the bottom right of the viewer panel as shown below Update Split location Tull border User cine on hist Sy leas 10bit CMS Setup La 4 Ie MT 1920x1080i 101 778 11Soureclip 0 lal E le uu lul viewer toolbox menu The viewer tools pop up menu contains setup for the following functions e compare mode e head up display HUD e grids e masks e graphs e histogram e colour management system cms These functions can be turned on off from within the menu pop up window or from the corresponding icons on the desktop once the settings for each function have been selected via the pop up menu 2014 Digital Vision UM 2014 1 07 Tool Configuration The available options are user configurable for the fo
122. the timeline Since each segment can have a different set of effects the effects tree to the left of the composition editor will always show all the colour correction layers and effects that can be applied to the active segment on the timeline As the active segment changes the effects tree will change to show only the effects corresponding to that segment A selected segment is orange but this does not override the active segment with regards to the effects tree By default only the basic colour correction layers appear in the effects tree These are the Base layer and the Master layer Additional colour correction layers and effects can be added using the effects toolbar which runs along the bottom of the composition editor Segments that have had grading effects applied are differentiated on the timeline from those that haven t by having a lighter segment colour i e segments with effects are whiter than the grey segments without effects In addition if you have thumbnails enabled the thumbnails in each timeline segment will show the first and last frames of the segment with the effects that have been applied 2014 Digital Vision UM 2014 1 07 The following effects operations will be covered in the next sections e colour correction layers e editing effects e managing effects layers e adding user effects e transition effects Colour Correction Layers Every segment has two colour correction layers availab
123. to Avid The biggest difference is that in this workflow we create a new AAF for import into Media Composer or check in to Interplay e Import AAF from AVID with completed content including mixed down audio and rendered effects e Import AAF material from MXF paths into Nucoda using the rendered effects option e Grade material 2014 Digital Vision UM 2014 1 07 am Avid Integration e Export new AAF Record order with media as single completed mixed down sequence with record timecode and referenced audio in the AAF e Import into Interplay or use check in from Nucoda Supported audio format for this workflow e Mono tracks e 48KHZ e 16Bit e PCM MXF We import the AAF and use settings e All events as a new composition e Import material from MXF paths e Conform to Material e Use AAF effects x See the Nucoda AAF Import Options section for a full description of the available settings Export Record Order AAF In the Nucoda application we will export the AAF Switch to the Library And press the Export Media button Export Media Navigate to the location we wish to write our exported AAF file to this should be shared with the Avid Note that the location chosen here will be for the AAF file and the media Set Format and Options Set your export format as MXF 2014 Digital Vision UM 2014 1 07 Record Order AAF Out 403 Note that the generate AAF button will only
124. to Right Default to Left Sets alignment processing to match the specified eye Setting this to to Left will process the right eye to match the left Align Mode Values Disable Manual Global Morph Default Morph The alignment processing is based on scene analysis and frames are processed equally throughout the scene The alignment can also be set manually or adjusted with a global offset Manual V Offset No alignment processing Automatic and global adjustment Manual Set manual global vertical offset using Manual V Offset 2014 Digital Vision UM 2014 1 07 248 DVO Effects a Morph Spatially variable adjustment with linear variability over the image Ka Like Scene Mode colour matching Align Mode requires proper scene edits as normally one scene will behave very differently to another Manual V Offset Values 0 128 Default 0 Manual adjustment of the alignment Borders Borders Zoom Source Centre The Borders controls let us correct any effect alignment has on frame borders EJ Border correction also depends on the Blanking configuration see below Borders Values Disable Blank Zoom Source Zoom Fill Default Zoom Source Disable Disable border processing Automatically applies necessary blanking to borders Zoom Automatically zooms the output to the source frame and Source original blanking As per the Blanking Mode this mode takes into account wh
125. you may want to create Selected Format p Defined Project Sources Settings for Output Format List Selected Format Project Colour Scaling Defined project output formats are displayed on the left The project master format is the first in the list The settings for the selected output format is displayed to the right Each output format has independent settings The output formats defined determine the available display playback render and output formats for the project You can modify the output formats defined for the project anytime Master Output Format Output Formats 2048x1556p 10 2 550 1920x1080i 10 1 778 KM Eu The master format is always shown at the top of the output format list and cannot be deleted sk It is recommended that the master format be defined to match the most common format of the source material you will be using inside the project HO 1080p 1 78 1 Some common formats have been provided for use as quick defaults e g PAL HD 1080 and these are listed in the Setup drop down menu Selecting 2014 Digital Vision UM 2014 1 07 one of these formats will automatically update the frame rate image size and aspect ratio attributes to the corresponding values for that format If you change any of these default values the setup format will automatically change to being a Custom Setup Additional Output Formats Output Formats 2048x1556p 10 2 550 EAE man a NE
126. you select to add as a version has to be at least as long as the timeline segment used You cannot add a media clip to a segment if the clip is shorter than the segment Once the new version has been added a triangle will appear in the centre of the segment to denote the presence of underlying versions and the new version will be the one that appears on top and visible in the viewer Add Duplicate Grade Version To add a new duplicate grade version Select the desired timeline segment Press the Add Grade Version button CJ This will add another version of the same shot retaining any grading and trimming carried out up to that point Any selected library clips will be ignored As with adding a new version a triangle will appear in the centre of the segment to denote the presence of underlying versions and the new version will be the one that appears on top Handy Hotkeys icon hotkey function Ctrl N Adds a selected clip from the library as a new version Adds a duplicate graded version of the shot selected on the timeline Managing Versions Viewing Versions To view the different versions underlying a segment simply click on the 2014 Digital Vision UM 2014 1 07 Managing Versions _ 131 triangle in the middle of the segment This will open up a drop down list of all the versions in that segment O1 00 00 00 01 00 00 20 01 00 01 Two versions visible in dropped down view You can cha
127. 0 Adpty Threshold 0 Temporal Adaptation The Adaptation toggle button allows you to turn the adaptation processing on off When this button is off DVO Dust works in global mode filtering the whole image with the same fixed filter selected in the Filter menu Note that if the Adaptation button is off then none of the adaptation controls above will have an effect Motion This numeric slider configures the degree of motion sensitivity Initially you can set it to O most safety for maximum motion sensitivity and then increase it in steps if there isn t enough filtering in moving parts of the picture A value of 256 corresponds to no motion adaptation at all which means that temporal filtering can be applied fully to moving parts of the image Range 0 to 256 Default 30 MDC The MDC Motion Detection Current toggle button determines whether to look at just the previous and next field frame or to look at all of the previous 2014 Digital Vision UM 2014 1 07 256 DVO Effects oF current and next field frame Default On Having this option on ensures higher sensitivity and reduces artefacts down to a minimum For maximum filtering the control may be set to off MDC filter configuration is done inside the Setup section Edge This controls material edge protection Edge protection acts as a safety measure and reduces the possibility of false scratch detection Some material may require this prote
128. 07 264 DVO Effects oF MDC Scale The MDC Motion Detection Current toggle button in the Processing section determines whether to look at just the previous and next field frame or to look at all of the previous current and next field frame Only used if MDC Motion Detection Current control enabled in the Processing section The higher the scale setting the more filtering less impact of the MDC algorithm Range 0 to 15 Default 8 Edge Edge The Edge settings apply only if Edge protection has been enabled in the Processing tab Offset The edge offset acts like a threshold determining how well defined edges have to be before the edge control has any effect The smaller the offset value the sooner the edge control will have an effect Range 0 to 255 Default 45 Scale Edge scale sets the sensitivity of the edge control The higher the setting the more pronounced the effect of the edge control Range 0 to 255 Default 192 2014 Digital Vision UM 2014 1 07 Temporal Temporal strength Trim Size The temporal settings apply only if Temporal Adaptation has been enabled in the Processing tab The purpose of temporal adaptation is to exclude falsely detected dirt from processing by comparing it with the previous frame s detected dirt within a sizable window Strength The strength level determines the amount of influence that the previous frame s detected dirt will have on exclusion of
129. 3 D graphics library Version 7 0 Copyright C 1999 2007 Brian Paul All Rights Reserved Permission is hereby granted free of charge to any person obtaining a copy of this software and associated documentation files the Software to deal in the Software without restriction including without limitation the rights to use copy modify merge publish distribute sublicense and or sell copies of the Software and to permit persons to whom the Software is furnished to do so subject to the following conditions The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software THE SOFTWARE IS PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND EXPRESS OR IMPLIED INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY FITNESS FOR A PARTICULAR PURPOSE AND NON INFRINGEMENT IN NO EVENT SHALL BRIAN PAUL BE LIABLE FOR ANY CLAIM DAMAGES OR OTHER LIABILITY WHETHER IN AN ACTION OF CONTRACT TORT OR OTHERWISE ARISING FROM OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE US 9 Khronos Copyright c 2007 The Khronos Group Inc Permission is hereby granted free of charge to any person obtaining a copy of this software and or associated documentation files the Materials to deal in the Materials without restriction including without limitation the rights to use copy modify merge publish distribute sublicense and or sell copies of the Materials and to permit persons
130. 5 e 2 35 2014 Digital Vision UM 2014 1 07 170 Viewer Tools 2 35 mask set User mask The user mask allows you to interactively draw your own mask over the image In Usermask mode press the mask edit button User Edit mask A rectangular overlay will appear over the image with handles on each corner You can interactively resize the rectangle to create your mask by dragging each of the corners Edit User Mask Use mouse to drag rectangle corners to resize mask Move mask by picking and dragging center point 2014 Digital Vision UM 2014 1 07 Masks 171 Disable Edit Mode Turn off edit mode to see mask applied to image Mask Specifications For the Mask format and specification see Appendix Masks Specification Graphs Update Split Tull info all rapa HE iE User cineon hist Sy 10bit aea eE ETE 1 1 Source Clip C1 a E a E 4 u 1920x1080i 10 1 778 Hot key F10 The graph tool serves three purposes e lt shows the RGB response curves of your shots e It shows the value ranges using dotted lines on the graph including important value levels e It defines how and where the histogram graph will be displayed when enabled 2014 Digital Vision UM 2014 1 07 172 Viewer Tools This is display only and is not rendered into any final output Options cineon hist Sy video hist 54 PAL cineon hist center VIeEo Alst sw video hist center cineon parad
131. 85 25 The formats made available will depend on your project format Name your file and press the Export button IF there are any problems with the Interplay setup you will receive an error message giving you a description of the issue Export failed Error validating Interplay settings GetChildrenResponse contained error s The username or password is incorrect Unable to login user nucoda to workgroup NucodaWG MXF Staging Note that MXF files created as part of an AAF export are staged in the tempRoot Dir folder before being moved to their final destination See MXF Staging Once all the associated MXF media file have been successfully exported a new AAF will be created containing a sequence referencing to the original Audio tracks and also the new Mixdown video track it will be checked into Interplay under the project selected in the general prefs file E3 Avid Interplay Access File Edit View Locators Operations Tools Preferences Help SVT Simple Items 3 Selected 1 File Size 0 Bytes Copy of SVT AAF Transfer 002 Exported 02 060a2h340101010101010f0013 000000 4efd0e457c6300cd 060e2h347f7f 2a80 00 00 23 04 Databases A02 4EE76C41_4EE76C4EE76C40 00 03 36 05 Y amp AvidWG on Mojito as nucoda Ch Catalogs Projects Y Interplay ta gt Sentto Playback Em Unchecked in Avid Assets 2014 Digital Vision UM 2014 1 07
132. 9 127 494 504 TO 476 544 Area Selected Area RGB to graph x0 y0 x1 y1 information Main Parameters GraphID The unique identifier for the graph e g Name0fGraph This identifier is not displayed HE This identifier must not contain any spaces name name STRING This is the name displayed in the GUI Graph drop down list e g 2014 Digital Vision UM 2014 1 07 Confiqurable Viewer Tools 597 Wal cineon hist SW Wwidedo hist sv PAL cineon hist center VIEO Aist Sw Video hist center cine0n parade center Graph name in drop down list intervals intervals lt INT gt The intervals parameter defines the total number of solid lines drawn to mark intervals on the graph See overviewdiagram above black black lt FLOAT gt The black parameter specifies the position of the dashed line representing the black point See overviewdiagram above It is given in normalised coordinates 0 0 to 1 0 white white lt FLOAT gt The white parameter specifies the position of the dashed line representing the white point See overviewdiagram above It is given in normalised coordinates 0 0 to 1 0 Current Section The current section is optional current Origin bottom Left offset 0 0 size 800 600 style parade origin Origin lt STRING V gt lt STRING H gt This defines the vertical and horizontal positioning of the graph 2014 Digital Vision UM 2014 1 07
133. 9 O806UL R3D encodes A The camera identifier 004 The clip identifier C019 The reel identifier 0806UL Year 2 digits Month 2 digits 2 random characters 1 R3D The RED ONE file extension 2014 Digital Vision UM 2014 1 07 aga Red Support 1 previously these six characters were the GMT date format YYMMDD e g A004 C019 080612 R3D This was recently changed to replace the day part with two random characters This is to help prevent file paths being duplicated thus risking overwriting shots These random characters do not exist in the R3D file header metadata This means we now have to conform using tapename or clipname from filename not file header See the Conforming with RED section RED R3D files usually come in a folder structure where each folder contains a single shot The folder structure may appear as follows S media projects test1 A004_C019_0806UL RDC A004 CO19 0806UL 001 R3D A004 C0O19 0806UL 002 R3D The filename numerics 001 etc do not specify frames The RID shots are split into 2 GB chunks due to the limitations of the file system used to save the files Our application will see and import this clip as a single shot Tapename The tapename metadata element will be extracted from the R3D filename Tapename A004 C019 O806UL The Conforming with Red section discusses both tapename and clipname as they relate to the conform process 2014 Digital Vision UM 2014 1 07 Form
134. A002 C007 0806EB FINAL CUT PRO REEL A002 C007 080612 REPLACED BY A002C007 008 A002C004 V C OW AANO AE FROM CLIP NAME A002 C004 0806UK FINAL CUT PRO REEL A002 C004 080612 REPLACED BY A002C004 This EDL is very similar to the CMX style with clipnames above We will use the line FROM CLIP NAME A002 C004 0806UK to conform from clipname as described previously EDL Formatting The EDL FROM CLIP NAME lines need to be formatted such that our parser can extract the correct name automatically with no confusion This means that the FROM CLIP NAME line must not include extra characters extensions comments or words It should be the clipname as we would extract from the filename path itself 2014 Digital Vision UM 2014 1 07 Conforming with RED ago ra The following EDL formats will not work FROM CLIP NAME A002 C007 080612 M MW FROM CLIP NAME A002 C007 0806LL M MW COMENT FROM CLIP NAME A002 C010 080703 M FRUI T WHATEVER 422 is usually straightforward to remove such extraneous content using a text editor and search replace replacing with nothing Workflows In general Red RSD files can be treated like any other file format inside the application with the proviso that they e Are often larger e Require decoding which can be realtime e Can be switched to a different resolution dynamically Switching the decode quality can be an efficient way to save time and improve workflow U
135. AAF e Cut Lists ctl cut For Cut Lists the supported formats are as per the example files in folder C Nucoda 2014 1 example files Once the list itself is imported we will have a new composition We will then have to capture any required media and conform See List Capture s Conforming will attach media to the empty composition shots 2014 Digital Vision UM 2014 1 07 74 Importing Material List Import Options When we import a list file a new dialog opens and lets us set various import options We can decide whether to import the list creating a new composition merge it into an existing composition how to merge any existing grades etc Always take a backup copy of your composition before modifying it e g by importing a list into current composition EDL import Car Commercial Take 1 Import All events into current composition Import as audio Overwrite existing track Video track 1 C Merge existing grades from a Video track 1 VI Match source TE E Match record TU LC Import material from file paths conform to material Create ASC COL layers C conform to record TE TC offset _00 00 00 00 Tape name Master Fill record event gaps Ki Match name Fi Keep plawhead positions Import List Import options dialog The dialog title is the list filename Each option is described below Import Mode Import All events into current composition All events as new composition
136. AF is imported and appears in your Bin Note the AAF will contain one video file audio files and a sequence Double clicking the sequence will load it and let you review and continue 2014 Digital Vision UM 2014 1 07 Record Order AAF Out 405 Automatic Check In to Interplay In the Nucoda application we will export the AAF and check it into Interplay Switch to the Library Library And press the Export Media button Export Media Navigate to the location we wish to write our exported Media file to this should be shared with the Avid Note that the location chosen here will be for the media Set Format and Options You have to export using e Mixdown Record Order TC see the Export Modes section for definitions of the export modes set your export format as MXF Select Generate AAF that will then allow you to select Check In To Interplay Format Options Global Options Mixdown Rec TC Frame padding 6 Formats MAP DNXHD 185 10801 z Target Output AVID Project name User Defined Cache None Generate AAF SVT SMPTE Level Clip Check in To Interplay Note that the Generate AAF button and Check In to Interplay buttons will only appear if your Sequence originated from an AAF file 2014 Digital Vision UM 2014 1 07 46 Avid Integration Select and choose a media export format e g Avid DNxHD 185X Formats dnxhd_1060p 120 25 Formats dnxhd 1050p Formats dnxhd 1080p 1
137. Apply CMS When setting the attributes for your output formats you are defining the different ways that you wish to render material It does not affect the source material that you will import which has its own source format Format Presets There are a variety of predefined formats available in the preset drop down list Selecting a preset will configure the other settings appropriately Format Setup You can configure the format settings independently of the the preset chosen Frame Rate Use the frame rate drop down list to select the frame rate for the composition timelines created in the project lf you selected a default setup it will automatically set its own frame rate but you can change this If you do change it the default setup will change to Custom Setup You will be able to see the frame rate of each of your compositions and 2014 Digital Vision UM 2014 1 07 media in the project library It is possible to create compositions with different frame rates within a single project The Library New Composition button always creates a timeline at the frame rate set on the currently selected output format You can create a composition at a different frame rate by changing the rate of the output format at the project screen creating the New Composition then reverting the output format rate again Colour Channels Default RGB Use this drop down to select the colour channels to use This defines the compo
138. DVO Dust 250 DVO i a 267 DVO Flicker 271 DVO Print Align 0 274 VOS AA 276 DVO Steady O aa 280 DVO Alias aa 289 DVO Aperture OO eee ence eee eeueeeeeueeueeuteuteneeny 290 DVO Brickwall 2 291 DNOCIAII a Ea cue ANA MARENG LANI DAANG veoenuenes 293 DO GEL AA AG dientacddedaanecss 297 DVO Regrain aa 312 DVO Sharpen a 315 DVO Cross Colour UU 318 DVO Line Sync OO UU ence nec eeeeeneeueeutnetueeneeeeues 319 DVO Deinterlace OU aaa aana a annann nnna nnna orrn nrn r rrr rnrn rrr 321 DVO Twister 323 DVO Upscale 326 Shapes o aa 333 Available Shapes 333 Transforming Shapes 335 Manipulating Shapes 336 Shape Sofiness OU aana a nnana nn ranr r anrr r nrnna rnrn n rrrn rrna 338 Shape Overlay Colour 340 Tracking Shapes OU cece ne ceeeaeeeeeeueeueeneeues 341 DVO Tracker 343 Tracking Basics 343 Us
139. Dlog Video Log REDlog Tint 15 000 Default From R3D file Saturation Saturation 1 000 Default From R3D file Exposure Default From R3D file 2014 Digital Vision UM 2014 1 07 Properties and Metadata 433 Header Metadata R3D header metadata is displayed on the right hand side of the Properties window Many of the elements will record the original camera setup _Version 2 2 5415 sdk version 1 3 iso 320 white balance kelvin 6544 Saturation 1 image height 2304 Image width 4096 start absolute timecode 04155416 start edge timecode OTZ26 16 03 framerate 25 R3D Header Metadata Note that the header metadata includes a framerate element This is the original frame rate used to record the shot and might be different to the current project or composition rate Timecodes In 0S 23 22 Out 11 0 0801 07 Duration 00 02 35 10 There are two timecodes embedded in the R3D file metadata We consider one as the primary 1st and one as the secondary 2nd The timecodes displayed in the properties window depend on which timecode we extract on file import See Conforming with Red First Timecode In the metadata this is known as the absolute timecode Second Timecode In the metadata this is known as the edge timecode Conforming with RED You can capture and conform R3D sequences in the usual way using an EDL The settings required will depend on the t
140. Dynamic Range Format Extensions exr Read Write Options None RLE ZIPS ZIP PIZ PXR24 B44 B44A The EXR format is based on the industry standard OpenEXR format 1 It is the default cache format for half float projects For optimal performance reading and writing EXR files to from disk on the Windows NTFS filesystem EXR frames should be padded to an NTFS volume sector size This is usually 512 bytes but may be different on some systems e g padding to 4096 or 16384 bytes 1 For details on OpenEXR see the web site at http www openexr com OpenEXR is trademarked by Lucasfilm Ltd Quicktime Apple Quicktime Format Extensions mov Read Write Supported as per installed and configured codecs Support includes Avid DNxHD 2014 Digital Vision UM 2014 1 07 Format Support 563 List Formats EDL This is the Edit Decision List CMX3600 Standard Format Support e Dissolves e Retimes e Black BL and AUX AX events EDL export Export Composition supports both standard CMX3600 format and an extended EDL format that includes e Long tapenames e Clipname detail e File path detail per event Comment fields are parsed for cljpname and event material file path information Clip Names lf an event followed by a clip name specifier e g FROM CLIP NAME test gh56 Then the event is loaded and the clip is created with a clip name as specified File Load If an event is
141. ES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE Code generated by the Protocol Buffer compiler is owned by the owner of the input file used when generating it This code is not standalone and requires a support library to be linked with it This support library is itself covered by the above license 19 ACES License Terms for Academy Color Encoding System Components Academy Color Encoding System ACES software and tools are provided by the Academy under the following terms and conditions Aworldwide royalty free non exclusive right to copy modify create derivatives and use in source and binary forms is hereby granted subject to acceptance of this license Performance of any of the aforementioned acts indicates acceptance to be bound by the following terms and conditions Copies of source code in whole or in part must retain the above copyright notice this list of conditions and the Disclaimer of Warranty Use in binary form must retain the copyright notice below this list of conditions and the Disclaimer of Warranty in the documentation and or other materials provided with the distribution Nothing in this license shall be deemed to grant any rights to trademarks copyrights p
142. F6 The compare function allows you to compare the frame you are viewing against other instances in your timeline against a reference frame or against different versions of the frame itself Compare Modes Split BFE Cut Lift red Dif luma subtraction Subtraction 10 Dt monochrome The Compare options are selected via the drop down list on the right hand menu Show this menu using the F12 hot key The options listed inside a project may be a subset of the total available because you may want to limit those you can cycle through The options available in this list is configured in the Control Panel preference section 2014 Digital Vision UM 2014 1 07 Split mode You can interactively change the Dual mode Comparison side by side split using the mouse or panel Split Selecting split mode will allow you to wipe between the currently active frame in the viewer and your comparison image An overlay control will appear in the viewer separating the two frames This control can then be manipulated interactively by dragging it in any arbitrary direction to make comparisons between the two images It is also possible adjust the overlay during playback Dual Selecting dual mode will display two images in the viewer The currently active frame will appear on the left and next to it on the right will be your choice of comparison image Cut Selecting the cut mode will allow you to toggle between the current frame an
143. JigitalVision Nucoda Nucoda User Manual 2014 2014 Digital Vision This publication or parts thereof may not be reproduced in any form by any method for any purpose The software described in this document is fumished under a license agreement This license is available in the docs licenses folder once the software is installed See the appendix for license and legal notification DIGITAL VISION MAKES NO WARRANTY EITHER EXPRESSED OR IMPLIED INCLUDING BUT NOT LIMITED TO ANY IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE REGARDING THESE MATERIALS AND MAKES SUCH MATERIALS AVAILABLE SOLELY ON AN AS IS BASIS IN NO EVENT SHALL DIGITAL VISION BE LIABLE TO ANYONE FOR SPECIAL COLLATERAL INCIDENTAL OR CONSEQUENTIAL DAMAGES IN CONNECTION WITH OR ARISING OUT OF PURCHASE OR USE OF THESE MATERIALS THE SOLE AND EXCLUSIVE LIABILITY TO DIGITAL VISION REGARDLESS OF THE FORM OF ACTION SHALL NOT EXCEED THE PURCHASE PRICE OF THE MATERIALS DESCRIBED HEREIN DIGITAL VISION reserves the right to revise and improve its products as it sees fit This publication describes the state of this product at the time of its publication and may not reflect the product at all times in the future The following are trademarks of DIGITAL VISION Nucoda Nucoda Look Phoenix Finish Phoenix Refine Phoenix Video Phoenix Touch Loki Loki Control DVO Clarity Twister and Valhall All other brand names product
144. LIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE WITHOUT LIMITING THE GENERALITY OF THE FOREGOING THE ACADEMY SPECIFICALLY DISCLAIMS ANY REPRESENTATIONS OR WARRANTIES WHATSOEVER RELATED TO PATENT OR OTHER INTELLECTUAL PROPERTY RIGHTS IN THE ACADEMY COLOR ENCODING SYSTEM OR APPLICATIONS THEREOF HELD BY PARTIES OTHER THAN AM P AS WHETHER DISCLOSED OR UNDISCLOSED 2014 Digital Vision UM 2014 1 07 Stockholm Digital Vision Telefonv 30 126 26 Hagersten Sweden t 46 0 8 546 182 00 f 46 0 8 546 182 09 Los Angeles Digital Vision Sales and Support 6464 Sunset Blvd Suite 330 Hollywood CA 90028 USA t 41618 7698111 f 1 818 769 1888 Linkoping Digital Vision Agatan 40 562 22 Link ping Sweden t 46 0 13 200 100 f 46 0113 200 150 igitalVision London Digital Vision 11 Wardour Mews London WIF BAN United Kingdam t 44 0 20 7734 8282 f 44 0 20 7292 6969
145. M EN All additional output formats are listed below the master format and are completely independent of it To create a new output format e Press the New button located below the Output Formats list box A new format will be created e Then configure the output via the Setup drop down list or edit the individual parameters To delete an output format just select it from the output formats list and press the Delete button Editing the Output Formats To modify an output format e Highlight it in the output formats list The settings displayed on the right switch to the selected format e Alter any of the output format attributes e Press the Apply Settings button to apply any changes made You will be warned if you try and move away from the main project screen if any settings have been changed 2014 Digital Vision UM 2014 1 07 Creating Projects 39 Output Format Attributes Each output format has a set of attributes defined including e Format Presets e Frame Rate e Colour Channels e Colour Depth e Render Resolution e Viewing Aspect Ratio e Render Options e Conversion and Filter settings e Colour Management System CMS Setup HD 1080p 1 78 1 tt Format Presets Format 25fps RGB 10 Bit Format Setup 1080 Aspect 1 778 Render Cache Output Frames Convert ZoM Fitter Conversion Filters Colour Management Settings CMS
146. Multiple play heads can be used for shot comparison operations icon Description oooO The A play head Yellow means it is the secondary head last active The B play head Orange means it is the current active head EE The C play head EE The D play head You can switch between play heads using the play head selectors The selected play head will become active orange and the timeline will centre itself on the active play head The colour of the indicator buttons update to reflect the play head status Timeline Marks You can add marks to a composition timeline in order to operate on specific regions only e Delete only a marked region 2014 Digital Vision UM 2014 1 07 Composition Elements gg e Limit clip insertion to a marked region e Playback only a marked region etc Starting marks are called n marks ending marks are called Out marks The timeline position indicators will reflect any marks set on the timeline C 30900 90550 41000 41050 D007 _ G01 Dl Mark In and Out set with dotted line indicators Hotk Description ey EM saman mio setmakot SS Ep Setmarcintoout marksegmen DD a ls Clear mark out 0 Clear mark in to out un mark segment Bookmarks Bookmarks are tags you attach to either an absolute timeline position or to individual segments These bookmarks are useful for taking notes for future reference Creating a Bookmark There are two types of bookmarks ti
147. NGS IN THE SOFTWARE 17 Freetype See http www freetype org FTL TXT Portions of this software are copyright copyright c 2006 The FreeType Project www freetype org All rights reserved 18 Protocol Buffers Google Copyright 2008 Google Inc All rights reserved Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above 2014 Digital Vision UM 2014 1 07 606 Appendices copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution Neither the name of Google Inc nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVIC
148. NXHD 185X 1080p Formats MXF OPT1a XxDCAM HD 50 Note that unlike exporting an AAF in the AAF Back to Avid work flow you can set handles and choose an uncompressed MXF format Avid Project Name AVID Project name From MXF File 2014 Digital Vision UM 2014 1 07 MXF Back to Avid 409 Write a project name in the MXF files Choose the project name e From the MXF File e From the Nucoda project name e User Defined It is recommended to set a User Defined project name Type a name into the text box Project name User Defined Graded RT9 The Project Name can be any text string and can be used to filter and identify Nucoda media once back in the Avid system Export Mode Choose to export using a Multi format e Tracks Multi Src TC e Visible Multi Src TC See section Export Modes Export Press the Export button Export re You will get a warning about Possible File Overwrite because you are using a Multi mode export but not specifying separate folders Export Settings Possible File Overwrite You have selected to export multiple Events but are not using separate directories for files to be overwritten each Event Continuing may cause some files to be overwritten Cancel Dismiss and ignore this by pressing OK 2014 Digital Vision UM 2014 1 07 ato Avid Integration MXF Staging Note that MXF file exports can be staged in the t empRoot Dir folder before being moved t
149. OAT x05 lt FLOAT y05 lt FLOAT x1 gt lt FLOAT y1 gt Draws a line from coordinates x0 y0 to coordinates x1 y1 using the current coordinate system and draw style lineWeight LineWeight lt FLOAT gt How wide to draw lines in pixels ellipse ellipse lt INT x05 lt INT y05 lt INT Rx gt lt INT Ry gt where Rx is X radius and Ry is Y radius Draws an ellipse with centre at coordinates x0 y0 and size 2 Rx by 2 Ry using the current coordinate system and draw style polygon polygon lt INT x05 lt INT y05 lt INT xN gt sINT yN gt Draws a multi point polygon from x0 y0 to x1 y1 to xN yN using the current coordinate system and draw style If the draw style is filled and the polygon is convex it will be filled on the inside rectExtraction rectExtraction lt INT x05 lt INT y05 lt INT x15 lt INT yl gt Draws a rectangle from x0 y0 to x1 y1 using the current coordinate system and draw style If the draw style is filled the rectangle will be filled on the outside up to the outer limit of the monitor source image This element is intended for use when a solid or semi transparent masking or blanking region is required lf the draw style is not filled an open rectangle will be drawn with the current line style text text lt INT x gt lt INT y gt lt STRING gt Draws the specified string at x y using the current coordinate system and draw style Note that you can use text macr
150. Phoenix Finish and Phoenix Video only the basic colour correction layer Master Layer will appear in the Effects Tree by default The Effects Tree will display all effects applied to the current timeline segment segment under play head The tree will dynamically update if the current segment changes such as during play back 2014 Digital Vision UM 2014 1 07 240 DVO Effects oF WC input FX aa Timeline IB Shots Keyframe ae DVO Dust EAA 2540 pal BBS FH DVO Scratch T od G 1 Flicker pope NAB demo Girl wi rope b CF Master Effects Tree For current segment Additionally a segment with effects applied is displayed in a different colour to a segment with no effects applied See the Compositions section 2014 Digital Vision UM 2014 1 07 Introduction aa DVO Stereo Fix DVO Stereo Fix is an advanced stereo enhancement tool designed to resolve colour matching and geometry alignment issues with stereo sequences The tool can address problem areas when they appear over the entire image frame global correction or in different areas inside a frame local correction The tool will be able to correct most problems automatically but where this is not possible controls are available that allow straightforward manual correction Enabling Stereo Work Some basic setup is required to use the DVO Stereo Fix tool Project Your project should be enabled for Stereoscopic Output Project S cre
151. Project lt TAB gt Tape lt TAB gt Start lt TAB gt lt TAB gt ASC_SOP Fields Name FPS Project Tape Start End Duration Tracks Sourceld Take Scene Slate Camroll Director SoundRol L ProjectName DoP Cameraman DailiesColorist Date0fShoot ASC SAT ASC SOP 2014 Digital Vision UM 2014 1 07 Format Support 567 Content Data here LINO Each shot includes and encodes the fields as shown above Each field in each shot is delimited as per the header specification e g usually a TAB 2014 Digital Vision UM 2014 1 07 MXF Formats Read Support Codec DV25 DV50 DVCPRO100 MPEG IMX30 MPEG IMX 40 MPEG IMX 50 DNxHD 40 DNxHD 36 DNxHD 115 DNxHD 120 DNxHD 145 DNxHD 175 DNxHD 175X DNxHD 185 DNxHD 185X DNxHD 220 DNxHD 220X 2 1 3 1 Compressed Uncompressed 1 1 2014 Digital Vision On Avid DV 25 MXF DV 50 MXF DVCPRO HD MXF MPEG 30 MXF MPEG 40 MXF MPEG 50 MXF DNxHD 36 MXF DNxHD 36 MXF DNxHD 115 MXF DNxHD 120 MXF DNxHD 145 MXF DNxHD 175 MXF DNxHD 175 X MXF DNxHD 185 MXF DNXHD 185 X MXF DNxHD 220 MXF DNxHD 220 X MXF 2 11 3 11 1 1 MXF 1 1 10b MXF Format 720x576 50i 720X486 59 94i 720x576 50i 720X486 59 94i 720p 59 94 1080i 50 720x576 50i 720X486 59 94i 720x576 50i 720X486 59 94i 720x576 50i 720X486 59 94i 1080p25 1080p 23 98 1080p 24 1080p 23 98 1080p 24 10801 50 1080i 59 94 720p 59 94
152. R ce cHtecatam GT TLS KTA LAS Bd baha Uh 558 Quickime AA AA 558 List Formats uieieieies 563 SAYA AA AA 563 AAR Gg tee so gp aang gbi 563 CUR SD UD DE NOB exes ue 563 Ale 2 ta a KULEG A LOKA DELTLDEGL NAAALAALA ANAL 563 MXF OEM aw GG use PY sms ms OER cn 568 Camera Formats 570 Red ee SUBD DE GWEAEENBL LE DIAKA DEE NN E AAE 570 ARIDA Aa a dd ia oi 570 OCON MAONO SERRE ae 570 Vision Research Phantom 122 242 sud GREED dat eedeed hed KANY LENGEDPLEGRENAN 570 Audio Formats 578 WAV DT CS K LG NGA L LILA kaa Kk 1 ki GA AG AGA NA BAG AGA KANG kA 578 Audio Interchange Formal a aNG NA PBA NABA TRA AG ABAKADA NAA bb becie ERE PENS 578 OFX Plugins saaan 580 Configurable Viewer Tools 581 Grids Specification Sn DES hANPEDA GAB de TABLE tele r EEn E 583 HUDs Specification 592 Masks Specification 4 4scsssussuussuses 592 Graphs Specification 595 Legal Notices 600 Index 0 UM 2014 1 07 D O O O oe Welcome 1 JigitalVision Nucoda Nucoda User Manual 2014 Nucoda Nucoda Look Welcome to the Nucoda Finishing Envi
153. Record Order AAF Out 407 MXF Back to Avid In this work flow the Nucoda system exports MXF media back to the Avid for finishing This work flow is MXF media export only No AAF file is exported This is illustrated in Figure 2 below sie nu Shared Storage Avid exports AAF 2 Nucoda loads AAF conforms and grades 3 Nucoda exports graded MXF sequences 4 Avid re links to graded MXF for finishing Figure 2 Nucoda Exports MXF In the Nucoda application we will export the MXF sequences for the Avid to re link Switch to the Library Library 2014 Digital Vision UM 2014 1 07 408 Avid Integration And press the Export Media button Export Media Choosing MXF Export Folder For the Avid to be able to successfully re link to the new MXF media we need to write the exported MXF files to the correct place The correct place is the lowest level of one of the Avid MediaFiles tolders used by the Avid WI This means the full MXF path needs to be at the same media files folder level as the other MXF source media e g Correct G Avid MediaFiles MXF 1 Wrong G Avid MediaFiles Set Format and Options Set your output format to be MXF MXF Codec Then choose your desired MXF export format Formats MXF Uncomp HD 10 bit Formats MXF Uncomp HD amp bit Formats MXF DNxHD 40 1080p Formats MXF DNxHD 120 1060p Formats MXF DNxHD 185 1080p Formats MXF D
154. SY 10bit CMS Setup 1920x1050i 10 1 778 Teal E Ele C The Audio Waveform button displays the audio segment waveform overlaid on your monitor output The waveform will update dynamically as the segment plays 2014 Digital Vision UM 2014 1 07 Audio Waveform 177 DAG Audio segment waveform shown overlaid on monitor Handy Hotkeys icon _ function Y Y om Toggles the viewer options panel on off i none Ctrl 5 Saves a snapshot of the current image as a reference image Toggles the compare source between dynamic selection and the reference image oO F6 Turns compare mode on off Shift F6 a the compare mode wipe dual F12 5 F6 Turns the Head Up Display HUD on off Ctrl F7 Changes to the next HUD definition Turns Grids on off tr F8 Changes to the next Grid definition F9 F10 F11 FQ Turns Masks on off Ctrl F9 Changes to the next Mask definition FIO Turns Graph Curves on off FM Turns Histogram on off Shift F11 Resets Histogram Ctrl F12 Changes to the next Histogram Graph definition e Ctrl F12 Turns CMS on off 2014 Digital Vision UM 2014 1 07 source 178 Viewer Tools 2014 Digital Vision UM 2014 1 07 Comparison Mode 180 Comparison Mode Comparison Mode 13 Dual Tull info all 2 39 grig User r cineon hist 5 Li 10bit mer EE UE a 3 EF 9320x1080 10 1 776 4 1 Source Clip CI EIRE Le mr Li Hot key
155. Shots Select one R3D shot and press the Select multiple RID shots and press Properties button to view and the Properties button to modify modify the properties for the selected the properties for all selected shots shot Clip prefs File and Default Settings Location C Nucoda 2014 1 root Clip prefs The Clip prefs file is created in the application ROOT folder and is used to store the default preference settings for bit depth cloning quality OLPF compensation and detail The Clip prefs file has a simple ASCII format clipPrefs R3D extension r3d bitDepth 10bit createClone true decodeQuality 1 2 Premium olpfComp Medium 2014 Digital Vision UM 2014 1 07 48 Red Support R3D Properties Bit Depth Default 10 bit Set Via Clip prefs file Parameter bitDepth Values 8bit 10bit 16bit RED R3D shots will be set to the given bit depth on load Create Clone u Create clone Default true Set Via Clip prefs file Parameter createClone This controls the proxying behaviour of R3D files With Create Clone true default every RID shot will be transparently cloned proxied to DPX This clone will be treated as the source This has performance advantages and eliminates the requirement to continually decode the source R3D files ob Note that if other R3D shot properties are changed the shot clone and any other caches will need to be re generated 2014
156. Stop Capture button will become enabled Once complete the capture will stop automatically You can interrupt the capture at any time by pressing the Stop Capture button Once capture has stopped the captured footage will automatically be added to your project library Capture List Capture List The Capture List method requires an existing event list This list is usually created by importing a list file such as an EDL and then capturing and conforming the events Refer to the section on importing list files for detailed instructions on creating a composition based on a list file Once you have imported the list file the corresponding composition will appear in the Library and the events that need to be captured will appear on the timeline No media will exist in the library until it is captured and conformed to this empty timeline Inside the capture module the list events are shown on the right 2014 Digital Vision UM 2014 1 07 asa _Video v0 Event List The event list table is composed of a number of fields per event The Event List is displayed a standard table For more detail on tables and their use see the Tables section Each event listed has a status assigned to it This status will update as the Capture proceeds Per Event Capture Status 1e Status Found Found Found Capturing Event Status The status fields are e Needed the media for this event has not yet been c
157. THE SOFTWARE 4 Libtiff license Copyright c 1988 1997 Sam Leffler Copyright c 1991 1997 Silicon Graphics Inc Permission to use copy modify distribute and sell this software and its documentation for any purpose Is hereby granted without fee provided that i the above copyright notices and this permission notice appear in all copies of the software and related documentation and ii the names of Sam Leffler and Silicon Graphics may not be used in any advertising or publicity relating to the software without the specific prior written permission of Sam Leffler and Silicon Graphics 2014 Digital Vision UM 2014 1 07 602 Appendices THE SOFTWARE IS PROVIDED AS IS AND WITHOUT WARRANTY OF ANY KIND EXPRESS IMPLIED OR OTHERWISE INCLUDING WITHOUT LIMITATION ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR APARTICULAR PURPOSE IN NO EVENT SHALL SAMLEFFLER OR SILICON GRAPHICS BE LIABLE FOR ANY SPECIAL INCIDENTAL INDIRECT OR CONSEQUENTIAL DAMAGES OF ANY KIND OR ANY DAMAGES WHATSOEVER RESULTING FROMLOSS OF USE DATAOR PROFITS WHETHER OR NOT ADVISED OF THE POSSIBILITY OF DAMAGE AND ON ANY THEORY OF LIABILITY ARISING OUT OF OR IN CONNECTION WITH THE USE OR PERFORMANCE OF THIS SOFTWARE 5 libjpeg See htto www ijg org files README We are releasing this software for both noncommercial and commercial use Companies are welcome to use it as the basis for JPEG related products We do not ask a royalty although we do a
158. UM 2014 1 07 Preset Layout C Nucoda 2014 1 root ParamLayout configs The ParamLayout configs file arranges various tool interface elements parameters pages buttons etc File Format All layouts are wrapped inside the paramConfigurations tag The Gamma Matrix effect layout is defined in a section wrapped with the tag GammaMatrix Note that each tool e g GammaMatrix HLS DvoRegrain etc has parameters delimited by square brackets Within the GammaMat rix layout section specify preset buttons use the syntax presetButton lt BUTTON NAME gt lt IDENTIFIER gt Where lt BUTTON NAME gt will be the button title text on button and lt IDENTIFIER gt identifies the button action to use from the preset definition file For the GammaMatrix tool the lt IDENTIFIER gt key has a format GammaMatrix xPresetIdentifiers The lt PresetIdentifier gt is the unique name given to the preset see the Preset Definition section Examples paramConfigurations GammaMatrix presetButton Test Matrix GammaMatrix matrixTestSample presetButton 1 88 GammaMatrix preGamma188 The above produce the following interface buttons Test Matrix 1 CO a 2014 Digital Vision UM 2014 1 07 tte Curves 2 Hue Curves W C effects Ta a CG Base LC Layer b 2 Master Hue Curves is a powerful effect that allows you to modify the hue lightness or saturation HLS of a shot using an inter
159. ached project project x Removing Project Caches remove cache When attaching projects specify this argument to have their caches removed after attachment Command Srila Guede ines wena cree vos ce Da Nee Noe Gi N remove cache INFO Imported D archived pro ject x project name is project x and removed cache Creating a Composition Create a composition with N video tracks Create a New Composition composition lt name gt The following command creates a new composition named COMP 1 inside project PROJ1 Command S iL dbf meses og ece ER TONO SIA COM INFO Opening preojecc PROJI INFO Creating new Composition COMP 1 lf the project does not exist it will be created This will require a format specification option Create a New Project and New Composition The following command creates a new project PROJ2 according to the format specification file FORMAT It will then create a new composition named COMP2 inside the newly created project 2014 Digital Vision UM 2014 1 07 Creating a Composition 455 Command s film master project PROJ2 format spec FORMAT OOMOSLELON COM INFO Creating new project PROJ T INEO Creating New Compos Emon COMP ZY Create a New Composition with Multiple Video Tracks num tracks lt N gt The following command creates a new composition COMP3 containing 3 video tracks V1 V2 and V3 inside project PROJ1 Co
160. active graph Tracker CF Scene Detect Hue Lightness Saturation Add Point Delete Point Parameters Hue Lightness Saturation HUE Lightness Saturation The Hue Lightness and Saturation toggle buttons on the left of the graph select how the graph affects the image Hist The Hist button shows or hides the histogram display in the graph window You can select pick areas of colour from the image using your mouse and these areas will be displayed on the graph as an aid to graph manpulation 2014 Digital Vision UM 2014 1 07 222 Effects aa User selected area M T Trach Graph displays selected area Add Point Delete Point You can Add or Delete points from the graph by toggling these buttons on and then clicking on the graph This allows finer manipulation of the area of the image affected by the effect Scale The Scale slider adjusts the scale of the graph shown Discussion Hue Curves is the only tool that utilizes the top menu of both the Color and the Image panels The top buttons on the Image panel select one of six preset points on a spectrum These presets assign the menu controls of the Color panel to red yellow green cyan blue or magenta When the Color panel is set to Menu 2 labeled Positive the knobs adjust hue luminance and saturation of the selected color This tool can isolate and adjust several colors in the same layer if Color panel
161. ag Avid Integration Edit Modified AAF Back to Avid In this work flow the Nucoda system exports an AAF to the Avid for finishing EI Note that the Edit Modified AAF back to the Avid route is only available for Nucoda compositions originally created from imported AAF files This is illustrated in Figure 1 below 4 Interplay Shared Storage Avid exports AAF 2 Nucoda loads AAF conforms and grades 3 Nucoda exports graded AAF 4 AAF with Sequence checked into Interplay Figure 1 Edit Modified AAF from Nucoda back to Avid Nucoda Exports Edit Modified AAF In the Nucoda application we will export the AAF Switch to the Library Library 2014 Digital Vision UM 2014 1 07 Edit Modified AAF Back to Avid ses And press the Export Media button Export Media Navigate to the location we wish to write our exported AAF file to this should be shared with the Avid Note that the location chosen here will be for the AAF file only The MXF media is exported at the same time automatically and placed in the first defined Media Folder Set Format and Options Set your export format as AAF and choose a media export format e g Avid DNxHD 185X Formats dnxhd 1080p 120 25 Formats dnxhd 1050p 1654 25 Formats dnxhd 1080p 185 25 The formats made available will depend on your project format You will not be able to set handles or choose uncompressed MXF formats when ex
162. al The Pad Events option is available here Preview BVB This mode previews the output It does not write anything to tape The preview shows Black Output Video Black Preview VVV This mode previews the output It does not write anything to tape The preview shows Video Output Video Video Review This mode reviews the output on tape It does not write anything to the tape KE Pre striped tapes must be striped at the same frame rate as your composition The Actions buttons will change depending on record mode selected 2014 Digital Vision UM 2014 1 07 Video Layoff 377 Timecode Output Order Source Order Tape L Source Order TC C Record Order A This drop down list allows you to select which timecode order is to be used when writing the events to the tape Source Order TC C Record each event to tape at its original location i e its source timecode ignoring its location on the composition timeline record timecode Event handles enabled Source Order Tape This is the same as Source Order TC except the C list is sorted by tape first then source timecode Event handles enabled Record Order A Record each event to tape at its composition record timecode location i e the same sequential order as your composition timeline and at the same timecodes unless Use mark as in point is set see below Event handles disabled Event Handles are enabled for Source Order
163. al strengths are at 0 Chroma Trim will still add to that number and resulting in processing within selected colour 2014 Digital Vision UM 2014 1 07 DVO Grain 307 Setup Enable Basic mode Processin Cj The Setup screen allows various other effect parameters to be configured Colour Input Format Colour Film Log The drop down list will default to the project setting for the input format You need to set this control according to the material that you are working with If the footage was shot with a video camera select a linear format ff this control is not set correctly the material may not be processed properly Default From Project History Required History Req The DVO Grain effect is recursive Recursive means the result for any given frame depends on the result of the previous frame s For best results a certain amount of frame history needs to be built up and this numeric slider is used to specify how many frames of history to use Range Oto15 Default 5 frames 2014 Digital Vision UM 2014 1 07 sos DVO Effects oF Use Handles Use Handles The Use Handles button controls whether the history includes available handles of a scene shot Normally the history frames accumulated will terminate on a shot edit event start end edit There may be extra frames available handles before or after the start and end edit points of a shot however and these will be included as
164. all the associated MXF media files have been successfully exported the AAF file that was used to create the composition will be copied to the exported AAF file and its media references updated to reference the newly exported MXF media Avid Imports Edit Modified AAF When the updated graded restored Edit Modified AAF is available from the Nucoda system the Avid can import It into a Bin When the Nucoda system writes new media to an Avid media folder the Avid system will do an automatic re scan of media folders Right click inside your chosen Bin and select Import 2014 Digital Vision UM 2014 1 07 398 Avid Integration New Sequence G0 To Capture Mode Choose Columns Set Bin Display Lit Get Ein Info mm Select Offline Items Ca Export ka Import Navigate to the folder containing the new AAF select it and Open The AAF is imported and appears in your Bin w one OF dv graded 1640 2010 11 51 27 O 22 Media Array 5 1 a denew 02 dv graded 18202010 11 51 29 310 Media Array 5 1 GE astestsequence Exported 01 Copy 01 18M0 2010 11 20 35 6 08 Double clicking the sequence will activate it and let you review and continue Interplay Setup Avid Interplay is a sophisticated asset management system that manages and tracks digital media throughout a production Some configuration is required before using an Avid Interplay system with a Nucoda Preference File The main Nucoda preference f
165. amma Matrix tool will take longer to process the sequence Matrix Gamma Matrix 2014 Digital Vision UM 2014 1 07 Switch to the Matrix settings using the Matrix button Identity Matrix Red sree Preserve Luma Transpose The Matrix page consists of three sections e Presets on the left e Matrix settings e Matrix configuration on the right Matrix Presets identity Matrix Any matrix presets you have defined will be listed in the first column Pressing any preset button will load the preset values into the matrix See the Presets section for details on configuring and positioning preset buttons Matrix Settings The Red Green Blue and Aloha matrix component values are listed in the central section You can enter these values manually using the value sliders or activate a preset button to load predefined values Pressing a preset button e g Identity Matrix will set the matrix values to the preset values Matrix Configuration The Matrix Configuration column contains utility functions that modify the way the colour matrix is interpreted Preserve Luma Preserve Luma Setting Preserve Luma will adjust the resultant matrix such that the scale of 2014 Digital Vision UM 2014 1 07 Gamma Matrix 217 each component value stays the same relative to the others thus keeping the output luminance the same Transpose Transpose Setting Transpose causes the matrix to be transp
166. and these paths can be checked and if necessary modified before load in any text editor 2014 Digital Vision UM 2014 1 07 Composition Save and Load 6 paki lf sequences are deleted or moved after the paths are stored then we will fail to locate this media when we load the content Store Recall Store Recall Store and Recall work exactly like Load and Save except no content file is used so no File Browser prompt A Store will save the selected compositions and or clips A Recall operation will recall whatever this stored snapshot contains Project A Project B Recall The stored content persists until the next Store operation even between application restarts pa Store and Recall will only work when used with the same version of the application software Also see Command Line Interface chapter 2014 Digital Vision UM 2014 1 07 Importing Material Importing Material 6 This chapter describes e How to get media both video and audio into the project library for use e How to recursively import entire folders automatically e How to import and conform from list files e g an EDL e How to make sure each piece of media we import has the proper metadata attached e How to manage our media library We import material into our project via the Library Switch to the Library module via e F1 hotkey or e Library button Although we talk about importing in this ch
167. aning srcTime Source time auto set from project srcTimeF rames Source time in frames srcTimeTimecode Source time as timecode srcKeycode Source time as keycode if available srcTape Tape name srcFilm Film name srcClip Clip name srcScene Scene name srcName Material Name srcDescription Description srcLocation Location path on disk Record Information recTime Record time auto set from project recTimeFrames Record time in frames recTimeTimecode Record time as timecode 2014 Digital Vision UM 2014 1 07 Appendices segmentVersion Audio Information Version number of segment audioName Audio material name audio0riginator Audio originator creator e g Pro Tools audioTimecode Audio timecode audioTimeFrames Audio timecode as frames audioReference Audio reference as per originator audioChannels Number of audio channels audioSampleRate Sample rate of audio Miscellaneous headLength Length of segment head in frames tailLength Length of segment tail in frames clipLength Length of visible segment in frames Example Grids For further examples see the grids file in folder C Nucoda 2014 1 root monitorGrids and HUD s in folder C Nucoda 2014 1 root monitorHUDs monitorGrid 1 0 1 name DV Logo units normalised textSize 64 0 color 1 0 0 0 0 0 0 8 text 0 1 0 05 Digital Vision 2014 Digital Vision UM 2014 1 07 Confiqura
168. ansform Buttons P OJ eT El These buttons control what transformations are applied to the shape as we track If the button is off white the selected transformation is not applied Eu lf no transform buttons are enabled the defined shape will not move or change at all because no transformations will be applied From left to right we have Pan X Y Enable to calculate X Y up down left right 2014 Digital Vision UM 2014 1 07 352 _DVO Tracker pas O Rotation Enable to calculate feature rotation Scale X Enable to calculate scale changes in the X axis Scale Y Enable to calculate scale changes in the Y axis Offset Button P The Offset button creates an offset shape from the currently selected shape This offset shape can be moved offset to a new position in the shot from where new feature points are calculated The feature points calculated using the offset shape are applied to the original shape You can re position an offset shape any number of times in the same shot if required with any tracking data calculated applied to the original shape See Offset Tracking Smooth Button Smooth Normally the DVO Tracker will position the transformed shape x y rotation scale in single pixel increments The Smooth button will enable sub pixel positioning and cause the track to be re computed This smoothing effect will be visible by switching to the Keyframe Editor tab and viewing the
169. apename field is truncated an underscore added and a character dropped i e A004 C025 becomes A004 CoO2 We use the clip name comment components to do the conform Load the EDL the same way as the Avid style EDL above List Capture From the Library press the List Capture button Note that the List Capture list includes a populated Clip Nam e field from EDL List Capture Index status Clip Name O00 2 C00 A002 C004 0806UK 001 A002 CO00 707167 7071 76 A002 COD A002 CO07 0806EB 002 A004 CO2 1015653 1015673 A004 C02 A004 C024 0806UU 003 A004 CO2 1017509 1017515 A004 C02 A004 C025 O806UL The list Clip Name field is taken from the EDL FROM CLIP NAME parameter 2014 Digital Vision UM 2014 1 07 438 Red Support 7 Match Mame Capture timecode a Conform clip name From 15t tc file header a From file name Folder Up Take the timecode from the first Take the clipname from the header timecode 1st tc filename at level O See the Appendix Automatic Naming The remaining steps are as per the Avid style EDL above Final Cut Style TITLE Bedhead Main Conform FCM PAL 005 A004C025 V C 11 18 20 09 11 18 20 18 FROM CLIP NAME A004 C025 0806UL FINAL CUT PRO REEL A004 C025 080612 REPLACED BY A004C025 006 A004C024 V C le 17 06 93 11 17 06 2507 FROM CLIP NAME A004 C024 0806UU FINAL CUT PRO REEL A004 C024 080612 REPLACED BY A004C024 007 A002C007 V C OS 120 1700751227 050 FROM CLIP NAME
170. aptation function can be used to adjust the levels of grain noise reduction in user selectable colour regions For example this feature can be used for greater grain noise reduction in sensitive areas such as a blue sky or less noise reduction in skin tones Three independent channels of chroma adaptation allows adjustment of noise reduction levels both spatial and temporal in the regions of the selected colour These selectable colours are labelled 1 2 and 3 Only colours with a saturation higher than approximately 5 will be detected Use the Key screen to adjust the hues and widths to isolate the colours in each channel 2014 Digital Vision UM 2014 1 07 306 DVO Effects oF hue 1 Click a colour picker toggle button to enable disable colour picking from the displayed monitor image Enable picker alPTEmi Pick area of colour from image using the mouse You can also select the selected hue by clicking on the hue bar with the left mouse button and dragging the hue bar left and right pe Dragging P Drag on hue bar and or orange box indicators to alter hue selection After selecting the colours using the key tab the corresponding Chroma Trim control in the Processing tab may be used to adjust the grain noise reduction for each selected colour Chroma Trim allows for the boosting or cutting of both the spatial and temporal filter settings within the selected colour Even if Temporal Spati
171. apter the application does not move or copy media around Unlike some applications that make you import to a proprietary storage volume we create library references to the original media files Importing large sequences is almost instant in most cases The Library Module will appear over the top part of our desktop Folder Contents Library Folders Library Functions View Filter Options Library Button a RE GG a a E e I E EUN p C Project desktop with Library View in upper part 2014 Digital Vision UM 2014 1 07 BU Importing Material We can get material into the project library in three ways e Directly importing media image or audio e Importing material via a list and then doing a List Capture e Capturing media from a tape source this is covered separately in the VTR section In the first two cases you start off by clicking on the Im port button in the library This will launch the file browser and let us browse and load an image sequence or movie audio or list file For supported file formats see File Format Support Importing Media To import material into the project library e Press the Library Import button e Browse to and select the media to import e Check your import options e Press browser Im port button to do the import Pressing Im port in the library opens the file browserand allows us to locate and import our source material See the File Browser section f
172. aptured and the event is enabled for capture e Disabled Needed the media has not yet been captured but you have disabled the capture of this event e Disabled Found the media has already been captured and you have disabled the event to avoid recapturing it e Capturing the media for this event is in the process of being captured e Partial Capture part of the media for this event has been captured but not in its entirety e Found all the media for this event has been found and captured 2014 Digital Vision UM 2014 1 07 Video Capture ses Material Once an event has been captured Found the path to the stored media will be shown in the Material column for that event Tape Name Events in the list may need to be captured from different tapes as indicated by the Tape Name column You will be prompted to insert each tape or to skip it This will continue until all the media from the different tapes has been captured f you press Skip Tape no media will be captured for this tape and capture will proceed to the next tape prompt for insert if there is one You can capture any skipped tapes later Event Controls The event controls located beneath the event list allow you to refine your list and select specific events prior to capturing Enable Event Consolidate on ta HE Disable Event Event Handles 0 vent Enable Disable Event To selectively choose to capture events or not select
173. are re linked 2014 Digital Vision UM 2014 1 07 MXF Staging When writing MXF files to a network volume it is often more efficient to write the files locally first and then move them to the target location This is called staging Staging is particularly useful when exporting to Avid Unity or ISIS systems Test your configuration to see which settings are best for your workflow Staging Folder lf staged MXF files are first written to the folder specified by the general prefs configuration parameter inside media section ESM GO DA CO OCEAN When Staging Happens AAF Export lf you are exporting an AAF file the MXF files created are always staged to the folder specified in tempRootDir Once successfully written they are moved to the first Avid MediaFiles folder specified in the preference file if you have enabled Export To Interplay once successfully written they will be moved to the Avid Interplay sharedStorage location see the general prefs and checked in MXF Exports f you are exporting MXF files the MXF files will be staged if the following general prefs configuration parameter inside mxf section is set to true useTempAsStaging true When set to true MXF files are staged to the folder specified in tempRootDir Once successtully written they are moved to the first Avid MediaFiles folder 2014 Digital Vision UM 2014 1 07 MXF Staging as Avid Effects This section describes the support
174. at and Conventions 42 Properties and Metadata The RED R3D format contains a wide variety of metadata Some of the metadata is fixed and will be displayed only Other metadata elements are variable and can be edited We can edit the non fixed RID metadata elements in the library via the Library Properties dialog We can also choose to set the default values for some on file import and capture conform The RED R3D file header also contains a frame rate This is shown in the library and set on the imported R3D shot This frame rate may be different to the main project rate or current composition rate This may cause problems for you if you create an EDL from the composition and need to use it to re conform to the RID shots later Default Settings The user can specify certain defaults to use for the following metadata elements e Decode Quality e Gamma Curve via project colour scaling setting e Bit depth e Create Clone setting e OLPF Compensation e Detall Viewing and Setting Properties View the properties of an R3D shot in the application library or via the Properties dialog window The Properties dialog also lets you set shot properties Note that the default values for some R3D shot properties are set using the configuration file Clip prefs see below Library View if the library columns are not present you will need to insert them manually 2014 Digital Vision UM 2014 1 07 ago Red Support
175. at needs to be excluded regarding the borders and alignment Automatically zooms the output to fill the full frame disregarding any original blanking of the source Centre Values On Off Default On Centre the result in the frame This may be necessary for some Border modes 2014 Digital Vision UM 2014 1 07 DVO Stereo Fix ag Blanking Blank Setup Auto Blank Top 0 Blank Lefi 0 Blank Right 0 Blank Bottom 0 Blanking is closely linked to the Borders control and allows us to control how the frame borders are blanked Blank Setup Values Auto Source Output Default Auto Blank Setup lets us choose if blanking is setup by automatic analysis or manually in relation to the source or the output Blanking affects the border processing and and its effect will depend on the Borders mode Auto Use automatic analysis to define the blanking amount Source Allow manual blanking setup Manually specify blanking completely based on the output alone This requires you to regard frame effects from the alignment processing manually as well as the original source frame blanking This is an Advanced Mode Blank Top Left Right Bottom Manual blanking adjustment to the top left right and bottom of the frame Specified in pixels 2014 Digital Vision UM 2014 1 07 250 DVO Effects DVO Dust DVO Dustis a fully automatic and highly accurate film dirt dust and random scratch concealmen
176. ated 1 frames of 10 103 INFO gen generated 10 frames of 10 1005 If you only give a start frame for the range e g range 30 then the proxies will be generated from this frame in the clip to the end of the clip Within a composition 2014 Digital Vision UM 2014 1 07 aga Command Line Command s film master project PROJ1 composition COMP1 range 30 50 generate proxies INFO Opening project PRO INEFOVOpehing Composition COMP I INEO Generating proxies for Composition INFO gen generated 0 frames of 21 0 INFO gen generated 1 frames of 21 4 INFO gen generated 21 frames of 21 100 if you only give a start frame for the range e g range 60 then the proxies will be generated from this frame to the end of the composition Exporting Shots export lt path gt Export render supplied composition to specified path export mode lt single multi gt Choose mode of export single or multi Required multi mode Set export mode svisible src tracks src Required when using multi visible rec tracks rec gt mode export frame padding sN Set with of numeric padding on filenames on export This will be zero padded export handles lt N gt Export each shot with specified handles Required when using multi mode export smpte level clip lt true false gt Clip the exported shot colourspace to SMPTE video levels Exporting a Composition
177. atents trade secrets or any other intellectual property of A M P A S or any contributors except as expressly stated herein Neither the name A M P A S nor the name of any other contributors to this software may be used to endorse or promote products derivative of or based on this software without express prior written permission of AM P A S or the contributors as appropriate This license shall be construed pursuant to the laws of the State of California and any disputes related thereto shall be subject to the jurisdiction of the courts therein Copyright 2012 Academy of Motion Picture Arts and Sciences A M P A S Portions contributed by others as indicated All rights reserved Disclaimer of Warranty THIS SOFTWARE IS PROVIDED BY A M P A S AND CONTRIBUTORS 2014 Digital Vision UM 2014 1 07 Legal Notices 607 AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY FITNESS FOR A PARTICULAR PURPOSE AND NON INFRINGEMENT ARE DISCLAIMED IN NO EVENT SHALL A M P A S OR ANY CONTRIBUTORS OR DISTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY RESITUTIONARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEG
178. ation data store Save any required proxies save both caches and proxies created if any 2014 Digital Vision UM 2014 1 07 146 Exporting SMPTE Level Clip p SMPTE Level Clip The SMPTE Level Clip toggle button will clip the exported frame colour data to a SMPTE legal range 64 940 for 10 bit data This is only available inside a Linear SMPTE colour space project m Hr See the Colour Scaling section of the Setup Manual for a discussion on colour space and scaling Export Modes Mixdown Rec TC Visible Multi Rec TC Tracks Multi Rec TC Visible Multi Sree TC Tracks Multi sre TC The export mode determines which shots we export what timecodes we use how we order the shots and usually whether to create any folder structure There are five modes e Mixdown Rec TC e Visible Multi Rec TC e Tracks Multi Rec TC e Visible Multi Src TC e Tracks Multi Src TC The default is Mixdown Rec TC i e a single mixed down sequence using record timecodes Each mode consists of important keywords that describe how the mode works Mixdown A single clip is created on export Mult Multiple clips are created on export A shot is only exported if any part of it is visible 2014 Digital Vision UM 2014 1 07 Export Media 147 Tracks Shots are exported per track In this mode clips are exported even when fully hidden by other clips Src Rec Clips are exported in source or
179. ayer effects are added Cache Output can be set independently on any project output format Enable this e To ensure everything is rendered and ready to lay off to video e Ona 10 bit secondary output format when your master format and sources are half float or 16 bit Cache Output will ensure that the secondary format caches are 10 bit which can improve realtime performance This cache is in addition to the standard source format cache frame field rendering Full support for interlaced video formats is included Options e frames Progressive format no fields e fields f1 f2 Fields with field order f1 12 PAL e fields f2 f1 Fields with field order f1 f2 NTSC Field settings will enable field edits cuts in the composition field viewing playback and rendering Conversion Settings lf your source images are a different resolution to your defined output you can choose if and how they are scaled and or cropped for output None Displays the source image in its original size This may result ina cropped or blanked image depending on the difference between the source and output resolution and aspect ratio Auto Fit Scales the source image to the size of the output format Auto Crop Crops the source image and scales it to the size of the output format Center The center of the source image is mapped to the center of the output 2014 Digital Vision UM 2014 1 07 format maintaining the s
180. ble Viewer Tools se monitorGrid 1 0 1 name Poly units normalised fill solid color 1 0 0 0 0 0 0 33 LineWeight 3 0 polygon 0 5 0 0 1 0 0 5 0 5 0 5 monitorGrid 1 0 1 name Poly2 units normalised fill open color 0 0 0 0 1 0 1 0 LineWeight 3 0 polygon 0 5 0 0 1 0 0 5 0 5 0 5 monitorGrid 1 0 1 name AS Rect units normalised fil solidi color 1 0 0 0 0 0 0 33 rectExtraction 0 25 0 25 0 75 0 75 2014 Digital Vision UM 2014 1 07 so Appendices monitorGrid 1 0 1 name Center Cross LineWeight 3 0 units normalised color 1 0 1 0 polygon 0 0 polygon 0 polygon O UT Orr UBO FOr ou Orr UBO O Doo 1 0 1 0 0 0 0 0 1 0 0 0 0 0 O 0 0 0 0 0 1 monitorGrid 1 0 1 name Safe Areas LineWeight 2 0 units normalised color 1 0 1 0 1 0 polygon 0 05 0 0 polygon 0 1 0 1 polygon 0 0 0 0 LineWeight 3 0 line 0 45 0 5 0 55 0 5 line 0 5 0 45 0 5 0 55 anchor top left Origin top left textSize 20 0 color 0 9 0 9 0 9 0 9 text 0 056 0 06 PICTURE SAFE text 0 106 0 11 TITLE SAFE 0 05 0 9 0 9 1 0 il 500 195707057 0 1 0 0 2014 Digital Vision UM 2014 1 07 Confiqurable Viewer Tools sa monitorGrid 1 0 1 name Greyscale units pixels color 1 0 1 0 1 0 1 0 anchor bottom left Origin bottom Left image 0 O greyscale2 png
181. clip name to VERSTION2 Clap added KO Composition This will import the clip at the specified path giving it a name VERSION setting it as a version of the clip at the record position 100 You need to have at least the same amount of source material in the new version as the old or an error will occur Replacing a Source replace source lt path gt Replace source of shot at frame count specified by new source Replacing a Clip Source replace source lt path gt To replace the source of the shot at specified record in count with the new source as specified in the given path 2014 Digital Vision UM 2014 1 07 Replacing a Source 463 Command dn Nose pEe ecu FROM Corp os CT COME replace source M images shots 009 056 009 001 dpx record mer 100 INFO Opening projec PROJ ENEO Opening core Iclon Coil INFO Found range 1 54 INFO Set clip name to VERSION2 INEO Cla dell xo compost eon The source will be replaced Grades will be retained on the shot You need to have at least the same amount of source material in the new version as the old or an error will occur Splice and Overwrite Clips splice path Splice a clip to the composition timeline If clip path not given clip name must be overwrite path Overwrite a clip to the composition timeline If clip path not given clip name must be Composition timeline record position Input clip source position offset Se
182. ction e g houses at a distance a forest or material with a slight weave By turning edge protection on the built in edge detector will affect were DVO Dust filters and it will reduce filtering where it finds edges Default On Edge protection should normally be left on Further controls for defining thresholds for edges are available in the Setup tab Edge parameter configuration is done inside the Setup section Temporal Adaptation Temporal Adaptation acts to exclude falsely detected dust dirt from being processed It does this by comparing dirt detected on the current frame with dirt detected on the previous frame within a sizable window This toggle button turns temporal adaptation on off Default Off The temporal adaptation settings can be found in the Setup tab Black White There are two separate and independent parameter groups controlling the processing for Black dark and White light areas of dust dirt 2014 Digital Vision UM 2014 1 07 DVO Dust 257 Enable Black Enable White White black dirt removal can be enabled via the corresponding toggle button e Enable Black to remove black dark spots e Enable White to remove white light spots Both can also be enabled at the same time Default On EI Note that if neither button is enabled then DVO Dust will not filter at all Use Adaptive If on sets white black contrast to be adaptive Default On This will result in the algorith
183. cts along the bottom the project configuration settings and to the right the project options To create a new project Project name scan tes e Type the name of the new project in the project name text field e Press the New Project button New Project Usually a new project will take its initial settings from the last project selected To create a completely fresh project with all settings as default see below Now configure the project settings e g output formats sources colour space etc Once done press the Apply Settings button or just Open Project Open Project If project settings have been changed Open Projectwill prompt you to apply them before opening Creating a Fresh Project Currently a new project is always created using settings defined from the currently selected project except for the very first project created To create a new fresh project follow this procedure e Create a dummy project e g called delete me e Open this dummy project e Exit project e Delete the dummy project e Exit application On application restart no project will be current and the default settings will be used for a Untitled Project 2014 Digital Vision UM 2014 1 07 Creating Projects Output Formats In addition to naming your project the project configuration settings panel along the bottom of the project screen allows you to specify your intended output format s and any additional sources
184. d mucoce idm nee r0 Cc XI composition compname import edl S edl ttt mark edl mark track target 1 INTO Opening croject PROTI from MD Nuceda 2014 Cro INEO Opening Composizion compmame INFO ttt mark edl marked The target track must exist Importing Media and Conforming import material Contorm material autoconform Conrorm Lrecorda cc Importing an EDL creates the basic composition but does not import or link media to the composition The options described here import actual media to the project library and conform link it to the imported EDL These options work on import edl only and assume a command line that includes import edl lt path gt lt new add mark gt Importing Media import material Imports any material referenced when importing the EDL Command S nucoda film master project PROJ1 import edl S edl ttt edl new import material INO Opening Proe CL ONE Lip Sie oda Aka oise INFO ttt edl imported Material paths are specified per EDL event using a FROM FILE syntax as shown below EE C Op ES E 001 tape l V Oe ee OO so 00e SE 0704 10 FROM FILE S media images mazda 2k 0E5012A 438877 dpx Each referenced clip is imported into the project library from the specified file path 2014 Digital Vision UM 2014 1 07 EDL Import and Conform 473 Conforming ceonform material
185. d your comparison image in full size Only one image will be displayed at a time determined by pressing the compare button on off When the compare button is off you will see the current frame as normal and when the compare button is on you Will see the comparison image A full screen compare can be achieved by taking a snapshot of the current image and moving to a new frame for comparison Press CTRL 5 to grab the current image Holding down the 5 key at any future time will display the snapshot frame in place of the current image in the monitor 2014 Digital Vision UM 2014 1 07 18 Comparison Mode Difference Modes There are 3 difference modes e Diff red e Diff luma e Diff monochrome Each one will show you the difference between the current frame and the comparison frame in the specified colour Comparison Image Once you have selected your compare mode you can close the viewer tools menu F12 and bring up the Memories screen to select what we will compare against Select the Memories button AUTO keyframe ka Memories DvO Dust Memories Exit Project Select the Shotbutton Shot Button and Comparison Recall Abpend Targets Motes Shoe Choose a Comparison Target from the drop down list below Shot 2014 Digital Vision UM 2014 1 07 Track Head Event Revert SOUPCE Groups You can compare against targets e Track the track below e Head the seconda
186. d in the EDL AAF composition and pulling them into the library In general whole clips are captured if present not just the event duration Conform Links library items with the composition timeline you may wish to use an EDL merely to load material into the library capture only Aconform will always attempt to link the latest library material to the timeline This means if a later version of a clip is imported or captured the conform will link to this new version Loading the List I MOOrt lt paLh gt When we perform a capture operation on a list file created composition we attempt to match the composition timeline which reflect the list events to actual source material Consider the following EDL TITLES Test MDL MOL BASTI C Ci Sle SO 0l 51 25 22 0L 05 00 00 Ql 05 00 15 O02 722A YV 0233783 04 21 02s37 06 12 01 05 00 15 01 05 02 06 G 003 721A Y C DE 2527000226 10062102 000 OS TONO MOA HALA ET KZ 3S 0 es EO O Oe 0S 0 OPO S04 ns Load an EDL using the following command 2014 Digital Vision UM 2014 1 07 Capturing and Conformind 477 Command s film master project PROJ1 import C edls test edl INFO Opening project PROJ1 INFO edl test edl imported Results in the composition title Test EDL from the EDL TITLE parameter COMP Test EDL i com p At this point we will have a composition called Test EDL in the library Making it active would show us a timeline consistin
187. d project lt index gt To remove a project by Name Command S film master exe remove project Check Danger 003 INFO Deleting project Check Danger 003 from Ce Nucoda 2014 IN TOO project Check Danger 003W Index Command S film master exe project et remove indexed project INFO Deleting project indexed 2 Check Danger 002 of moe Nucoda 2014 L roor projects Check Danger 002 Removing Compositions remove composition lt name gt remove indexed composition lt index gt You must specify the project name Example Command S film_master exe project et2 remove composition Che INFO pening project Et T from Gs cc 004 NKO EE bproecrs er INTO Deleting composicion Check rrom Er o ec en AN Of TC Nuccda 2014 1 root projects cl Removing Clips remove clip lt name gt remove indexed clip lt index gt You must specify the project and the composition Example 2014 Digital Vision UM 2014 1 07 aga Command Line Command S film master exe project et2 composition Comp remove clip tc first ENFO Opening project Tet2 from TC Nucoda 2014 1 root projects et INFO Opening composition Comp INFO Delering elip ce first rrom project TE or TC Ned ON root projects cu Counting and Adding Tracks count tracks lt video audio gt Count how many tracks of specified type are in composition add track lt video audio
188. ded on top of each other ce Col Cures Bright Contrast 2 Bright Regions Sof Clip gt gt HLS Blur The Router has an effect tab containing the parameters available ss Effect 1 Tracker CF Scene Detect Blend Mode Over Show Key Input Previous Lipacity 1 000 f gt show AS Grey Jer py Se E lps Bypass f Show Area In Matte Input None Matte Invert Alpha Output Previous It is possible to change the layer opacity or bypass the layer completely Blend Mode The layer router includes a Blend Mode that controls how the layer is composited over layers below It has the following settings e Over e Add e Subtract e Dodge e Burn 2014 Digital Vision UM 2014 1 07 Colour Correction Layers 197 e Lighten e Darken e Hardlight e Softlight e Screen e Overlay These modes will be familiar to Adobe Photoshop users Managing Layers and Effects Re ordering Layers You can re arrange any layers and effects that you have added to the effects tree not including the default effects base or master layers Effects are processed top down as they appear in the effects tree so by re ordering effects you are changing the order that they are processed in By default any user effects that you add are placed above the colour correction layers in the effects layer If you want to be able to place user effects in between the colour correction layers you just need to add them as laye
189. der 2014 Digital Vision UM 2014 1 07 534 Appendices Automatic Naming Some parts of the application assign names to items such as library material or folders based on a set of predefined rules These rules are defined in the application preferences Capture Conform tab These rules are used for e Auto assign name e Auto create library folder e Library tape name Both Auto assign Name and Auto create library folder use the following interface convention when building a filename folder structure folder u re dain CJ i e M folders up adding N folders The settings here control the creation of a name string based on the filename folder structure on disk The resulting string can be used as a name or part of a name of an item in a project library Basic Name String Consider the example file and folder structure five four three two one clip 0001 dpx The filename is clip inside folder one Note that the application considers the filename as clip ignoring the file numbers 0001 and extension dpx We start by going M folders up five four three two one clip 0001 dpx 5 up 4 up 3 up 2 up 1 up 0 up Where we end up we then add N folders such that we try and end up with N folders 2014 Digital Vision UM 2014 1 07 Automatic Namin Calculation Basic Name String Note 4 up adding 2 four three 2 up adding 1 two 2 Up adding 3 two one no more
190. dia on disk that matches a shot in the capture list When this happens the Status is displayed as Found Multiple and an arrow is displayed to the left of the list item You can select the arrow to open up the rows and view all the matches The most recent event is selected by default index Type status Material oog Y Found Multiple 001 te Cimediavdailie 001 Ve Found Mulige a 001 te Cmediatdailie Both shot index 000 and 001 have been matched to multiple media items PP Index Type Status Material i Y Found Multiple 001 tc UUU Ny A el WE OU by ODF tc SERIE EEE Himen Eilis mediayila OUUU ki OOS te Amedia allie UUU Y DO te 000 hy Selected 001 tc gt 001 i Found Malige 001 tc Aamediayila media s Media dalles Opening shot 001 to see what media we have matched Note we matched 5 media items and have selected the latest if you want to change the selected match highlight your choice in the list and press the Enable Event button in the Event Controls see below 2014 Digital Vision UM 2014 1 07 Importing List Files 83 Enable Event ingen UN oe otatus Material oog Y Found kdukipie COS te CAmediatdailies O0S tcit oop M 010 te media dailies 01 Oct 000 ko 0DF tc 000 na Selected 005 te 000 Ny 002 EC 000 CI we O01 K Found Multiple 001 tc Media dalles 00t tc Media dalles O0 EMTEC media dalles 00 Ate media dalles 00 TC media
191. disk and there may be frames both before and after those we can see in the monitor window Shot Frame Sequence _ Visible Segment Window mn handles Using the trim toolset we can adjust the portion of the shot we see including the visible start and end frames The start and end portions of a shot we do not see are known as head and tail handles 2014 Digital Vision UM 2014 1 07 116 Compositions Trim Mode You can enable trim mode via a shortcut key or a GUI button CTRL u this toggles trim mode To enter Trim Mode the timeline area of the GUI has to be in focus You can focus it by left clicking once with the mouse In trim mode if a segment has head or tail handles these will be indicated visually in yellow Any available shot handles will be shown inside the shot itself Complete Sequence on disk ESE SA WI un p 8f E a t INA NP r hg a pn Si ble L iL ung 8 LA 01 00 15 00 y 01 00 30 01 00 45 00 4 a Ts Timeline Handles Indicated in Yellow Ea im Mode Centre shot has both head left and tail right handles shown in yellow Trimming In trim mode handle drag bars will be visible when you move the mouse over them Hover over shot with mouse and handle Click drag bar to select drag bar appears You should select the drag bar by left clicking once drag bar turns orange before attempting to trim 2014 Digi
192. dth Required Values lt int gt Default The width x resolution of the output format in pixels 2014 Digital Vision UM 2014 1 07 Creating a Project as height Required Values lt int gt Default The height y resolution of the output format in pixels fps Required Values lt float gt Default The frames per second If no decimal point set we add a 0 automatically e g 29 97 25 aspectRatio Required Values lt int gt lt int gt Default The output format image aspect ratio Specify as MN e g 1316 1000 dropFrame Values lt bool gt Default false Set if output format is drop frame videoOutput Values lt bool gt Default false Specifies if Video Output is enabled on output format fields Values 2 f 1 f1 f2 frames Default frames Specifies if output format is field based and gives field order 2014 Digital Vision UM 2014 1 07 ago Command Line channels Values RGB RGBA Default RGB Colour channels bitDepth Values 8 10 16 half Default 10 Output colour depth per colour channel in bits per pixel convertMode Values none fit crop center Default none Output format conversion from source convertFilter Values none box bilinear gaussian zom lanczos Default zom What conversion filter to use on the source if convertMode not none applyCms Values lt bool gt Default false Specifies if the Apply CMS toggle is on or off
193. dy as you move other control points around 2014 Digital Vision UM 2014 1 07 DVO Effects 237 DVO Effects 18 DVO stands for Digital Vision Optics a collection of image processing tools running in software on generic computer platforms DVO effects are optimised to make use of the latest multithreading CPU and GPU computer technology With the DVO toolset Digital Vision brings twenty years of experience in developing high performance image processing algorithms to the world of data centric restoration digital intermediate and commercial work Many DVO effects are available and will be described in this chapter DVO tools are shot based and require the presence of scene information Always scene detect pre conformed media or adjustment tracks that span more than one shot Introduction Many DVO tools are available and each can be applied independently to individual timeline segments A timeline segment can have multiple different effects applied stacked in various configurations layers Selecting a DVO Effect The individual DVO tools are logically grouped into packages e DVO Restore repair and renovate media e DVO Enhance improve detail and add clarity e DVO Video tools to process and fix video content e DVO Convert standards conversion upscaling and de interlacing e DVO Camera tools to process digital camera related content Each package contains a set of DVO tools available Choose via the Eff
194. e Default Off f on ungraded shots are shown in greyscale in the Memories Window Generate Thumbnails Default First frame Values First frame Middle frame Last frame This option selects the default thumbnail displayed for each event in the Memories view 2014 Digital Vision UM 2014 1 07 512 _Appendices eo Cue Method Default Timecode Values First frame Middle frame Last frame Timecode This option sets which frame we will cue to in a shot using CTRL Cue on the Media Panel CTRL Cue e First frame cues to the first frame of the shot e Middle frame cues to the middle frame of the shot e Last frame cues to the last frame of the shot e Timecode cues to the event thumbnail timecode for the shot i e the timecode shown belowthe Memories Event itself This can be set via the Manual update method described in Update Method below Update Method Default Manual Values Auto Manual This option chooses how the Memories event thumbnail is updated e Auto Memories thumbnail updates automatically when you grade a shot e Manual Press Enter on panel to update Memories thumbnail When your Cue Method is set to Timecode cueing C TRL Cue will cue to the timecode Control Panel Control Panel Trackball orientation Vector 1 Press hold timeout 1 000 Display timeout 15 Modifier timeout 3 Display brightness PAGPAG shape scale control Aspect Scale Key brightness PAD ID
195. e DE3501724 SPIRIT 4K CAT ACINE OES0124 SPIRIT 4K OAT ACNE DES0124 SPIRIT 4b 0 4 TAME DE3O124 SPIRIT K DATACINE OESO1 4 SPIRIT 4ak DATACE 0E5017 SFIAT 8H DATACE DESDI 24 SPIRT AK DATACINE 0E5017 SPIHIT 2K DATACINE DE30124 SPIFIT 2K OAT ACNE Multiple non continuous items selected 2014 Digital Vision UM 2014 1 07 Tables 31 Multiple Selection To select multiple items e SHIFT select to select a continuous range e CTRL select to select non continuous items as shown in image above Deselection To deselect an item select it with CTRL select again Column Order To re order the columns click and drag a column title Thumbnail Type status Ba COMP ost cc ao Click and Drag to re position ay column oe COMP Saree Pa Repositioning a column Column Sort To sort the table display on a column click the column title Clicking again reverses the sorting Material Name Naina Name p A008 COD5 0622H3 Test CC 001 BO COOS 0629 5 Ordering on Material Name title changes to italic Column titles change to italics when sorted on the column Remove Sort To remove the sorting click on another column or in the library click on the the Thumbnail column title 2014 Digital Vision UM 2014 1 07 32 The User Interface Show and Hide Columns You can show insert or hide remove a column by using your mouse and a right click Remove Colu
196. e EC directory O CE O ENERO Batchi Hipo tne ur ECO ok aw 210 INPO Barch Import comolered cos 0 OE 100 2014 Digital Vision UM 2014 1 07 Importing Folders ag Splicing to a Composition splice order lt file timecode gt This option imports the shots found from the folder import and also splices them to a named composition KH The composition must be specified via the composition option A splice order file or timecode is required file This splices the found shots to the timeline in the order they are found Note that shots are currently spliced from timecode 00 00 00 00 timecode This splices the shots to the timeline in their timecode order Command s film master project code2 composition comp1 import folder z scans episode5 filter format dpx splice order timecode INFO Opening project codez from TUFO Opening Composit Lom Comp i Adding a Version add version lt path gt Add a new version of a clip to the composition Adding a Clip Version add version lt path gt To add a version to a composition clip use the add version command 2014 Digital Vision UM 2014 1 07 462 Command Line Command Noires re ece PROM IN COME add version M images shots 009 056 009 001 dpx lo mana VITINSIONZ aco ha OO ENE INFO THEO INFO THEO Opening peo jee T TPROJIE Opening Compoc Me von COME Found range 1 54 Set
197. e Sy cineon parade center This drop down list defines available graphs and histograms Note that graphs ignore the hist and parade settings using only the location e g center size e g PAL and scaling information e g cineon These options are configured via plain text files graphs located inside the folder specified inside the general prefs file variable monitorGraphDir Named sections inside these files specify the listed options above Example graph locations are e SW south west in image e Center center of image Scaling refers to the dotted lines overlaid on the graph to indicate important graph data points i e e Cineon dotted lines at default cineon black and white points 95 685 e Video dotted lines at YCrCb SMPTE levels 64 940 cineon sw With a grade 2014 Digital Vision UM 2014 1 07 Graphs 173 Graph Specifications For the Graph format and specification see Appendix Graphs Specification Histogram Update Split Tull info all rea HE a 11c User cineon hist SY 10bit Se SEL A 1920x1080i 10 1 778 5 1 1 Source Cip O A E CSS NY Hot key F11 The histogram tool displays a graph of RGB colour information e For the entire image or e A selected area of the image This can be useful in helping identify how much colour correction is needed The button on the left activates the histogram which will be displayed in the manner and location defined
198. e active segment Then press the keyboard Page Down key to switch the active selection from the segment to the transition Note that the play head flag will change drop down to show that you are 2014 Digital Vision UM 2014 1 07 Transition Effects 20 editing the dissolve now A blue box will now appear around the transition to show that it is the active selection and the effects tree panel will change to display the transition effect Ib Timeline y ll mal 4 230G 5 01 r4 230 4 Ind RIRAA 1 Qilrd BIES F L 1 Transition HH Dissolve To edit the parameters of the transition effect you simply have to double click on the effect in the effects tree panel as when editing any effect Retime Y effects p CB Base CC Laver gt F Master The retime effect allows you to change the duration of a shot either adding or discarding frames as necessary A retime effect being time based is treated slightly differently to other effects A retime effect should added as a plain Effect node at the top of the tree 2014 Digital Vision UM 2014 1 07 Parameters ses Effect 1 Tracker Mode Nearest Nei qhbour Scale 100 00 Anchor Yalues Frame Pin Mode The retime Mode determines the accuracy of the retime calculation for the final output sequence lt can be set as e Nearest Neighbour e Bilinear Interpolate more accurate Scale The Scale determines a percentage reti
199. e examples folder C Nucoda 2014 example files cut Title CUtlist test KAKIAAKKKAKKKAKKKAKKKKKAKKKKKAKKKKKAKKKAKKKKKAKKKKKAKKKKAKKKAKKKKAKAKKAKKKKKK Thae cur list in construction orders Shot Footage Length Keycode In Frame Out Frame Roll BOLE KOO ONE NOOY TONG KG SZ Sere Ze AS 020102 O0 OO 0 OCC OC OO OG EMA CES SE ETONG 3884 06 004 OOS WOOO AAA ONG OTOS KU 25 MAS CN 208002 2110507 007 OCA ee C010 TOO OCOT TTO KM 12 UGE 004400 0044 10 025 DOG WC sete BOOB KU O09 5386 2901 707 2 510 Hu 03 0 BING OCC 0 SOGO KM 46 9745 0515400 OS AUTEUR G0 KEKKKKKKKKKKKRKKKKKKKKKKKKKRKKKKRKKKKRKKKKKKKKKRKKKKEKKKKEKKKKKKKKKKK ALE This is the Avid Log Exchange format Extensions ale The ALE format is export only The ALE format is an ascii text format used by Avid editing systems for metadata interchange Generate an ALE file for the current composition via the Export Com position button Choose ale as your export format 2014 Digital Vision UM 2014 1 07 566 Appendices D Export Composition The ALE format is ascii text and usually tab delimited delimiters are specified in the header It consists of e A header containing various global settings e g project format fps etc e Acolumn specification e One or more lines encoding metadata for a shot Header Heading FIELD _DELIM lt TAB gt TABS VIDEO_FORMAT lt TAB gt PAL FPS lt TAB gt 25 Column Specification Column Name lt TAB gt FPS lt TAB gt
200. e it and click OK The project will then appear in your project list and you can select it to open 2014 Digital Vision UM 2014 1 07 EI You should only import projects that were created on the same version of the application software e g v2013 3 projects should not be imported into v2014 1 Detach Project Detach Project The Detach Projectoption removes a project from your project list It does not delete the project if you want to open the project again at a later date you need to re attach it using the Attach Project button EI You will not be asked to confirm project detachment This is a useful tool for moving a project from one computer to another or removing a shared project from your project list without affecting users elsewhere Opening Projects Open Project To open a project double click the project on the main project screen or select it and press the Open Project button On opening the project you will be taken to the project desktop When you open a project if any of the project configuration settings for that project have been changed but have not been applied with the Apply Settings button you will be asked if you want to apply the new settings at this point If the changes were unintentional you can say no and they will be discarded The open project button will be disabled if there is no project selected or if the selected project has a status of Offline An Offline project mean
201. e loaded e Parameters can be repeated specifying multiple folders to search e Specification files located are global and available to all projects Example An example general prefs line that specifies three folders to be searched monitorGrids monitorGrids server testgrids C Grids Global Versus Project Specific Specification files located inside folders described in the general prefs file will be global and available to all projects Specification files can be kept private to a project by placing them inside a corresponding default named folder inside the project folder i e 2014 Digital Vision UM 2014 1 07 Confiqurable Viewer Tools ses ProjectName monitorGraphs private graphs Grids Specification Overlay lines rectangles and layout information The HUD specification also use Grid files grids but with a location set as per the general prefs monitorHeadUpDisplayDir parameter File Specification e grids file must end in the extension grids e g test grids e lt should be a plain text file Each specification file specifies one or more grids each identified by unique name a name parameter Format The grid file format is as follows monitorGrids 1 0 1 monitorGrid 1 0 1 lt grid specification gt monitorGrid 1 0 1 lt grid specification gt The grid specification section is described below 2014 Digital Vision UM 2014 1 07 sm Appendices
202. e read from the file and then run the project and composition are opening only once The project will be saved every now and then Supported Commands Currently supported commands are e splice e overwrite e add version e replace source Command Format Each operation will be on a separate line and have the following format lt operation gt lt path gt record in source in track e g piece Shoes ce O 0400 Le cose io Cebu Shoes ce AKOA ANA replace source Z server ttt ttt 0001 cin 95662 V1 splice images test ttt ttt 0001 cin 1002 V2 add version Z server scene4 78818 cin 67711 211 V3 A dash acts as a place holder 2014 Digital Vision UM 2014 1 07 490 Command Line Interactive Mode interactive mode Interactive Mode lets you type command line commands to the application from the Windows CMD prompt interactively This mode only needs to start the application once and is therefore faster Interactive Mode is useful for testing out the command line Command nucoda film master interactive mode INFO Set current user to Default Interactive mode Type Ul to exit gt I SE Projects ik PROJI De Nuecoda 2004 projects PROII 2 PROJ export Ps Nucoda 2014 Ik projects PROJ Export 55 PROTE De Nuceda 04 pre jeces PECTE gt p PROJ1 import folder S media images testsequences timeline tests C INFO Opening project PROGI Fron D gt Nucoda 2014 1 p
203. e use this translation table to create correct tapenames once imported We support two types of translation table Avid and Final Cut Pro style Translation Table EDL Line Pattern Type Avid style gt gt gt SOURCE Final Cut pro style FINAL CUT PRO REEL Example re Onion ous 001 tape daily 10 V C 05 2042621163 1035 04 5620s Olid FROM FILE S media images mazda 2k 0E5012A 438877 dpx FINAL CUT PRO REEL tape daily 10 REPLACED BY tape daily Stripping Clipname Extensions strip extensions Remove file extensions on any EDL clipnames e g mov before processing EDL LUT Layers lut layers lf the EDL contains any ASC LUT definitions this option will enable processing and creation of a CDL base layer CDL Layers COl Lavyers lf the EDL contains any CDL Color Decision List definitions this option will enable processing and creation of a CDL base layer 2014 Digital Vision UM 2014 1 07 476 Command Line Capturing and Conforming Capture material from top level path specified Print out the internal capture list created match name lt 0 1 gt Whether to use tapename clipname or filmname when conforming exact timecode When capturing expect source clips to match the EDL timecode exactly Link timeline to Found library clips Capture N handles Capture versus Conform Capture searches for source material in specified locations recursively trying to match items reference
204. e vertical dots preceding the button name indicate that this button is a drop down selection list Numeric Sliders Data Entry Pivot Click hold and drag the mouse left and right in the data field to increment and decrement the data value You can also click the mouse once in the data field to select then type in a data value 2014 Digital Vision UM 2014 1 07 18 The User Interface Toggle Buttons Apply CMS Apply CMS Toggle button off Toggle button on Project System Preferences A group of three toggle buttons with one enabled Radio Buttons C Frames QJ Timecode A group of two radio buttons In a group only one option can be selected at one time Option Buttons Dual display 7 Dual display Option button off Option button on Information Dialogs Informational Query Warning Error Informational Request for user Warning or error alert messages no user input Sometimes including a interaction required request for user intervention 2014 Digital Vision UM 2014 1 07 Interface Conventions ag Main Screens The application environment is composed of a number of components within which you do the majority of your work These include the main Project Screen the Project Desktop and the Project Library Project Screen The Project Screen is the first screen visible when we launch the application This is where we create and manage our projects and access our global
205. eated explicitly 2014 Digital Vision UM 2014 1 07 EDL Import and Conform 471 Command niece film mi tei poeet PRO TO cou Ss e ee eel ney name compname INTO opening PEJ E PROG From ND Nweoda Uk prog INFO ttt edl imported Adding to an Existing Composition import edl lt path gt add The add option will import the named EDL and add it to the named composition Requirements e Name the composition we are operating on using the composition option Command mucoce ic nagre 0o jee Oa composition compname import edil S edl ttt extra edl add INO Opening progjece PROUIY from De Ngacoda 2014 pros INEO Opening Composition Cana INFO ttt extra edl imported Target Track track target N Use this option to add the imported EDL to the specified track If this option is not given the EDL is added to the next available track which will be created Ka The imported EDL will overwrite the target track Marking an Existing Composition import edi lt path gt mark track target N The mark option imports the named EDL and places marks scene edits on the track specified We place the edits on the target track as per the EDL In Out record timecode for each EDL event Requirements e The composition Option is required e The track target option is required to specify the target track we mark 2014 Digital Vision UM 2014 1 07 472 Command Line Comman
206. ect Toolbox to the left of the timeline 2014 Digital Vision UM 2014 1 07 238 DVO Effects oF DVO Dust The selector displays the groups and effects as a drop down list DVO Restore DVO Video DVO Dust Fix DVO Enhance DVO Fix DVO Convert DVO Flicker Effect DVO Print Align Transition DVO Scratch Generator DVO Steady Composite TE Colour Transform Applying a DVO Effect Once you select the DVO effect you can add it to the active timeline section as v1 YY YYYTYTYTYT e Part of the Inout FX group or e A new FX Layer Adding the DVO effect inserts the selected DVO tool at the appropriate place in the Effects Tree to the left of the timeline Input FX Press the Input Fx button to add the selected effect to the Input FX group 2014 Digital Vision UM 2014 1 07 Introduction 23 In the example below the selected effect here DVO Flicker is added at the top of the effects stack in the Input FX group Action Effects Tree Result Y ci Input FX DVO Flicker b 2 Master Ci FX Layer Press the FX Layer button to add the selected effect to the FX Layer group In the example below the selected effect here DVO Flicker is added to the FX Layer group An FX Layer gives you extra layer tools such as a Keyer and Shapes Action Effects Tree Result DVO Flicker VIC 1 FX Layer Matte lt Keyer lu shapes Matte Tools Router G a P Master In
207. ect Layer and as part of any Colour Correction Layer CC Layer Available Shapes Polvgon Ei JE There are four basic shapes available Four points define rectangle User clicks and drags to set dimensions Points are not bezier spline style Ellipse Four points define ellipse User clicks and drags to set dimensions Points are bezier spline style 2014 Digital Vision UM 2014 1 07 Polygon User clicks to add points minimum three and define shape Straight edges define shape Points are not bezier spline style User clicks to add points minimum three and define shape Points are bezier spline style Valhall Control Panel You can add a shape using the Control Panel using the Image Panel Iso y menu and pressing the corresponding shape button e g Ellip 9e 9 Mat gt Key 5 Shp Ellip Rect ST f E Base Isolate You can also use the mage Panel Quick Shape buttons above the trackball mouse Ellipse O O Left mouse button Rectangle O Bezier Image Panel The ESC key on the keyboard closes a polygon and bezier shape 2014 Digital Vision UM 2014 1 07 Transforming Shapes 335 Transforming Shapes Position Transform Move X You can move scale and rotate a shape via the Transform button When the Transform button is enabled the shape is displayed with transform controls Scale Move Rotate Transform controls on s
208. ect Selector Configuration The Effect Selector is the drop down list that displays all available effects These can be selected and added to a segment on the current composition DVO Convert Jr DVO Enhance be DVO Restore be DVO Video P Effect saturation Generator SOP Transition Printer Transform Levels Composite Lift Gamma Gain re Matte F nce The Effect Selector drop down list Interacting with the Effect Selector drop down list and choosing an effect to add to the current composition Effects are placed within Effect Groups Above we see the group Colour containing the effects Channel Mixer Saturation SOP and other tools The order of the top level effect groups the effects within each group and the order the effects appear inside a group are controlled by configuration files Configuration Files There are two possible configuration files One is the default configuration and exists in the application C Nucoda 2014_1 root The other user file will override the defaults if you create it and place it in the same folder By default this user configuration file does not exist Default Configuration File Name de faulteffectList prefs This is the main configuration file for the drop down list and defines the effect groups and the effects that appear in each group by default KI Do not edit or modify this file It will be over written every application install If you want to modify the effect selector
209. edit the userEffectList prefs file 2014 Digital Vision UM 2014 1 07 Effect Selector Configuration sa User Configuration File This file does not exist by default If it exists it will over ride the default settings in the defaultEffectList prefs file An example userEffectList prefs file exists in the example files folder Configuration File Format A high level overview of the file format is shown below effectList These effects appear in top level effects effectl effect Multiple GROUPS allowed GROUP As displayed as menu name name NAME As appearing in sub menu effects effecti effect Add more effects to top level here effects effect3 effect4 or false Insert default effects insertDefault true Do not show these effects Hidden effects effectA effectB Note that the entire effectList content is wrapped in SQUARE brackets effects List effects to use to display or to hide e Each is quoted and separated with spaces 2014 Digital Vision UM 2014 1 07 bag Appendices e The effect names used are the effect id You can list all the effect id s by running the application with the argument effect ids e g cd NProgram Files Nucoda 2014 1 nucoda fuse exe effect ids e You can have multiple effects lines e You can use multiple effects tags e An effects tag at the top level is displayed at the top
210. efaul toutputFormats prefs This is the main configuration file for the drop down list and defines the standard output formats available You should not edit or modify this file It will be over written by every application install If you want to modify the format list edit the userOutoutFormats prefs file 2014 Digital Vision UM 2014 1 07 Output Format Confguration 535 User Configuration File This file does not exist by default If it exists it will over ride the default settings in the defaultOutoutFormats prefs file An example userOutoutFormats prefs file exists in the example files folder Configuration File Format A high level overview of the file format is shown below outputFormats 2014 Digital Vision Multiple formats allowed FORMATNAME Must be unique name lt Format Name gt size NN aspect W H fps N N fieldOrder lt FIELD ORDER gt dropFrame lt Boolean gt initial lt Boolean gt FORMATNAME2 Must be unique name lt Format Name gt size NN aspect W H fps NN fieldOrder lt FIELD ORDER gt dropFrame lt Boolean gt initial lt Boolean gt insertDefault lt Boolean gt as displayed X Y pixels Rational aspect Rational FPS See below Optional see below as displayed X Y pixels Rational aspect Rational FPS See below Optional see below insert default list Note that the ent
211. efault DPX image format used for DPX exports Values Big endian Little endian Default Big endian e Big endian cineon format e Little endian OpenGL format A big endian DPX file has header magic SDPX ascii A little endian DPX file has header magic XPDS ascii This specifies the byte order used in the file and has an impact on DPX compatibility The default should be most compatible DPX Export Colour Depth DP export colour Current colour depth RGE O 12 bit PGR O 10 bit YU depth This specifies the default bit depth and colour data format for exported DPX image files e Current colour depth RGB default This sets the export bit depth per channel as per the current output format and uses RGB colour space e 12 bit RGB use 12 bits per channel RGB e 10 bit YUV use 10 bits per channel YUV Ka Leave this at the default setting unless you are sure you need to change it Render Tile Frame Threads Fender tile threads 2 Render frame threads 1 These settings control how many frames we try to render in parallel and how each frame may be split for further concurrency in the render process e Render tile threads this defines how each individual frame is split tiled for rendering in parallel across multiple CPU cores e Render frame threads this defines how many whole frames are rendered in parallel 2014 Digital Vision UM 2014 1 07 so Appendices D These settings are de
212. el value used by BL will be taken from the project setting The AUX colour will be taken from the general prefs preference file and will be set once on project creation The general prefs setting for AUX colour is auxColour and defaults to black Parameters are given for red green and blue where values are 0 0 to 1 0 Ra BL and AUX segments are never active blue As a result of this you cannot start a colour dynamic on these segments only end on one Grouped Shots You can group segments together and apply your grade to the group rather than to each shot individually A shot that is part of a group and when that group is current is shown with a green triangle at the end of the segment 004 scene 00 00 04 12 Segment is part of a group If segment thumbnails are enabled the thumbnail will cover part of the triangle Manipulating Compositions Timeline editing tools are found on the timeline toolbarat the bottom of the main screen 2014 Digital Vision UM 2014 1 07 Switch iToal Bai You may need to change from the effects to the editing toolbar using the switch button The following sections relate to both video and audio material Adding Media You can manually add shots to the composition timeline by using drag and drop from the library or by using the splice or overwrite tools from the keyboard or GUI buttons Clip insertion will obey the current ripple mode and will be inserted at either
213. en New Delete Rename 7 Stereoscopic Output Composition You should have Multi track Grading enabled inside the project Notes Shot Source Multi track Grading ON Library Mems 2014 Digital Vision UM 2014 1 07 22 DVO Effects oF A clip with Multi track enabled will display edge markers as shown below Multi track ON clip Adding the Tool DVO Stereo Fix must be added as an nput FX tool DVO Stereo Fix Overview The tool has the following basic control layout with the two primary tool areas being e Colour matching controls e Alignment geometry controls 2014 Digital Vision UM 2014 1 07 DVO Stereo Fix ag View Controls Mute Swap Eyes View Mode Normal Mute Mutes both the colour match and the align match as well as any associated border blanking modes The parameters in this section regarding view and orientation remain active i e SwapEyes ViewMode Mirror Flip This can be used to compare before and after while correcting any necessary mirror flip Swap Eyes Swaps left and right eye on output All parameters referring to either left or right are associated with the source left and right tracks As such the actual processing is not affected by swapping eyes on the output View Mode Values Normal Blended Side By Side Default Normal This control allows different view modes to be applied on the output and is used mainly for vis
214. en them Recommendation Once you have set the basic configuration files use this tool to save the current preference as Default Once you have done this you can change the preferences for a new user update and save as as User 01 User 02 etc A list of user preferences will be displayed in the Available user box To switch to a different user select the user and press the Install button These preference files are saved separately from the application allowing you to re install safely without losing preferences 2014 Digital Vision UM 2014 1 07 Preferences Assistant 533 Keycode Keycodes sre numbers appearing on the edge of film incrementing once per foot used to uniquely identify frames for negative cutting Also Known as edgecodes they are the film equivalent of timecode The key numbers identify certain traits of the film including the manufacturer the stock type a prefix identifying the roll and a footage count A keycode has a format KZ 12 8506 2190 05 where KZ Manufacturer code KZ is Kodak 12 8506 Prefix identifies film roll 2190 The count is 4 digits that increment once per foot 85mm film 4 perf 16 x 4 perfs per frame 05 nabang how many perforations the frame is from the keycode mar Using the count and offset values we can calculate the frame location as long as we know how many perforations there are per frame and per count The DPX file format includes keycode in the file hea
215. entions The R3D file is a 12 bit RAW format that supports high resolutions and high dynamic range images A full dynamic range is preserved by extracting the raw R3D data at 16 bits but we may later choose to work with 10 bit DPX files See the section Properties and Metadata The RED ONE camera can shoot at a number of different resolutions and the highest resolution shot will determine the resolution of the main Full Premium decode R3D shot ig A004 CO19 080612 001 R3D ae 114 Medium Dynamic decoding of the Red R3D raw image data 2014 Digital Vision UM 2014 1 07 Format and Conventions 43 Each resolution is defined by its size and its quality Full Size and Premium Quality is the maximum resolution the camera has shot and this will determine the alternative decode formats available The 7 2 Premium mode is half the pixel resolution but the same decoding quality The table below show the possible decode resolutions for the RED ONE 4K camera shooting its maximum resolution of 4096x2304 Size Quality Width Height Full Premium 4096 2304 1 2 Premium 2048 1152 1 2 Medium 2048 1152 1 4 Medium 1024 576 1 8 Medium 512 288 1 16 Medium 256 144 Note that a Full Premium decode of a 2K shot will have a resolution of 2048 x 1152 EI Full Premium at 4K is supported on 64 bit Windows only Files and Folders By convention the R3D filename encodes some basic metadata The R3D filename A004 C01
216. equence appears in Nucoda fully rendered Expand nested tracks and This will expand any nested effects you have in retimes the AAF placing the various source constituents on the Nucoda timeline over the appropriate number of tracks See Nested Effects Motion effects will be displayed as a Nucoda adjustment seqment at the correct length of the effect in the sequence The full length source media is placed below the adjustment segment on a separate track See Retimes NOTE lf you are planning to finish on the Nucoda or use the Record AAF Workflow you should not use this option on import 2014 Digital Vision UM 2014 1 07 AAF to Nucoda sn Media Files Media files Avid MediaFiles G3 Avid MediaFilesi H Avid MediaF iles The Media Files setting lets you configure the paths searched for MXF media referenced by the active AAF file The GUI lets you configure three paths More search paths can be set in the general prefs file mxf avidDirectory I NAvid MediaFiles G Avid MediaFiles Only the first three values will be displayed in the AAF Import dialog window EJ Top Level Folders Each Media Files search path has to be set to the top level folder or the search will fail to find media and an error dialog will appear see below The top level folder contains an MXF folder Correct I Avid MediaFiles Wrong I Avid MediaFiles MXF DVAVID 1 2014 Digital Vision UM 2014 1 07 s
217. er Temporal 1 Use this drop down button to select the max filter with which to process large stains 2014 Digital Vision UM 2014 1 07 Values Spatial Mixed 1 Mixed 2 Mixed 3 Mixed 4 Temporal 1 Temporal 2 Copy Prev Copy Next Bypass Default Temporal 1 When the Max Filter is enabled the normal filter used for the adaptive filter sizing will take care of the small dirt When the upper size limit is reached it will automatically switch over to the filter selected here The filter used here would typically be a larger temporal filter The Max Filter can also be set to Bypass which will leave big stains unprocessed These can be processed later by a de blotcher or 3rd party software Size This specifies the size of the spatial part of the filter for spatial and mixed filter types Use a large value when processing large bits of dirt Range 0 to 15 Default 3 Motion Motion VV idth Width Motion Widthis used in combination with the Motion control in the Processing section and defines the motion adaptation behaviour When motion width is set to O the motion setting will be used as a threshold discriminating between moving and non moving parts When motion width is set to a non zero value the classification will change gradually from no motion to full motion Motion width then specifies the size of the transition region Range 0 to 255 Default 30 2014 Digital Vision UM 2014 1
218. er layer The inactive tools can not be changed and have to remain in the given order Re order CC Layer Tools 4 Digital Vision 2009 1 Preference Assistant Welcome Master Layer Tools CC Layer Tools Panel Tools Media Locations Monitoring Video 10 License Users ChannelMixer Saturation SlopeDffsetPower PrinterLights LiftG ammaGain Balance RGBMLevels DifferentialColorCorrect BrightnessContrast BrightnessRegions RGBMCurves None None SoftClip HueCurves HLSColorCorrect Blur ChannelMixer Reset All Saturation SlopeD ffsetPower PrinterLights LiftG ammaGain Balance RGBMLevels DifferentialColorCorrect BrightnessContrast Brightness Regions RGBMCurves None None SoftClip HueCurves HLSColorCorrect Blur This may not correspond to your current configuration As the Master layer tab but operating on the CC Layers 2014 Digital Vision UM 2014 1 07 Appendices Re Order Panel Tools S Digital Vision 2009 1 Preference Assistant welcome Master Layer Tools CC Layer Tools Panel Tools Media Locations Monitoring Video 10 License Users Master Layer Tools CC Layer Tools Reset All CMix CMix x CMix Bal Bal Bal ColC 8 8 8 ColC w ColC BReg BReg BReg Clip HCurw HCurv SOP Clip vw Clip Lev sop SOP 8 8 8 8 RGB Lev RGB None H Cuv HLS Key CHix Channe
219. ereo through DVI to a supported display device lf your stereo display device uses an interlaced DVI signal enable this via Preferences Monitoring VideolO Interlace Stereo DVI Output Enable OpenGL readback to Video v Interlace Stereo DY Output Interlaced Stereo mode is incompatible with OpenGL read back and will be hidden if read back is enabled Using Stereo f Stereoscopic Output is enabled for a project stereo display output will be sent to the configured stereo display device SDI or DVI automatically Composition tracks V1 and V2 will both be sent to the display device as the left and right stereo channel 2014 Digital Vision UM 2014 1 07 Using Stereo 187 Left Eye Right Eye Stereo channel SDI output order Track Stereo SDI Output VI Left A V2 Right B You can reverse this order via the toolbar button Library Frames F or by changing the general prefs parameter reversestereoOutput This parameter is inside the I0Card section of the preference file Viewing You can view and compare the two stereo channels by choosing a compare mode between the two tracks Compare modes are described in the Comparison Mode section Multitrack Grading You can grade both stereo channels at the same time and apply notes to both channels by enabling Multitrack Grading Switch to Memories mode Memories Exit Project 2014 Digital Vision UM 2014 1 07 188 Stereo Mul
220. erial may not be processed properly Default From Project 2014 Digital Vision UM 2014 1 07 m6 DVO Effects oF Parameters Overall strength 100 Low Detail Sharp 100 Lowlight Trim spatial strength 100 High Detail Sharp 100 Highlight Trim et Sie se 150 Image Noise Level 1 Overall Strength Numeric slider value range 0 200 Range 0 to 200 Default 100 Spatial Strength Numeric slider value range 0 200 Range 0 to 200 Default 100 Crispness Numeric slider value range 0 200 Range 0 to 200 Default 150 Low Detail Sharpening Numeric slider value range 0 200 Range 0 to 200 Default 100 High Detail Sharpening Numeric slider value range 0 200 Range 0 to 200 Default 100 Image Noise Level Numeric slider value range 0 2 2014 Digital Vision UM 2014 1 07 DVO Sharpen 317 Range Oto2 Default 1 Low Light Trim Numeric slider value range 25 0 Range 25 to O Default 0 High Light Trim Numeric slider value range 25 0 Range 25 to O Default 0 2014 Digital Vision UM 2014 1 07 as DVO Effects oF DVO Cross Colour Y C input FX Cross Colour also known as Chroma Crawing is a defect that results from crosstalk between the chrominance and luminance components of a composite video signal PAL or NTSC Once a video signal has been in the composite domain this defect is not easily removed Parameters Enable When enabled DVO Cross Colour w
221. escription column Location DES CFO TUBITS 10240800 PSCENE sC_ 01 TTAKE 00 1 Cmedia audiomult fTAPE 005 TEVENT 30116 TSPEED 02793 976 ND TTRK T mono mix TTREZ mik down 10 db Audio Waveforms The audio display button toggles the display of the audio waveform The waveform is overlaid on the audio segments and the output display monitor L Play Output On the timeline segment the audio channels are shown stacked on top of each other as shown below Audio track with 5 channels as segment waveform 2014 Digital Vision UM 2014 1 07 Composition Elements ss Audio Properties SC_01_001 48000 S Properties To view and modify the audio metadata and properties select the audio clip in the Library and press the Properties button The audio clip properties window will open This lets you view and modify metadata such as the audio clip name and description Audio clip property dialog including audio patching interface Audio Channel Patching Patching describes the method of switching and or affecting audio signal routing between input and output audio channels For example you may want to mute an audio channel or route the signal in channel 2 to output channel 1 There are two places in the application that allow audio patching 1 On an audio clip file 2 On a composition timeline Adjusting the audio patching on an audio clip is specific to this clip only Adjusting the audio
222. essed captured as one This can minimise the amount of work required to capture the same amount of material Consolidation reduces the total number of events to capture Don t consolidate Ignore potential consolidation and show every event in the list Consolidate on Consolidate overlapping timecodes within the same tape tape Consolidate on Consolidate overlapping timecodes within the same clip clip You can also use consolidate in conjunction with the handles function to increase the length of media required by events that are close in their timecodes but not overlapping By making them overlap on purpose the source material can be captured in one go as a single clip Capturing the List When ready press Capture L ist to start the capture Once capture starts the Capture List button turns red 2014 Digital Vision UM 2014 1 07 Video Capture 371 Buttons Skip Event Skip Tape and Stop Capture are also enabled now In between capturing each event whilst the deck scans to find the correct position these interactive buttons will become disabled Capture Marked Capture Live skip Event oes oO lam stop Capture skip Tape Capture single Ss mucodav3 B Captureysusumu_Capture s O Audio C audiorsusumu_ Capture Deck Status WTE HOW FSOO 25 FPS REC LOCK Once capture is complete or stopped you should look at the status of each event in your list to check that it was captured correctly and that the Materia
223. etter results for larger scale reductions Gaussian Filtering All pixels falling within the projected pixel boundary are sampled and weighted using a gaussian filter kernel This produces better results than the box or bilinear filters in so far as it results in less aliasing but is slower ZOM Filtering Uses a sinc filter and is the best general filter for up and down scaling providing a sharp result without artefacts This is the default setting Lanczos Filtering A windowed form of the sinc filter which may give better results in some cases 2014 Digital Vision UM 2014 1 07 Creating Projects a Colour Management System CMS Each defined output format can have an independent colour Look Up Table applied LUT as part of your Colour Management System CMS A variety of LUT formats and CMS systems are supported including the Nucoda CMS THX Cinespace and Kodak The LUT can be used in two ways e As aviewing only LUT The LUT is not rendered on the final output The LUT can be selected and toggled on off inside the project e As arendered LUT on the output Pressing the Apply CMS button marks the selected output format with CMS and burns in the LUT on this format Sample CMS LUT files are provided in the folder C Nucoda 2014 1 root cms Project Sources and Proxies Format Filter Bilinear Filter M Eyy Project Sources refer to source material available inside a project and how the source
224. euceeecue 397 Interplay Setup ccc cece eee e eee e ee eeeeueeeuuuee 398 Record Order AAF Out 770 cece cece ccc ncuueueueeueuuennaes 401 Export Record Order AAF aaa 402 Avid Imports Record Order AAF 403 Automatic Check In to Interplay 405 MXF Back to Avid ee 407 Nucoda Exports MXF c ce cee eee 407 Avid Relinks MXF Za 410 Avid DS bce LK nG a BAYAAN sh Ka KK 412 MXF Staging a 414 Avid Effects aa E aaan 415 Rendering Avid Effects aaa 415 Retimes aaa aasa 416 Freeze Frames RA AA Season ke cents 416 Nested Effects LL aaa asaan 416 LL U AA APA 417 Dip To Colour a 417 Avid Multicam a 417 Subclips Co GT bA AG ed ee AKA BAGAN GN AG ANG Ad a hahaa 418 PAA 419 Red Support ooo ccc cece ence eee ee teens ene en ens 422 Format and Conventions 422 Properties and Metadata 425 Conforming with RED user ceue eee 433 Workflows a eee 439 UM 2014 1 07 6 Nucoda User Manual Working with R3D Files 440 Command Line 222 445 User Login 447 Creating a Project 447 Project Format Specification
225. evert to the Found state Once conformed you can close the List Capture module and return to the project desktop 2014 Digital Vision UM 2014 1 07 Compositions Compositions 7 A composition can be considered a container within which you compose your work A project can contain an unlimited number of compositions each of which can contain any number of video and audio tracks and their media segments Compositions consists of e Video and audio tracks to arrange your media e Bookmarks e Edits and transitions e Shot versions e Any grading and effects on the shots of tracks e Play heads and marks The composition is the basic building block of any creative work you do f Bi Composition item in library selected and composition timeline below Creating Compositions You can create a composition manually or by importing a supported list file e g EDL or an AAF file 2014 Digital Vision UM 2014 1 07 Compositions Manual Creation To manually create a composition press the New Composition button in the Library Screen New Composition This will close any open composition create and open a new one The new composition will be named Untitled by default but you can name it via the Properties dialog window or by double clicking the Material Name field and typing a new name Thumbnail Type COMP ANew Name Renaming a composition manually by typing in new Material Name The
226. export lt path gt export mode lt single multi gt REQUIRED This command will render and export the specified composition given by the composition parameter to the specified path 2014 Digital Vision UM 2014 1 07 Exporting Shots 483 The lt path gt argument should be the full path including the drive letter filename and extension The export mode option is required Command s film master project PROJ1 composition COMP1 export mode single export Z jobs 001 graded m dpx INFO Opening prejece PRODI INEO Opening Composition COME INFO export exported O frames of 60 03 INFO export exported 60 frames of 60 1003 Exporting shots on the command line will not generate caches This is different behaviour to the GUI where you have a choice of caching behaviour when exporting media Export Variables The export path specified with export can contain export variables such as So f etc See section Export Variables for a description of available variables Example 6KXPOrE S vexports So Se graded Apa export mode single Producing a single file sequence named from the clip name in a folder named from composition GRADED MASTER approved 090000 dpx approved 092421 dpx Exporting Numeric Files To export files with numeric filenames only use the Sf frame number variable export S exports Se Sf tiff Produces numeric files in event folders e g
227. exported to the first Avid Mediafiles directory specified in the general prefs file Typically this will be S Avid Mediafiles The location specified in the export process is the location for the new edit modified AAF file Set Format and Options Set your export format as AAF and choose a media export format e g Avid DNxHD 185X Formats dnxhd 1080p 120 25 Formats dnxhd 1050p 1654 25 Formats dnxhd 1080p 185 25 The formats made available will depend on your project format You will not be able to set handles or choose uncompressed MXF formats when exporting an AAF You should also choose to export using one of the modes e Tracks Multi Src TC e Visible Multi Src TC 2014 Digital Vision UM 2014 1 07 AAF Back to Avid with Interpla 397 See section Export Modes Export and Check In Select the Export to Interplay box Export To Interplay With the export to Interplay option selected MXF media will automatically be placed in the folder specified in the Interplay configuration in the general prefs file These media files will also be checked in to Interplay and indexed provided that the Interplay Volume is indexed by a Media Indexer Name your AAF file and press the Export button MXF Staging Note that MXF files created as part of an AAF export are staged in the tempRootDir folder before being moved to their final destination and checked into Interplay See MXF Staging Once
228. f points per f stop can also be calibrated On the panel the top menu knobs adjust red green and blue Printer Lights when the Color panel is set to Balance Color Curves or Brightness Regions and the right hand menu selection is button 1 labeled All Printer Lights affect all pixels and produce a very clean correction They are ideal for balancing raw images log files or flat transfers They are also a good way to remove color casts and adjust color temperature offsets Density Density is Printer Lights ganged together and a density reset makes each of the RGB Printer Light values neutral Density works the same as the Brightness tool in Brightness Contrast and is also known as offset in some other systems Although Density and Brightness behave the same they are in fact different controls and occur at different stages of the processing path within a layer They can be used independently of each other although Brightness is used less frequently because it does not appear on the control panels See 5 Gamma to learn more about Contrast This control affects all pixels equally regardless of luminance color or position Its affect is similar to camera exposure and it is useful for adjusting the source image dynamic range to a pleasing level Since it does not squeeze or stretch the dynamic range it causes no artifacts and is a great control to start grading raw or flat scanned images Some use Density to set black levels and
229. f Premium decode of a 4K Full Premium shot and the ZOM filter resize of the Full Premium 4K to 2K Full Size Image with Region of Interest Higher quality can be observed using the ZOM filter 2014 Digital Vision UM 2014 1 07 aag Red Support Half Premium decode of 4K to 2K ZOM filter of 4Kto 2K EEI Note that decoding Full Premium at 4K requires 64 bit Windows See below OLPF versus DVO Sharpen Filtering These examples use the ZOM filtered 2K shot and shows a higher quality result with the DVO Sharpen tool OLPF set to High DVO Sharpen Tips Resolution Support Full Premium or greater source support requires 64 bit Windows Memory Usage The RED SDK can use a lot of memory Signs of memory may include e Memory allocation failures warning logs or CMD shell e Occasional Missing Media plates being displayed in the monitor 32 Bit Windows Set the application Image Memory to a smaller value Via the main application Preferences Rendering section 2014 Digital Vision UM 2014 1 07 Working with R3D Files aag Image memory ME 700 or via the main preference file general prefs memoryImagePoolMaxMB 700 Try reducing this from the default 1024 MB to 700 MB Turn Render BG off EE Ea A Render Btls 64 Bit Windows On 64 bit Windows you should have a much greater memory headroom This should allow you to set Image Memory to 3000 assuming 4GB total RAM available Image
230. f the list formats EDL CTL Options Options The Options button is available for the EDL and CTL formats This will open a new dialog window and let you set various options for the chosen output list format EDL Options Video Mix Down Cuts Only solo Video Track 1 Chia Legal Clip Details Output Timecogdes Video Mix Down Selecting Video Mix Down will export shots from all tracks with mixed down view i e shots cuts as seen from the top track downwards Solo Video Track If you have more than one video track use this drop down list to select the track to export Clip Details Add extra metadata to each exported shot e g clip name file name e g FROM CLIP NAME A005 FROM FILE T media images tc 00000 dpx SSEROM COMMEND Check this is T Ok laren The comment is taken from the shot description column in the Library Cuts Only This option will only export cuts no retimes or dissolves CMX Legal The CMX Legal option will disallow the creation of illegal CMX EDL files The is particularly important with regards to the tapename 2014 Digital Vision UM 2014 1 07 Export Composition 159 A legal CMX tapename will have e no spaces e eight characters or less If you disable the CMX Legal option you will be limited to 36 character tapenames However the tapename must still contain no spaces When you have adjusted the export properties close the options dialog and pre
231. f the tapename field we extract when importing each sequence found 2014 Digital Vision UM 2014 1 07 ago Command Line lf you do not specify these options the default settings will be used as set up in your preferences Command s film master project code2 import folder z scans reel4 filter format tif tapename filename 1 INFO Opening project code Trom m EO Babel xx MEO ng rectory O CE NO INEO Patch 7 meor Ing di reclory LO 5 A0 ENE barch Importe iecemplered sas O OE 100 Timecode timecode header 112 timecode filename These options override the source of the timecode we extract when importing each sequence found Using t imecode header Will attempt to extract the sequence timecode from the file header ff this does not exist e g the format does not support header timecode then the filename numerics are used to calculate the timecode f you do not specify these options the default settings will be used as set up in your preferences First and Second Timecode This is a Red R3D file specific option argument The timecode header option takes an optional argument 1 or 2 This allows us to specify whether to use the first or second timecode from an R3D file With no argument we default to 1 Command film master project code2 import folder z scans episode5 filter format r3d timecode header 2 INFO Opening project code from n ENERO bat
232. fault R G B Setup Enable Presets m Process N E SEtUp View ie Flew Mode Dirt On Luma Turning on the View toggle button will provide an overlay preview showing detected dirt The type of overlay can be selected via the View Mode drop down list Default Off View Mode View Mode Dit On Red Input View Mode Dit On Red Output View Mode Difference 2014 Digital Vision UM 2014 1 07 Values Dirt On Luma Dirt On Red Input Dirt On Red Output Difference Default Dirt On Luma Where e Dirt On Luma The detected scratches dirt are high lighted on a monochrome input picture with lowered luminance e Dirt On Red Input The detected scratches dirt are shown with red on the unprocessed input signal e Dirt On Red Output The detected scratches dirt are shown with red on the processed output signal e Difference The difference between the unprocessed input and the processed output is displayed Colour Colour Linear SMPTE The drop down list will default to the project setting for the input format You need to set this control according to the material that you are working with If the footage was shot with a video camera select a linear format If this control is not set correctly the material may not be processed properly Default From Project History Required History Req The DVO Dust effect is recursive Recursive means the result for any given frame depend
233. ferences will not be registered A higher value means we are less sensitive to difference Range User set Default 5 units Default Colour Scaling 2014 Digital Vision UM 2014 1 07 520 Appendices Default Colour Scaling Linear SMPTE Output Clipping This parameter controls the default scaling mode used on a new project See Project Colour Scaling For a discussion of colour scaling modes see the Colour Scaling section in the Setup Manual 2014 Digital Vision UM 2014 1 07 Application Preferences 521 Monitoring Video IO MonitoringVideo 10 a Enable Dual display O Enable NVIDIA SDI direct output DYI order gt Ul 1 Monitor 2 SDI Link YCrCb 422 P Centre Default format HD 1080i O Always use default format for monitoring C Enable OpenGL readback to Video Default Audio Capture Bitrate 16 Bit O interlace Stereo DYI Output O Use Video IO card as audio monitor v Enable SDI O Card SO Link H a 422 Default format PAL C Always Use default format for monitoring Priority format Match psf format R542 COM port 1 Output Sync External sync The Monitoring Video IO preterence tab configures global settings for display modes timeline monitoring and video and audio VO EN Note that changing many of these settings requires an application restart Enable Dual Display u Enable Dual display DV order Monitor 1 UT 2 Centre f Enable Dual Display
234. first go to the Users section and create a Default general prefs file and then additional user files to update Also note that the in application preferences will be applied to the current active user preference file Welcome Screen S Digital Vision 2009 1 Preference Assistant Welcome Master Layer Tools CC Layer Tools Panel Tools Media Locations Monitoring Video 10 License Users Digital Vision 2009 1 Preference Assistant c Digital Vision 2010 System Info On this tab you have the option to look at some system information such as operating system version MAC Address Cards and Drivers 2014 Digital Vision UM 2014 1 07 Preferences Assistant Re order Master Layer Tools 4 Digital Vision 2009 1 Preference Assistant Welcome Master Layer Tools CC Layer Tools Panel Tools Media Locations Monitoring Video 10 License Users ChannelMixer Saturation Sloped ffsetPower PrinterLights LiftG ammaGain Balance RGBMLevels DifferentialColorCorrect BrightnessContrast BrightnessRegions RGBMCurves None None SoftClip Saturation ChannelMixer Reset All Saturation SlopeD ffsetPower PrinterLights LiftGammaG ain Balance RGBMLevels DifferentialColorCorrect BrightnessContrast BrightnessRegions RGEMCurves None None SoftClip Saturation This may not correspond to your current configuration Re order or remove colour tools available on your Mast
235. followed with a file path e g FROM FILE C media film cc scans 007882 dpx Then the event material will be loaded into the library if we enable the following on EDL import Import material from file paths 2014 Digital Vision UM 2014 1 07 564 Appendices EDL Import Import All events into i Dverwrite existing track Merge existing grades from s Vv Import material from file paths VI Conform to material see the Export Composition chapter for details of EDL export options AAF This is the Advanced Authoring Format Extensions aaf Read Write see note below Options Format See MXF Formats section Export to Off On default off Interplay Exporting an AAF requires the composition to have been created from an imported AAF CUT This is a film cut list file Extension cut Format We expect a line The cut list in construction order We expect a line after this skipping empty lines and comments that starts with the word Shot We skip 2014 Digital Vision UM 2014 1 07 Format Support 565 e lines that start with a string of asterisks e blank lines A Title line becomes the title of the created composition This is a fixed format text file with the following fields index from O zero Fea JSum uengm so ooofo fo n Frame Sen CE A EE Example CUT File Length Rec Length This is taken from the release distribution and th
236. for various Avid effects in the documented work flows including any caveats around them This list is not exhaustive Please direct any feedback to us through the web forums at http forum imagesystems se Rendering Avid Effects When exporting an AAF from the Avid one of the Export Settings available is Render Video Effects Enabling this will cause the Avid AAF export process to render all timeline effects Avid calls these renders pre computes if you are planning on returning to the AVID via AAF we would recommend that you do not select the Apply AAF effects option on import into the Nucoda Pre Computes Introducing pre computes to the work flow adds some extra complexity that you will need to be aware of e Pre compute clips will not re link on return to the Avid They will also not be updated in the exported AAF an Avid limitation However the Nucoda processed e g graded pre computes shots wil appear in the Avid Media Tool and are therefore available to you for manual timeline addition e Merging the grades into updated AAF sequences will not work for pre compute shots because they do not contain timecode or tapename information 2014 Digital Vision UM 2014 1 07 ate Avid Integration Make sure all effects used in the Avid are fully rendered no partial renders By default Nucoda treats all transitions as dissolves if you sequence contains any transition such as 3D wipes or spins you
237. frame padding of six Shot Handles 2014 Digital Vision UM 2014 1 07 Exporting Shots 485 export handles lt N gt In multi mode export set how many handles to export per shot This is required in multi mode SMPTE Level Clip smpte level clip lt true false gt This setting will clip the exported shot to a SMPTE video level i e 64 940 for 10 bit data This is only applicable to SMPTE colourspace projects Exporting an EDL Export supplied composition to specified EDL file use frame numbers Use frame numbers in EDL instead of timecode Exporting an EDL export edl lt edl file gt This command will export the the specified composition given by the composition parameter to the specified EDL file The lt edl files argument should be the full path including the drive letter filename and extension Command S nucoda_film_master project project x composition c export ed1 S edll edl INFO Opening project project x from D Nucoda 2014 1 projects oro ject INFO Opening Ccompositiom compeesu Result The output EDL will be standard EDL CMX format with timecodes e g 2014 Digital Vision UM 2014 1 07 486 Command Line PTS E OMP eE FCM PAL 001 tape l V T Oo 0424C 0504 256205 01 ee 04 OO SP ROMs Cine NAME FROM FILE S media Images mazda Zk ORS5S012A 438877 dpx FROM COMMENT Exporting with Frame Numbers use frame numbers When expor
238. g libpng 14 html zlib http Awww zlib net 15 Boost http www boost org 16 Protocol http code google com apis 18 Buffers protocolbuffers ACES http github com ampas aces dev 19 Notes 1 http Wwww gnu org licenses old licenses gpl 2 1 html Included with product distribution in folder docs licenses 2 http Wwww ltk org COPYING php FLTK exceptions to 1 3 The MIT License Copyright c lt year gt lt copyright holders gt Permission is hereby granted free of charge to any person obtaining a copy of this software and associated documentation files the Software to deal in the Software without restriction including without limitation the rights to use copy modify merge publish distribute sublicense and or sell copies of the Software and to permit persons to whom the Software is furnished to do so subject to the following conditions The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software THE SOFTWARE IS PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND EXPRESS OR IMPLIED INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY FITNESS FOR APARTICULAR PURPOSE AND NONINFRINGEMENT IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM DAMAGES OR OTHER LIABILITY WHETHER IN AN ACTION OF CONTRACT TORT OR OTHERWISE ARISING FROM OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN
239. g of four clips as per EDL on a single video track These clips will be Offline if we view them using the application monitor Displaying the Capture List capture list With an EDL loaded we can view its status using the capture list option Command gt adn masecr croJjJece NOM cornoes1clon MES ENE DIEU capture list INFO Opening project PROJI INTO Opening Composition rest EDL Cp Start End Tape Sears o 2 HOA E6062 1 O 1 51 5507 I Ol 510 5 721A Ready A2 T 2209 2286256 024 0A LNG ENG 722A Ready 721A 1161957 161965 01 52 27309 01 52226313 721A Ready PRO NEE 1683 1 02 28 05 1116 00 535406 722A Ready This is our internal representation of the EDL and its current status Ready Capturing Capture path match name x0 15 handle length lt N gt 2014 Digital Vision UM 2014 1 07 478 Command Line To perform the capture use the capture option with an argument of a file path to search Command iL MESS orO jee ROUE CCC S ILES CUITE SEM DIO N capture Z server shots INFO Opening project PROJ1 INFO Opening Composition Test EDL alae Start End Tape Status 4 4 po Jala LE0447 160462 I Ole Ske BAO 01 51 25 8522 TA Pound HAL ARC LOT 226256 102237804 02 97 06512 ZZA Found HV s
240. g you to draw a rectangle around the area that you want to fix As soon as the rectangle has been drawn the DVO Fix effect will start processing Somness 0 200 Softness The softness setting applies to the border outside of the rectangle and allows you to adjust how the outline blends into the surrounding area This numeric slider takes values between 0 1 Range Otol Default 0 2 Common Menu Use Handles The Use Handles button controls whether the tool uses source handles when rebuilding the frame This is important at scene boundaries edits because the tool rebuilds using frames before and after the current frame Default On lf this button is on and we are at a scene boundary start or end of shot if we have handles we will use them as part of the rebuilding process lf there are no handles or this button is off no before or after frames will or can be used at the scene start or end and this impacts the DVO Fix result KE Note that a scene detected timeline can have no shot handles so Use Handles should be turned off 2014 Digital Vision UM 2014 1 07 The Erase button becomes enabled as soon as a fix is made to the current layer Default Off Turning on the Erase button will turn the brush into an eraser and applying this to the fixed area of your image will undo previous fixes paki You cannot erase changes to a mixed down layer Mixdown Vix Down The Mix Down button bec
241. h the basic mode enabled selecting the most appropriate setting lf necessary adjust the processing by disabling basic mode and continuing to the more advanced settings In many cases advanced mode will not be necessary 2014 Digital Vision UM 2014 1 07 soo DVO Effects oF Temporal Filtering Temporal strength Temporal Global The temporal or recursive filtering is the most effective filter in terms of reducing grain noise Temporal Strength Use the numeric sliders to set the amount level of temporal recursive filtering in each channel Range Oto15 Default 7 Do not use higher settings than 11 12 except in extreme situations Also note that both Chroma trim and Pos Neg trim see below will add their values to these set strengths Temporal Global Use this toggle button to turn Temporal Global on off Default Off The DVO Grain is an adaptive grain and noise reducer This means it disables the temporal recursive processing of all moving edges within the image to assist in the reduction of motion artifacts Temporal Globalenables filtering of the whole picture regardless of motion for maximum temporal filtering Temporal global should normally be set to Off and only used in extreme situations or to create a motion smearing effect ae Enabling Temporal Global might cause excessive smearing in the picture 2014 Digital Vision UM 2014 1 07 DVO Grain 301 In addition to the above cont
242. hape You can use your mouse to scale move or rotate the shape by dragging an overlay element on screen interactively You can perform the same transformations by using your mouse to modify the Position Scale and Rotation parameters directly via their sliders Position Scale Rotation Transform Move XxX 61 00I Scale XxX 0 517 Angle Move Y sala Lal Scale Y 0 612 Center Pivot s 232 10 Pivot Y 346 00 Pivot Points The Pivot X Y points define the center of the shape for scaling and rotation Initially the pivot points are placed in the exact center of the shape 2014 Digital Vision UM 2014 1 07 115 49 103 99 You can move the pivot location using the GUI sliders or dragging with the mouse The shape will rotate around the pivot 36 4559 Pivot Y 179 99 Valhall Control Panel On the Valhall Panel you can manipulate and transform shapes move rotate scale etc using the Image panel ISO menu on button 2 and 3 e g Ja SE E Mat gt Key gt Shp Ellip Rect Base Isolate Shape Soft In Soft Out wove X Move Y Blur 0 011 0 033 1 000 Manipulating Shapes Shapes are defined by control points A point is selected when it filled white i e 2014 Digital Vision UM 2014 1 07 Manipulating Shapes 337 e To select multiple points use CTRL Click e To de select a point CTRL Click it again e To de select all points click outside the shape You should be in Shape
243. he basic setup options Setup The main configuration options are described below Mode Mode Location Invariant This parameter describes the general nature of the flickering There is one setting curernt Location Invariant This is a flicker that occurs globally on a frame and is not isolated to portions within a frame Future releases will include more Mode options Temporal Window Temporal Window 11 Values 5 7 9 11 Default 11 The Temporal Windowspecifies how many frames to use for the analysis You should usually leave this at the default value 2014 Digital Vision UM 2014 1 07 272 DVO Effects Variation Control m Variation Control 0 500 Numeric slider value range 0 1 Range 0 to 1 Default 0 5 The Variation Control parameter sets how precise and controlled we are when we make adjustments for flicker The higher the value we use the more care is taken Lower values allow for larger adjustments less control Lower values allowing larger adjustments are best for simple scenes Larger settings may be required to take better account of more complex and dynamic scenes with more real world intensity changes e g high speed pans etc Enhanced Adjust Enhanced Adjust Medium Values Off Low Medium High Default Medium This will apply further processing enhancements to deal with small scale variations both local and global HI The High setting wil
244. he centre perform the specified output operation e g Output List Stop Outputetc Status Fields VTR VTR Deck status is shown in the VTR row if the tape is record inhibited it will show REC Lock List During processing or output this row will show the list status and output progress Buffer The Buffer row will display how many frames are buffered and ready for output Output Channels Use the tick boxes to choose which data streams to output video audio or both 2014 Digital Vision UM 2014 1 07 376 Video O Record Edit Mode Preview BYE Insert Edit Assemble Edit Crash Record Review This drop down list allows you to select the edit mode which determines how material is written to tape The following modes are available Insert Edit Each event is recorded at the record in point timecode This mode requires a tape pre striped with the right record timecodes Assemble This locates the record in point timecode of the first event Edit and starts recording From here timecodes are generated assembled as the output proceeds Only the initial in point timecode is required hence only a partially striped tape is necessary Crash Record This method starts recording at the current tape position with no pre roll or post roll used and writes out timecodes as it records This mode will therefore work on a blank tape no pre striping required and is only suitable for laying off contiguous materi
245. head positions Import EDL Import Options Kg Make sure your EDL is the same frame rate as your project or conform will not work 2014 Digital Vision UM 2014 1 07 Conforming with RED 435 Here we import All events as new composition and press the Im port button composition is created and set as our Current Editinthe library and the EDL events appear on our timeline List Capture From the Library press the List Capture button All the events will show as Needed until we capture and conform List Capture Index Status Name Tape Name Clio Name Src In Src Out 000 025 06 56 49 15 001 A001_CO DEL 5 ADD 18 D6 00 002 A001 CO 003 A001 C026 08 62i 3 A001_C026_0806U 06 58 58 20 004 A001 CO26_ 8 A001_C026_0806UH 06 59 11 20 005 A005 C011_08 394459 A005 CO11 0306DL 04 22 57 20 The R3D file header contains two timecodes We consider the first to be primary and use settings VI Match Mame Capture timecode Conform tape name Bia From file name Folder Up Take the timecode from the first Take the tapename from the header timecode 1st tc filename at level O See the Appendix Automatic Naming Press the Capture button and navigate to the top level folder from which to start our search for the required R3D files The folders will be recursively scanned for R3D files that match the list of events according to the conform criteria Once scanning is complete the event list Status field
246. hots These transformations are user configurable and defined in a 3D colour cube file which is loaded into the application on demand or specified as part of an project output format To use a CMS Look Up Table LUT you need to define the project LUT type on the main project setup screen Some samples colour cubes have been provided f CMS was not selected for the output format that you are viewing then the CMS option will appear disabled in the viewer tools menu To activate the CMS option you can simply exit your project add CMS to your project configuration then re open your project Once you have activated the CMS option you can apply the CMS by pressing the CMS toggle button in the viewer tools menu Update Split Tull info all Tull border Hil ml 5 User r cineon hist SW 4 5 Obit R CMS Setup Alternatively you may have chosen to burn in the CMS to your output format via the project configuration options in which case the CMS will be permanently applied and you will not be able to toggle it on off lf you want to change the colour cube that you are using you can use the CMS Setup button to select a different LUT file 2014 Digital Vision UM 2014 1 07 Y med O D q LLI Effects 16 ES Effects Y C Base CC Layer hatte ey Kever A variety of colour correction tools and effects are available each of which can be applied independently to individual segments on
247. icating the current colour orientation s Vector E gt Offset The Trackball Orientation setting also appears in the Control Panel preferences screen Printer Points Per F Stop Printer points per f stop 8 7 Positive Range User set Default 8 This setting specifies the number of printer points used to represent an f stop for the printer lights tool Positive With the Positive setting enabled the number you enter will add colour Uncheck Positive to remove colour Printer Neutral Printer neutral Range User set Default 25 This value represents no change in the printer lights settings 2014 Digital Vision UM 2014 1 07 Application Preferences se Default Layer Show Mode Default layer show mode Inside area Values Red Green Blue Cyan Magenta Yellow White Black Grey Saturated Default Grey Values Inside Area Outside Area Default Outside Area These settings correspond to e Show As e Show Area In Out in the Router settings for each CC Effect layer Default Keyer Input Default Kever Input Values Previous Base Start Default Start This configures which layer a Keyer effect will use as input and corresponds to the layer Router setting Key Input e Start use input of Base Layer as input e Base use output of Base Layer as input e Previous use previous layer as input Compare Diff Threshold This is the threshold below which compare mode dif
248. ile format DPX TIFF MXF etc e Export Composition exports the active composition as a list file e g an EDL Version 2014 1 also lets you export to an AAF composition via Export Media This requires the composition you export as AAF to have been created from an AAF Export Media Export Media The Export Media button will let you export the active composition to a file or sequence of files in your chosen location and in your chosen format lf not already rendered an export will render all applied effects If you have marked an in point we will export media from this position until we reach an out point or the end of the composition If there is no in point we export the composition from the start until we reach an out point or the end of the composition See File Format Support for supported file formats From the ibrary press the Export Media button this will launch the export browser and let you navigate to the desired export location 2014 Digital Vision UM 2014 1 07 Export Media aa The Export Browser The Export Browser consists of a number of separate elements that let you e Navigate to the base folder you wish to write the exported frames to e Choose the desired file format and format options e Choose the export mode default is record timecode order as a single clip e Choose any global options to set some depend on export mode chosen e Choose the filename if any default to numeric
249. ile general prefs contains an nterplay section which defines various setup parameters You will need to change these to reflect your local installation interplay host INTERPLAY HOST NAME port INTERPLAY PORT workgroup AVID WORK GROUP folder PROJECTS FOLDER username USERNAME password PASSWORD SharedStorage UNITY OR ISIS WORKSPACE Avid Mediafiles MXF 1 EI The nterplay section is pre configured by default but you will need to remove the inserted lt and gt characters used to complete the configuration correctly e g replace lt username gt with david for example 2014 Digital Vision UM 2014 1 07 AAF Back to Avid with Interpla 309 Interplay Settings host This is the name of the machine running the Interplay services e g mojito port The port the Interplay services run on e g 80 workgroup This is the Avid workgroup name note this is not the Windows workgroup e g MyWorkgroup folder This is the name of the folder Interplay is configured to use for the active project see below e g Projects Upstairs Downstairs username This is the username the Nucoda uses to log in to the Interplay e g david password The password e g david123 sharedStorage A path to shared storage used by the Nucoda and the Interplay e g 1sis sharedmedia Avid Mediafiles MXF 1 This path must be in Windows UNC notation MXF files we write from the Nucoda system are placed here
250. ill process the input as per the settings described below Aggressiveness ressiveness Spatial Temporal Allows the tuning of the degree of removal R lf we increase these parameters too much we increase the possibility of introducing artifacts Spatial When the Temporal setting is decreased The Spatial control may be increased instead to remove cross colour at the expense of slight spatial chroma bleeding Temporal Increase for maximum cross colour removal Reduce if temporal chroma bleeding becomes too intrusive 2014 Digital Vision UM 2014 1 07 DVO Cross Colour as DVO Line Sync YC Input FX Line sync or line jitter is a very common problem with archived analog video tape is typically caused by the lack of or disturbances with line synchronization pulses which prevents the the video tape recorder from locating the actual start and end of each line This causes random line displacement jitter The most visible effect is that vertical edges appear to be jagged The jitter can range from 1 pixel to more than 5 pixels in severe cases DVO Line Sync automatically detects and corrects these line displacements as well as any stretching it causes Parameters Enable When enabled DVO Line Sync will process the input as per the settings described below Detection Strength Detection strength Detection Strength controls the degree of jitter detection with a higher number meaning
251. ine 2014 Digital Vision UM 2014 1 07 ago Command Line 2014 Digital Vision UM 2014 1 07 Appendices 498 Appendices Appendices 25 2014 Digital Vision UM 2014 1 07 Application Preferences Project system Preferences To access the application preferences from the main project screen click the Preferences button Active tab highlighted Preference Tabs Preference settings for active tab Here you can adjust the default system wide preferences EN Changes will apply to all new and existing projects Note that many of these settings can be overridden within a project The Preferences screen has a subset of screens selectable via the tabs across the top e General preferences e Capture Conform preferences e Colour preferences e Video VTR preferences e Rendering preferences e Control Panel preferences Preference File Preference file location C3Nucoda 2011 O roof general prefs The location of the main preference file is displayed at the bottom of the General tab section Most preferences are stored in a text file called general prefs located in the application ROOT folder 2014 Digital Vision UM 2014 1 07 500 Appendices The ROOT folder is set in the environment variable NUCODA ROOT V2014 1 Some application preferences can only be changed by editing the general prefs file General General Location display O Frames Timecode Reference mode s
252. ing Other Tracks UU cen e cece eeeeeeeeeuteneeureny 346 Offset Tracking 347 Predictive Tracking 348 Reference 349 2014 Digital Vision Valhall AH 354 Video PO 357 VTR Settings eee 358 Video Capture eee 363 Capture Live O AA aaa 365 Capture Marked 366 Capture List M a ae do a ed nu le de den 367 Video Layoff ee 372 Output Controls eee eecueerercerees 375 Output List a 379 Output Single a BLG ses PLGDERLLILELELLLLYRLEN PERLAS AA 380 Avid Integration 222 2 ccc cece ene ence e ee en es 382 Compatibility amp Features 384 AAF to Nucoda eee eee 385 Export AAF from Avid eee eee eee eue 385 Import AAF on Nucoda 2 2 2 cece eee eee e eee eeeeaee 387 Nucoda AAF Import Options a aa 389 Edit Modified AAF Back to Avid 392 Nucoda Exports Edit Modified AAF 392 Avid Imports Edit Modified AAF s eceeecu 394 AAF Back to Avid with Interplay 395 Nucoda Exports Edit Modified AAF 396 Avid Imports Edit Modified AAF ecese
253. ings Options 2014 Digital Vision UM 2014 1 07 386 Avid Integration Export Settings FM Enabled lf you are planning to export audio with your AAF we recommend mixed down mono tracks PCM MXF 48KHz 16bit audio Export As AAF Use Marks Useful when only exporting specific areas of the timeline Use Enabled Useful when exporting Audio as Mixdown tracks tracks and ignoring other audio tracks AAF Edit Protocol Will allow for export of AMA linked media caution Export Method Link to Don t Export Media Audio and Video The Export Settings option Render Video Effects forces the Avid to render everything currently un rendered For more information on this option see Avid Effects Navigate to the desired folder and enter a file name for your AAF Then press Save File name INucoda EYE Grade w Offlin bd Cancel 2014 Digital Vision UM 2014 1 07 AAF to Nucoda 387 Import AAF on Nucoda On the Nucoda switch to the Library view to import the AAF file Then press the Import button Navigate to the folder containing the previously saved Avid AAF file and press the mport button An AAF Import options window opens and lets you set various options used for the import and initial processing of the AAF file AAF import Nucoda BVE Grade w Offline Media files E Avid MediaFiles See the Nucoda AAF Import Options section for a full description of the a
254. ion force import to be used this option has been removed Specifying a Clip Name on Import To specify a clip name in the library on import use the name option Command S film master project PROJI moOme Clija AE SOS 007 sino L002 001 chose N name clip name INO Opening PrO O PRO UP INEO Found Tange kl 99 INFO Set clip name to clip name You can only set the name of an imported clip when you import it not afterwards Clip Naming Convention Unless specified with the name option the imported clip is named as per the settings in the application preferences Auto Assign Name Specifying a Clip Description on Import GescCription lt description gt 2014 Digital Vision UM 2014 1 07 Importing Clips 457 To specify a clip description in the library on import use the description option Command Ai este e Ser INYU ane el jo Ao nen rs 1002 slic ilOG 2 O01 clo description clip desc INEO Opening pro jece PROJ INFO Found range 1 99 INEO Sen clip wWeseripe ron ko clip desc The description can only be set on import not afterwards Importing Movies Importing a Movie gt IMHO rt Movie lt pach gt This command imports a movie into the named project from the specified path Any supported movie format can be imported using this command including e Red R3D e Quicktime e MXF wrapped media e ARRI D21 e Silicon Imaging
255. ire outputFormats content is wrapped in SQUARE brackets UM 2014 1 07 546 Appendices D Definitions Some configuration file parameters are of a specific type Rational Rational number is a fraction and is composed of a numerator top and a denominator bottom Rather than using a floating point number and decimal places a rational number can more accurate reflect a parameter such as aspect ratio or frames per second Boolean A Boolean value is either true or false Sections FORMATNAME Type ldentifier Each output format definition is grouped using curly braces and named These names e Must be unique e Must not contain spaces Only a z A Z 0 9 _ k These names are not related to the user visible name field used inside the format definition and can be different Example Main Feature 2800x1800 Test name S Type String This is the user visible display name for the format It is a string wrapped in double quotes and can contain spaces Example name 2800 x 1800 Test 2014 Digital Vision UM 2014 1 07 Output Format Confguration 547 size WH Type Rational The size parameter specifies the pixel wath and height as a rational number Example size 2800 1800 aspect N M Type Rational The aspect parameter specifies the aspect ratio as a rational number fraction with a numerator and a denominator A 1 1 aspect can alway
256. is on the application assumes a two display configuration and configures its screen layout appropriately Ba The Enable Dual Display checkbox should be on when using NVIDIA SDI direct output 2014 Digital Vision UM 2014 1 07 522 _ Appendices eo DVI Order Values U1 1 Monitor 2 Monitor 1 UI 2 Default Ul 1 Monitor 2 Use All dual display configurations This setting controls the orientation of the displays where e Ul the graphical user interface menus buttons etc e Monitor the player image display lf the dual screen mode you configure is invalid and causes problems you can always set the general prefs preference file parameter dualScreenMode to false before restarting Monitor Anchor Values Centre Top left Default Centre Use NVIDIA SDI in extended desktop mode This setting is only relevant to the extended desktop mode NVIDIA SDI configuration i e SDI configured via the NVIDIA control panel It is used to define the positioning of the NVIDIA SDI output in relation to the primary UN output when the SDI output is a different size to the Ul output i e e Ul output is HD 1920x1080 pixels e SDI output is PAL 720x576 pixels NVIDIA Display Settings ka PI SDI output is ID 2 SDI output is ID 2 Use Top left Use Centre Enable NVIDIA SDI Direct Output These settings relate to the NVIDIA direct SDI monitoring output Use Monitoring via NVIDIA direct
257. ital Vision 2009_1 root thumb Capture CJ C Digital Vision4Locations4Capture Audio C Digital VisionsLocationssAudios Notes m C Digital Vision 2009_1rootnotes Comp Notes CJ C Digital Vision12003 14root4projects1 Projects CJ C Digital Vision12003 14root4projects1 Show and set the various media folder locations Avid Mediafiles locations should still be set in general prefs 2014 Digital Vision UM 2014 1 07 Preferences Assistant Monitoring and Video I O 4 Digital Vision 2009 1 Preference Assistant Welcome Master Layer Tools CC Layer Tools Panel Tools Media Locations Monitoring Video 10 License Users NVIDIA Quadro Fx 4500 6 14 11 8265 Select a Preset Single Screen Single Screen amp Cll Output w SetPreset Press Update fo appiy changes Monitor anchor Centre O Top Left Nvidia C Enable Nvidia SDI direct output YCiCb 422 w SDI Link HD 1080 v Default format OpenGL GPU readback to Video is not an option with your current graphics card C Always use default format for monitoring Nvidia T Interlace Stereo DVI Output Centaurus II C Enable SDI 1 0 Card YCrCb 422 w SDI Link PAL y Default format C Always use default format for monitoring Centaurus II Priority format Match psf format Match p format C Use Video 1 0 card as audio monitor Default Audio Capture Bit Rate Audio Rate 16 Bit O 32Bit O 44100 Kha 48000 Khz Monitor setup with preset
258. ite existing track C Overwrite existing track Video track 1 With an active composition this will cause the new list events to overwrite the selected video track ae The new events from the list will completely replace the selected track Merge existing grades from C Merge existing grades from Video track 1 Match source TC Match record TC If you have a graded composition you can choose to merge these grades into the new imported list You can create a new composition result All events as new composition or merge the grades into the existing composition All events into current composition The grades are taken from the selected video track The Match options let us choose the criteria used to match each graded shot with the new shot imported with the list Match source TC Use the source timecode when determining the matched shots when merging grades Match record TC Use the record timecode when determining the matched shots when merging grades You can select both Match source TC and Match record TC to have both tried consecutively Import material from file paths C Import material from file paths Select this to automatically import media specified in the EDL list file The EDL should contain media paths per event in the following format FROM FILE lt path gt 2014 Digital Vision UM 2014 1 07 Importina List Files e g 001 OE5012E V C 19 08 57 15 19 08 58 15 01 00 01 00
259. ity e etc Pre Post Gamma Presets Set pre gamma and post gamma using the preGamma and postGamma declarations within a section preGammaID1 preGamma lt FLOAT gt postGammaID2 postGamma lt FLOAT gt Where lt FLOAT gt defines a floating point value for the gamma applied e g p reGamma188 preGamma 1 88 The above pre gamma section would be referenced inside the Layout file through the identifier preGamma188 2014 Digital Vision UM 2014 1 07 Gamma Matrix 219 Matrix Presets A matrix preset specifies each red green blue and alpha column value as follows matrixID red red lt FLOAT gt green lt FLOAT gt blue lt FLOAT gt alpha lt FLOAT gt green red lt FLOAT gt green lt FLOAT gt blue lt FLOAT gt alpha lt FLOAT gt blue red lt FLOAT gt green lt FLOAT gt blue lt FLOAT gt alpha lt FLOAT gt alpha red lt FLOAT gt green lt FLOAT gt blue lt FLOAT gt alpha lt FLOAT gt transpose lt BOOLEAN gt Where lt FLOAT gt defines a floating point value e g matrixTestSample red red 0 782000 green 0 366000 blue 0 455000 alpha 0 000000 TING transpose true transpose is a lt BOOLEAN gt and can be set to true or false f not present transpose is assumed true The above matrix would be referenced inside the Layout file through the identifier matrixTestSample 2014 Digital Vision
260. ive shot Approve current version Delete current version Hotkey SHIFT N Adding Versions To add a version you have to first determine which segment on the timeline you want to version e single selected segment orange takes precedence e Otherwise the active segment is versioned 01 00 00 00 01 00 00 0535 01 00 00 10 01 00 00 1535 JR ri 0067 5255 r4 30 ba pa 0067 G2 egment When you re versioning it is not necessary to activate the track because we are explicitly selecting a segment to version However if the track that the selected segment is on is locked then versioning will not work Once you have selected the timeline segment that you want to add a version to you have two choices you can either e add a shot from the library as a new ungraded version Source version or e add a duplicate version of the existing timeline segment grade version Add New Source Version Hotkey CTRL N A new shot version is a different shot to the one that is already present in the selected segment of the timeline It can be the same source media clip but it is different from the shot on the timeline in that it will not have any grading 2014 Digital Vision UM 2014 1 07 applied To add a new shot version 1 Select the media clip to add from the library 2 Select the timeline segment to add the version to FH EZA 3 Press the Add Version button The media clip that
261. ject PROJI INEO Opening CE Ct EROS O Ca OM pro INEO Opening COMPOSICION eon Successfully applied note lowerlevels INEO Clip added te Ccempo31ticn By Path set note PATH 2014 Digital Vision UM 2014 1 07 Applying a Note to a Shot 469 Apply the note found at the given path to the shot Command s film master project PROJI COMO OSCE HOM mC Ono HeNe SCI OWS a 0675 set note S Temp lowerlevels note INFO Opening Prole e PROJIL THRO Opening project PROG trem De Nucoda O T roy INEO Opening compoctelon eere Successfully applied note s Temp lowerlevels note INEO Cp added co COomECS it Leon EDL Import and Conform new Required one of new Create a new composition add Operate on existing composition mark Mark existing composition Additional Options track type Specify video audio left right or mono sv la 1 r m track Default v merge from N After import merge grades from track number N Requires match match When merging grades using merge lt source record clipP gt from specify what to match when merging source timecode record timecode or clip name track target N Specify target track number N import material Import EDL or AAF referenced material Conform material to composition autoconform Import and conform EDL or AAF referenced material in one step conform record tc Conform to record timecode defa
262. ks Multi Rec TC 2014 Digital Vision UM 2014 1 07 Export Media 151 Visible Multi Src TC Visible Multi sre TC Exports as e Multiple clips created e No BL AUX or filler e Handles allowed Adjust via Handle size slider Handle size e Source order and timecodes e Clips are only exported if they are visible even partly Example Here we use event folders see Folder Hierarchy and Variables to ensure exported shots do not overlap See Multi Mode Exporting for a description of why multi mode might cause exports shots to be overwritten sometimes Event Folders 0002 C2 RE Visible Multi Src TC 2014 Digital Vision UM 2014 1 07 152 _Exporting Tracks Multi Src TC Tracks Multi Src TC Exports as e Multiple clips created e No BL AUX or filler e Handles allowed Adjust via Handle size slider Handle size e Source order and timecodes e Clips are exported even if hidden by other clips Example Here we use event folders see Folder Hierarchy and Variables to ensure exported shots do not overlap See Multi Mode Exporting for a description of why multi mode might cause exports shots to be overwritten sometimes Event Folders 0002 C2 Tracks Multi Src TC 2014 Digital Vision UM 2014 1 07 Export Media Folder Hierarchy Presets and Variables Base Folder 0001 1920x1080 0002 1920x1080 The Folder Hierarchy panel let
263. l When the Offset button is enabled the offset shape is used to generate the track You can set the offset shape to any suitable position in the frame Ifa better position becomes apparent you can re position it again For an offset shape track calculation to work properly both the original and the offset shape need to share the same type of motion Predictive Tracking Predict Tracking Predict Tracking Normally if the tracking calculation fails at some point in a shot tracking stops In some cases it is apparent that the track path could simply carry on as before the path being extrapolated based on its previous history 2014 Digital Vision UM 2014 1 07 Predictive Tracking _ Automatic tracking stops Track path Predicted track path lf tracking fails because our tracked feature loses definition or goes out of camera we can enable Predict Tracking at this point When we resume tracking the track path is calculated such that it smoothly continues along the same path as calculated previously 1 Tracking 2 Feature reaches edge of frame Turn Predict Tracking ON 3 Feature off camera but track pathis Track path extrapolation continues extrapolated Reference The DVO Tracker is available to use everywhere we have a Shapes layer available As such we can draw a shape to define the feature we wish to track and use the result as a Region of Interest matte 2014 Digital Vision UM 2014 1 07
264. l This will enable the DVO Dust to remove any size of spots These filters may need more careful use to not give unwanted artefacts 4 The filter called Temporal 2 is a special temporal filter that uses minimum amount of information from the current frame This means that the processed signal will not vary as much as the normal temporal filter in terms of luminance intensity Copy Copy Next Copy Prev The Copy Next and Copy Prev filters should be used for one frame in combination with a key area and Global mode to replace a big chunk of dirt a big hole or a flash frame with information from the next or previous frame Bypass Setting the filter to Bypass will leave dirt unprocessed Use Adaptive Size When the Use Adaptive Size button is enabled the filter size automatically adjusts during processing according to the size of the dirt found Default On 2014 Digital Vision UM 2014 1 07 DVO Dust 255 Filter Size This sets the size of the filter on the current frame so it is only required for spatial and temporal filters Use the numeric slider to define the filter size when adaptive filter sizing is not enabled The larger the size of the dirt the larger this value should be Range 0 to 15 Default 7 Adaptation Adaptation vA Adaptation Limits Adaptation Enable Black Enable White Low Motion 50 Use Adaptive Use Adaptive High MDC Fixed Threshold 30 Fixed Threshold 30 Edge Adpty Threshold
265. l location is given Press Conform to complete the capture process and link the captured media in the library to your composition Capturing a Single Event To capture a single event select it in the event list and press Capture Single This button is only enabled when a single event is selected As before the button will turn red once capture is underway and the Stop Capture button will become enabled The event list will show the individual event being captured 006 REELT S02450 902466 REELI 10 01 37 03 1001 39 11 007 REEL1 902533907604 REEL 10 01 41 0868 10 01 44 04 00S REEL1 902616 902664 REELI 10 01 44 1656 10 01 46 14 Exporting the Events List Press Export Listto export all or a subset of the event list 2014 Digital Vision UM 2014 1 07 372 Video O You can export as a CMX3600 EDL or a CUT style list Export all Export found Export not found There are three options for export e Export all This will export the full list of events as displayed on screen You may want to do this if you ve altered the original list in some way e g by adding handles or using the consolidate events function e Export found This will export a list containing only the events that you captured e Export not found This will export a list of all the events that were not captured This could serve as an easy way to identify which events have yet to be captured The list export option is only avai
266. l Mixer SOP Slope Offset Power Bal Balance Lev RGBM Levels ColC Colour Curves RGB RGB Curves BReg Brightness Regions HCurv Hue Curves Clip Soft Clip HLS Hue Luminance Saturation Re order or remove tools available on your Control Panel 4 Using None will leave a gap Media Locations S Digital Vision 2009 1 Preference Assistant Welcome Master Layer Tools CC Layer Tools Panel Tools Media Locations Monitoring Video 10 License Users Current general prefs locations Cache C Digital Vision4Locations4cache Proxy C Digital Vision 2009_1 root proxy Thumb C Digital Vision 200921 rootsthumb Capture C Digital VisionLocations Captures Audio C Digital Vision Locations 4udios Notes C Digital Vision 2009_1rootnotes Comp Notes C Digital Vision12009 1rootprojects Projects C 4Digital Vision 2009_1rootprojects Recommended general prefs locations for new HP and Dell workstations Cache S Digital Vision media 2009_1 cache Proxy S Digital Vision media 2009_1 proxy Thumb D Digital Vision media2009_1 thumb Capture S Digital Vision media 2009_1 capture Audio D Digital Vision media 2009_1 audio Notes D Digital Vision 2009_1 notes Comp Notes D Digital Vision 2009_1 compositionNotes Projects D Digital Vision 2009_1 projects Custom general prefs locations Cache CJ C Digital Vision4Locations4cache Proxy CJ C Digital Vision 2009_1 root proxy Thumb Cal C Dig
267. l apply a specialised noise filter and noticeably affect processing speed Max Adjust Limitation Max Adjust Max Adjust Limit 4 Range Oto 10 Default 4 This sets an adjustment limit to the general processing mode The setting corresponds to a percentage of the full signal 2014 Digital Vision UM 2014 1 07 DVO Flicker 273 Black Level Save Black Level Save Black Level Save lets us enable specific processing to preserve black levels in the sequence lf enabled the Lowand High parameters are used to assign the level of processing performed at the lower blackest end of the input sequence Both Lowand High are 10 bit numbers and limited to values between O and 100 out of the full 10 bit range 1024 Low Range 0 to 100 Default 0 If the input level is less than or equal to the setting for Low no flicker adjustment is performed and the input signal is untouched High Range 0 to 100 Default 1 if the input level is greater than or equal to the setting for High full flicker adjustment is performed In between these values there is a soft transition between none and full processing Chroma Chroma The Chroma button enables the removal of chrominance flicker i e colour breathing The Chroma toggle removes luminance flicker as well if present However for best performance leave Chroma off unless you have chrominance flickering to remove 2014 Digital Visi
268. labelled e Track Channel e g A1 C2 is Audio Track A1 Channel 2 The menu selector drop down lists allow patching the available input track and channel to an output channel mute Composition audio patching input selection Positions and Lengths Four position position and length indicators are displayed to the right of a display format specification button gt Timecode 00 59 51 19 01003221 00004102 00595722 In Out Duration ra D e In point This will be the location of any Mark In point or the composition start if no mark in is set e Out point This will be the location of any Mark Out point or the composition end if no mark out is set e Duration In to Out This will be the composition duration if no marks are set e Active play head position Play head selector and indicator buttons are shown below the location of the active play head The active play head is shown in orange the secondary in yellow 2014 Digital Vision UM 2014 1 07 _ Compositions Timecode versus Frames You can choose to display fields as timecodes or frames via the drop down button to the left of the indicator boxes Frames Bhs NG 90821 EE 7 Ti m GER ES EE m 5 ml j m pn rm LL Change indicator display st Play Heads do Ho YY AA Every composition includes four independent play heads labelled A B C and D There is an active play head a secondary last active play head and two auxiliary play heads
269. lable in the List Capture screen Video Layoff List Output The VTR Layoff screen is accessible from the library screen via the L ist O utput button The layoff module is called List Output and will output the current composition events to video There are two tabs VTR Output Control and VTR Video Output Settings The Settings tab has been detailed in the VTR Settings section The monitor will switch between displaying the footage on tape during tape playback and displaying your composition footage during the actual layoff process The Control tab is where the interactive controls for carrying out a video layoff are located 2014 Digital Vision UM 2014 1 07 Video Layoff 373 Event List The events to be output are shown on the right hand side and correspond to the events on your timeline The number of events in the list matches the number of events on your timeline Gaps in the timeline are ignored List Output status Name Tape Name are In Sre Out Rec In Rec Out Material Rendered amp Found Tapel 01 01 19 00 01 01 20 13 01 00 01 13 Tape Rendered amp Found Tape 01 01 20 13 01 01 22 06 Tape Rendered amp Found Tape 01 01 22 lis IS el la 01 00 07 1242 Tape Processing Tape 01 01 26 1272 01 01 29 01 01 00 07 12 0100 10 01 Tape Though gaps in the timeline do not show up in the event list they will in fact be laid off to tape as black frames for the duration that they occur on the timeline Status
270. lay the shot through and identify the area you wish to track and its behaviour Pay attention to how the chosen feature moves including any scaling or rotation whether it is ever obscured or partly obscured whether it stays inside the frame and how other parts of the shot move relative to it The tracking process is straightforward e Draw a shape around the area you want to track and affect e Press the track control to track forwards or backwards With the play head at the required starting frame we will draw a shape around the feature we wish to track In the Shapes Shape meru Combine 2014 Digital Vision UM 2014 1 07 su DVO Tracker We draw our shape around the feature we wish to track Ellipse shape drawn around our car feature we will track Shape Tips It is often possible to keep the shape simple rectangle ellipse Any matte mask the track creates will usually be softened such that it properly merges into our shot and does not stand out in an artificial way Create the shape to cover the entire feature area of interest with some head room Try and extend the shape a bit beyond the feature area Once the shape is drawn the DVO Tracking controls are enabled 40 To track the feature forwards to the end of the shot press the track forwards button as shown above If the Feature Points button is enabled two or more feature points will appear inside the shape as we start playing the sh
271. le by default the Base and Master layers e The Base layer is a fixed colour adjustment layer at the beginning of processing e The Master layer is a fixed colour adjustment layer at the end of processing The Base layer also contains isolation effects whilst the master layer does not These layers are displayed in the effects tree and as the active playhead changes segment the effects tree updates to list the effects available for the active segment on the timeline To expand an effects layer click on the arrow toggle button next to the layer name Ib Timeline List is Effect I KI ka 01 00 10 00 01 00 12 00 01 0 Saturation Keyer vi Fra Printer ct 01 12 HH Matte Tools Hue Curves S Bright Contrast o Printer Bright Regions Soft Clip Saturation Bright Contrast m Pan Scan Bright Regions Soft Clip You can control the effects that are available in the base and master layers and the order that they appear in the effects tree which is the order they are processed in by editing the following lines in the main preference file general prefs See Appendix Application Preferences e defaultRealTimeEffectIDs effects available in Master layer e defaultSecondaryCCEffectIDs effects available in Base and CC Layers Not all effects are necessarily available by default and you can add remove 2014 Digital Vision UM 2014 1 07 Colour Correction Layers 195
272. le extension The file is composed of e 1D x 3 floating point LUT and a e 3D x 3 floating point LUT The LUT file can contain a 1D LUT a 3D LUT or both If both the 1D LUT definition should be before the 3D LUT definition Setup The following parameters are used in the LUT file before the LUT data is defined TITLE Format STRING LUT title Use quotes if the title contains spaces Example TITLE Title of LUT 2014 Digital Vision UM 2014 1 07 552 _ Appendices eo NUCODA 3D CUBE Format INT Integer format version of LUT file Example NUCODA 3D CUBE 3 LUT 1D SIZE Format INT Size of 1D LUT Example LUT 1D SIZE 1024 LUT 1D INPUT RANGE Format FLOAT FLOAT Minimum and maximum 1D input values allowed min1D max1D Optional defaults to 0 0 1 0 LUT Format v3 Only Example LUT 1D INPUT RANGE 0 0 1 0 LUT 3D SIZE Format INT Size of 3D LUT Example LUT 3D SIZE 17 2014 Digital Vision UM 2014 1 07 3D LUT File Format 553 LUT_3D_INPUT_RANGE Format FLOAT FLOAT Minimum and maximum 3D input values allowed min3D max3D Optional defaults to 0 0 1 0 LUT Format v3 Only Example LUT 3D INPUT RANGE 1 000 4 000 Note that min1D and max1D are the minimum and maximum input values that can be transformed by the 1D LUT Similarly for the 3D LUT and min3D and max3D input values Input values outside these ranges are clipped to these ranges before lookup There is no constraint o
273. lect name of library clip to operate on Consider only this number of input frames Select video track to operate on Splice versus Overwrite e A splice operation will push any existing clip frames up the timeline from the splice location e An overwrite operation will overwrite any existing clip frames from the splice location If a clip ile path is not supplied it is required to supply a clip name f name If you only supply a clip name it must exist in the project library 2014 Digital Vision UM 2014 1 07 aga Command Line sk Note that the timeline is assumed to start at 00 00 00 00 Clips will be placed at the end of the timeline or 00 00 00 00 if timeline empty unless a record in point is set with the record in option Original alex one clip splice to empty composition Command CANON pee EROS conoes teronme Ol ims name alex one splice Result lf we now Splice Clip Command Cole proje ct PROM composition COMPIA name train splice record in 0 We end up with Inotknownitrain o Imotknownlalexone 0 Overwrite Clip Command nbeoce Use rojeec PRO cComnosleron COIL N name train overwrite record in 0 We end up with It is best to always set the explicit in point for an overwrite operation using the record in option 2014 Digital Vision UM 2014 1 07 Splice and Overwrite Clips 465 Splice Overwri
274. library if the library contains matching material when the list is imported the match will be shown immediately in the Status field In this case the list event Status will say Found for those events we can match Capture opens a file browser and we choose a starting folder from which to search for media matching our event list Each piece of media we find has its timecode and tapename extracted as per the settings we have in the Capture Controls For a discussion of this metadata extraction process see the Capture Conform chapter in the appendices Capture Controls The Capture Controls set the mechanisms we use for extracting the timecode and tapename information from material we find on disk Capture Video VI Match Name C Capture Exact Range Capture timecode Conform tape name Capture From 1st tc file header From file name Folder Up 1 As we recursively search from the chosen starting folder the extracted timecode and tapename is compared to each list event and if we find a match we change the matched event status from Needed to Found 2014 Digital Vision UM 2014 1 07 a Importing Material Any matching material is loaded into the library but not yet linked conformed to the event Match Name 7 Match Mame f Match Name is enabled the tapename is used when testing for a match With Match Name disabled only timecode will be used Multiple Matches Sometimes we find more than one item of me
275. lidation Don t consolidate Consolidate on tape Consolidate on clip Default Consolidate on tape Consolidation is the grouping together of overlapping events generally by timecode into a single event which can be processed captured as one This can minimise the amount of work required to capture the same amount of material Consolidation reduces the total number of events to capture Don t consolidate Ignore potential consolidation and show every event in the list Consolidate on Consolidate overlapping timecodes within the same tape tape Consolidate on Consolidate overlapping timecodes within the same clip clip Without consolidation a composition that uses the same media more than once each time using a different set of frames will appear in the composition capture list multiple times 2014 Digital Vision UM 2014 1 07 Importing List Files _ 8 Conforming the List Conform Conforming will link the Found events in your capture list to specific media matched and loaded into the project library Once conformed the status of the event changes to Conformed and can be considered locked to the specified material sk The event can be considered locked because a re conform pressing the Conform button in the List Capture module will never detach or attach different media To un lock the event and break the link between the event and its media use the Detach Event Material button the event will r
276. lines e Organising media and timelines e Viewing and modifying metadata e Managing render tasks e Creating proxy sources In single screen mode the Library window replaces the viewer In dual screen mode the Library and F1 button toggles display of the Memories window Library Components The Library is organised around a central tabular display of your media assets a list of folders on the left and a row of function and view filter buttons below The main areas are shown below Misel Assets Filters aram Main library components ri pa rip ri J T m 2014 Digital Vision UM 2014 1 07 Folders 53 Folders To the left of the Library is the folder list This is a tree view of all folders existing in the library Folders are created underneath the project root folder mb Hro j ect root folder gy masters Fi op 1 ang 9 im 02 Create new folder as child of selected Delete selected folder 4 F mits Recurse The Caches folder contains the renders for all project compositions it cannot be deleted Create New Folder This button creates a new folder New folders are always created as children of the selected folder The selected folder is highlighted in orange e g folder 02 above Naming Folders By default folders are named new folder To rename a folder e Select the folder e Press the F2 hot key e Type the folder name 2014 Digital Vision UM 2014 1 07
277. ll default to on for Log projects Other Shapes Other Tracked Shapes This drop down list lets you apply the tracking data from a previously tracked shape in the shot in another layer to the current shape See Using Other Tracks 2014 Digital Vision UM 2014 1 07 354 DVO Tracker Predict Tracking Predict Tracking The Predict Tracking toggle button lets you carry on the track even if all tracked feature points have moved outside the image frame and tracking has terminated Turning Predict Tracking on will extrapolate the track to the end or start of the shot such that the track is contiguous and smoothly extended See Predictive Tracking Valhall Keys Mod Key function Track forwards to end of shot Track backwards to start of shot Shin Track forwards one frame Shin Track backwards one frame Shin Scroll up down Other Tracked Shapes menu Shui Apply tracking from selected Other shape to current shape Shin Creates or toggles the Offset Shape Resets tracking from current frame to end of shot inclusive Fl Delale Delete Resets tracking from current frame to start of shot inclusive Resets all tracking on current shot 2014 Digital Vision UM 2014 1 07 Reference 355 2014 Digital Vision UM 2014 1 07 s O Q 2 gt Video I O 21 You can capture and lay off video via the Library modules Capture video List Capt
278. llowing tools e HUD e Grids e Masks e Graphs Head up Display HUD Update Split Tull info all Tull border User cineon hist Sy Li 10bit CMS Setup 1920x1b80i 10 1 778 1 1 Source Clip O Hot key F7 The head up display HUD overlays information about the frame shot being viewed on top of the displayed frame The information that is displayed is user configurable content and position The display of the HUD can be toggled on off using the H U D button in the viewer options menu or the hot key S This is display only and is not rendered into any final output 2014 Digital Vision UM 2014 1 07 166 Viewer Tools Options location pal Tull info all Tull info all BI This drop down list defines what HUD information to display over the image Sample HUD definitions available are e location source and timeline record information in both frames and timecode e full info all full information available e full info BI full information available inside image area burnt into image full info all location logo Hud Specifications For the HUD format and specification see Appendix HUDs Specification 2014 Digital Vision UM 2014 1 07 Update Split full info all re mE jb o cineon hist Sy 1 Obit CMS Setup LI
279. low setting will only affect low intensity pixels flat areas A high setting will start to affect high intensity pixels edges Spatial Global This enables filtering of the whole picture by switching off the motion adaptation Use this toggle button to enable disable global spatial filtering Default Off A moderate level of global spatial filtering can be used as a basic level of grain and noise reduction before using the temporal filtering also see Global Balance ea This may cause excessive softening of the picture if the spatial filter is not set up correctly Temporal filtering works in areas with no or little motion Spatial filtering works in areas of motion Global enable the filters to work on the entire picture The R G B Strength controls should normally be ganged and adjusted together They typically need to be adjusted by the same amount Optimising the Spatial Filter 1 Set Spatial Strength Size and Threshold to their maximum 2 Turn Spatial Global on 3 Adapt the spatial filter to the grain noise size by decreasing the spatial size settings to as low as possible whilst still resulting in grain noise being removed 4 Decrease spatial threshold until edges are not affected a typical setting is between 8 20 5 Decrease spatial strength until the desired level of spatial filtering is achieved 6 Decide whether Spatial Global should be left on filtering of the whole picture or turned off fil
280. m determining which contrast setting is needed on a pixel by pixel basis When enabled the contrast controls change to give more or less effect of the adaptive contrast Adptv Threshold Only applicable if Use Adaptiveis on Range 32 to 31 Default 0 Fixed Threshold Only applicable if Use Adaptiveis off Range 0 to 63 Default 30 You should lower the thresholds if you have very low contrast white spots on light background or black spots on dark background and increase the thresholds if the luminance difference between the spots and the background is less 2014 Digital Vision UM 2014 1 07 258 DVO Effects Or set the contrast threshold to a lowvalue Or set the contrast threshold to a high value Contrast Adaptation Limits Adaptation Limits IL Chr High The contrast adaptation lowand high limit controls only work in the adaptive mode and are used to specify the range of contrast settings that the adaptation is allowed to work in The upper limit is normally set to the non adaptive contrast setting you normally use If both limits are set to the same value the result is exactly the same as when using non adaptive contrast Low Range 0 to 63 Default 5 High Range 0 to 63 Default 30 2014 Digital Vision UM 2014 1 07 Other Settings signal Y Motion Est normal sia Signal This selects the signal channel within which scratches dirt will be detected Values Y U V R G B
281. m the file header e g a DPX format sequence or from the sequence filename i e sequence numbers are the timecodes For header timecode you will always use 1st tc header unless you have a Red R3D sequence and wish to use the second RID timecode 2nd tc header See the Red Support chapter The timecode extracted will be placed in the Library n column and will also cause the assignment of the Out and Duration values Tape Name Cut Duration 0001 BOSS SU BB AA I DES e uk Tape Name Tape Name filename We can extract the tapename from the file e Header Some file header metadata contains the tapename e g DPX e Filename A string component of the file path e g file name or containing folder name Tape Dir Level Tape Dir Level The Tape Dir Level sets the folder level from which we take extract the tapename when extracting the tapename from the filename e Level 0 is the file name 2014 Digital Vision UM 2014 1 07 Importing Media e Level 1 is the containing folder e Level 2 is one folder up etc See the appendix chapter Automatic Naming Folder Import lf you select a folder and press the Im port button the folder contents and all sub folders are imported recursively We search for image sequences and movies and import those we find automatically The Import Folder Options dialog allows us to set some import options such as filters on image format and resolution material naming co
282. maoth Having created a new shape select Other Tracked Shapes and choose the tracking data you want to apply Other Tracked shapes wheel Shape 4 fell wheel front shape 1 pol Once chosen click the Apply button to apply the tracking data to your shape Apply The tracking data is applied and track shape key frames appear in the key frame bar at the bottom of the screen ff the shape had any previous tracking data it will be overwritten 2014 Digital Vision UM 2014 1 07 Offset Tracking 347 Offset Tracking Offset Tracking lets you use a different area of a shot for generating the track compared to the position of the shape itself If a different area of the shot becomes the best candidate for generating the actual tracking data we can use it by creating an offset shape and positioning it over this better area 40 dO OF OP Image Enhance Medikal Other Tracked shapes Predict Tracking smooth i h bb Normal shape tracking Offset enabled shape copied green The copy is green Initially it is placed on top of the original shape We can switch to the Transform menu Transform Then move the offset shape to our new preferred position 2014 Digital Vision UM 2014 1 07 sas DVO Tracker Once in place we can switch back to the Shape menu Transform and continue our tracking The tracking data is calculated from the offset shape and applied to the origina
283. mat Specification definition section A minimal format specification file would look like A minimum basic format specification Colour coeur Lome jaune width 1920 height 1080 fps 25 aspectRatio 16 9 A symbol starts a comment see the next section for the complete file format definition Example format specification files can be found in the folder C Nucoda 2014 lexample files format specs Project Format Specification A project is defined using a project format specification file This file is of the following format 2014 Digital Vision UM 2014 1 07 Creating a Project aag Global Parameters gt tonc Ok mee Our put sections KOUE D UE key value zero or more source sections source key value 2014 Digital Vision UM 2014 1 07 ago Command Line Data Types The various data types we can use in the specification are as shown in the table below Data Type Description Examples lt bool gt A boolean true false Integer number 1556 Floating point number 29 97 Global Parameters These parameters appear outside an output or source section at the start of the file We underline required options colourScaling Required Values SMPTE CGR FilmLog VideoLog Default Project colour scaling mode outputClip Values lt bool gt Default false Project output clipping Output Section Parameters These parameters appear inside an output section wi
284. mat drop down list at the bottom of the window Each available format will offer its own independent set of options via the Options button tif sgi tga jpg pic mpg mif nk Drop down format list For a full list of supported formats see the appendix Format Support Export Composition Export Composition This exports the entire composition as a list file i e metadata not media In the Library press the Export Composition button to open the Export Composition dialog Then e Use the file browser to navigate to the desired location for the list file e Choose the list format e Set list options e Type a list file name e Press the Export button 2014 Digital Vision UM 2014 1 07 Export Composition 157 Options FDL CTL Format Options Chooser Export Com position dialog Note that the export ignores e Marks e Track enable e Track visibility if you want to export some shots not the entire composition e copy the composition Library Copy e delete unwanted shots with ripple mode off e export the copy You can export a mixdown of all tracks or a specific track only via the options dialog File extensions are added automatically List Format Choose the export format from the format selector drop down list The supported export list formats are e EDL edl e Cut List ctl e ALE ale 2014 Digital Vision UM 2014 1 07 See the appendix for a description o
285. matrix is applied Pre Gamma Pre Gamma The Pre Gamma slider applies the specified gamma to the image before the colour matrix is applied Post Gamma ost Gamma The Post Gamma slider applies the specified gamma to the image after the colour matrix is applied Pre Post Gamma Presets Below each gamma slider are gamma preset buttons Press each button to quickly set the specific gamma See the Presets section for details on configuring and positioning preset buttons Negative Mode ve mode Preserve The Negative Mode ve mode button lets you choose how to process negative values 2014 Digital Vision UM 2014 1 07 Gamma Matrix 215 preserve The preserve setting leaves negative values as they are The processing chain is val gt process gt result clamp The clamp setting clamps negative values to zero 0 The processing chain is val gt 0 gt process gt result process The process setting causes negative values to be processed as if positive The processing chain is val gt val gt process gt result Clamp at 1 0 Clamp at 1 0 The Clamp at 1 0 button causes values greater than 1 0 to be clamped to 1 0 Preserve Denormals Preserve Denormals The Preserve Denormals button enables the use of very small floating point numbers in the processing chain This setting is not needed for most reasonable gamma values When enabled the G
286. me speed Note that setting a scale to zero 0 lets you adjust a clip duration manually by stretching it using the cursor Frame Pin The Frame Pin determines which frame in the source stays constant for the output sequence 2014 Digital Vision UM 2014 1 07 Brightness Regions The Brightness Regions effect allows separate adjustness of the shadows midtones and highlights ce Effects te Base CC Laver C8 Matte Matte Tools Hue Cures Printer Balance Col Cures Bright Contrast Soft Clip gt HLS From the Control Panel the trackballs adjust black mid and highlight Brightness Regions when the Color panel is set to Brightness Regions The thresholds for black mid and white can be altered from the top menus by pressing B Mor W respectively The RGB values for black mid and white can also be adjusted from the top menus by pressing B M or W a second time These buttons are on the right of the top menu when Brightness Regions mode is selected lf you need finer control over the areas affected you can also use luminance keys 2014 Digital Vision UM 2014 1 07 212 Effects Printer Lights Printer Lights are named after the laboratory process of filtering light during the film printing process to control the colour of the film The numeric values displayed in the GUI and on the panels can be calibrated in the Preferences pages so that they match a local film lab The number o
287. media is presented The 1 1 Source Clip source is always present and refers to your pristine original source material imported or captured at whatever original resolution Optionally you can add one or more proxy sources via the New button A proxy source will act as a substitute source in the project You may decide to add a proxy source if e Your original sources are located on a slower storage device e g network In this case you may wish to add a 1 1 Clone source to ensure fast access to local fast storage e Your original sources are large you may wish to add a 2 1 proxy to 2014 Digital Vision UM 2014 1 07 improve rendering speeds and realtime performance To add a new source press the New button below the Sources list Format The format and filter type of the selected proxy is shown to the right of the Sources list The format allows you to change the proxy scale and bits per component Scale Set the scale compared to the source media e 1 1 e 2 1 e 3 1 etc Bits Per Component Set the colour component depth MERE Sarre cop as orghalsoucemeda D Set past 10 bts par component DEN Set pray t 16 bts percomponen Dai et pronto ha oat bts par component Proxies are created in the DPX file format except Half format which are created as EXR files This is an advanced setting In general do not change the bits per component but leave as Same Filter For non 1 1 proxy sources
288. meline and segment To create a bookmark of either type at the active play head position open the bookmark dialog Keyboard CTRL m Panel CTRL Book M 2014 Digital Vision UM 2014 1 07 too Compositions Mouse You can also use the mouse Right Click on the timeline timecode row at the top of the composition 00 59 5 05 Right Click inside timeline timecode display region Right Click to open Add Bookmark dialog The bookmark dialog window opens 2014 Digital Vision Edit Bookmark Position Die 2r 172 Type Segment Note Running Man Lighter Colour IE G i E amp if 7 i i i on eyes te Add Bookmark dialog e The Type drop down list lets you select a segment or timeline bookmark see below e Add your descriptive text to the Note field e Choose a colour for t he bookmark e Then press the Create button to create the bookmark Valhall Control Panel If you are using the panel you can use ENTER to add a bookmark or use the the QUICKNOTES buttons 1 8 to add bookmarks of differing colours The panel also allows the addition of bookmarks on the fly during play out They will update on the timeline once you stop playback However note that you cannot change between Timeline and Segment bookmarks while playing back UM 2014 1 07 Composition Elements on Timeline Bookmark A timeline bookmark is attached to a specific timecode on the composition timeline itself and stays
289. ments are displayed in grey 2014 Digital Vision UM 2014 1 07 Composition Elements _ ss Active Segment 01 00 05 0 1 01 00 10 00 aano 01 00 20 0 004 scene Oiwe 00 00 04 12 The active segment lies under the currently active play head and is displayed in blue Grades effects versions etc are applied to the active segment unless some other segment is selected Selected Segment 01 00 05 00 01 00 10 00 01 00 15 00 01 00 20 0 004 scene Diva 00 00 04 12 A selected segment will be displayed in orange Any selected segments will take priority over the active segment When one or more segments are selected your composition timeline scroll bar will also turn orange to indicate this This is visible even if the selected segment is off screen Segment Showing Handles 01 00 05 0 1 01 00 10 00 ee alee ee EE 01 00 20 0 004 scene 00 00 04 12 Head and tail handles are shown as yellow bars indicating the amount of handles available Audio Segments Audio segments are displayed on the timeline on audio tracks A1 A2 etc The library will display the metadata for each audio segment 2014 Digital Vision UM 2014 1 07 sm Compositions Rate Components Depth 142000 16 hit Components Number of audio channels in file e g 2 chan Depth Sample bit depth e g 16 bits Rate Sample rate in Hz e g 48000 If the audio file has extra metadata available it will be displayed in the D
290. meter e Scale X Scale Y On the control panel Shapes menu we have Scale X and Scale Y parameters Layer Focus on Shot Change Layer focus on Shot change Remember per shot O Match between shots Default Remember per shot This option defines the layer focused policy when we jump between shots e Remember per shot The focused layer is persisted on a shot by shot basis Returning to a shot will focus the same layer as focused previously on this shot If navigating to a shot for the first time focus is put to the Layer Focus Default see below e Match between shots The focused layer is persisted between shots such that we keep the same layer focused on our new shot as was focused on the previous shot Layer Focus Default Layer focus default Values Effect Base Master Default Base This option defines which layer we focus after a Master Reset on the control panel or the first time we visit a shot Press hold Timeout Press nold timeout 1 000 2014 Digital Vision UM 2014 1 07 Application Preferences 515 Default 1 second This refers to the length of time in seconds that you need to hold a button down before it goes into repeat keystroke mode Display Timeout Display timeout Values User Set Default 15 minutes How many minutes of inactivity before the panel displays are turned off Display Brightness Display Grightn Values User Set 0 255 Default 255 brightest
291. mma Curve Gamma correction used to transform the camera data for display Options e Log 90 e Gamma 2 2 e Cineon 1 7 e Cine985 1 7 e Cineon 1 0 e Linear Saturation Slider 0 to 4 2014 Digital Vision UM 2014 1 07 Format Support 575 Extra Metadata All available metadata is also displayed in a raw format S 2K GUID FEBES860 845A4 4EF0 9E5E 7F1F6E1ABSDC date 200 y time 15 27 43 takeNumber 109 shotNumber 1 sceneNumber 1 cameraNumber 1 projectNumber 1 1 273 1 006 1 000 1 324 iel Silicon Imaging 2K subtype Bay timecode 15 28 33 07 uniqueFrameNum 0 Installing Look File LUTs SI 2K CineForm RAW Look File LUTs have to be compiled and installed before they can be used by the application Eu If you do not install the look files before trying to use them you will get an error Could not find cflook file for selected look file The Look Files have a look extension and are installed by a program called LookInstaller exe To install e Open a Windows CMD shell Start Run Cmd e Type LookInstaller lt file look gt Where lt file 100k gt Is your chosen look file On success a dialog box opens and displays information e g Lookinstaller 1 LUT le s installed or upgraded LUT CRUE 5CCAT C06 You can now use the installed LUT by selecting it in the Look File file selector in the shot Properties 2014 Digital Vision UM 2014 1 07 576 Appendices The
292. mmand Hem sr OO PIRO CON Cora COMES Naach INFO Opening peejece PROUT NEO Cee In ned core ic ln a OME Video tracks can be selected using the track ID option on the command line where ID is V1 V2 etc Importing Clips Import clip from specified path Give the clip a library name on import description lt descr gt Give the clip a library description on clip description lt descr gt import Importing a Clip Fe LMPOLL CLID lt bpat he The following command imports a clip from the specified path into the library of project PROJ1 Command film master project PROJ1 import clip M images train 300001 dpx INFO Opening projec PRO INFO Found tange S000U0 200164 The clip imported above will be given a default name in this case because the filename is numeric only 2014 Digital Vision UM 2014 1 07 456 Command Line The default name will be taken from the two containing directories i e Images train See below Command s film master project PROJI lino clio 48 SMEs OS6 CS6_ 001 001 clox INDO Opening projece PROUT PEO Feu range ll tt The clip will be given a name taken from the filename i e 056 001 See below This command only imports one clip To import multiple clips see Importing Folders If you perform the same import operation twice the clip will be imported again This differs from previous behaviour that expected the opt
293. mn Right click the mouse over the column you want to remove and choose Remove Column Clip Name Material Name Set COlUMN SIZE Insert Thumbnail Insert Tape Name Insert Column Right click the mouse in the contents title area where you want to insert the new column and choose the column you want to insert Clip r Insert In Insert Out Insert Duration Insert Colour Column Sizing You can adjust the wath of columns by clicking and dragging the column boundary with your mouse o A008 COOS 062 AUG COOS O6 H5 Tape Name m mu pe A005 CO05 0622H3 2014 Digital Vision UM 2014 1 07 Y er O D O Soe O Projects 4 Project System Preferences Projects are used to store and organise your work This includes the project library containing all your compositions and source material all your edits and grades specific to each composition definitions of all the project output formats and all other project state such as play heads cached renders window positions undo stack etc The Project Screen is the first screen displayed when you launch the application This is where you create and manage your projects Below the project list is an area that displays configuration settings for the currently selected project To the right of these settings in a group of buttons that let us create open and perform various other actions with projects List of Projects Project Display P
294. mode not Transform mode Adding Points Add Point To add a point to a shape enable the Add Point button and click on the shape edge Points added behave as bezier points for all base shape types Bezier Control A bezier shape is a spline and is defined by a number of bezier control points Each control point has tangent handles on each side of the point that allow fine control of the curve of the shape at the point Shape showing bezier style control One tangent handle broken not point and tangent handles mirror of other using SHIFT CTRL drag handle The basic ellipse and bezier shapes are defined by bezier style points whereas the basic rectangle and polygon shapes are defined by standard non bezier points Any points manually added to any shape will be a bezier type 2014 Digital Vision UM 2014 1 07 You can access and pull out the tangent handles on a sharp cornered bezier shape by dragging the corner point while holding down the keyboard z key Keyboard z drag mouse Breaking a Shape You can break a corner of a shape by holding down the keyboard SHIFT CTRL keys while dragging the point To re join the two points hold down SHIFT CTRL and drag one point on top of the other The two points should snap together when close 2 Shape Softness Luter softness 0 inner softness O Variable softness Del Outer Del inner Shape softness controls are as follows e Oute
295. mode layoffs 4 Event Handles lea Note that Source Order layoffs will not render transition effects When Source Order is selected the Mark In OQut values in the Event List will change to show the source timecodes matching the start and end timecodes of the list events When Record Order is selected the record timecodes are shown instead Pad Events In Out In 00 00 05 00 Pad Events ee lun Out 00 00 05 00 Crash Record only 2014 Digital Vision UM 2014 1 07 378 Video O Pad Events controls whether padding is to be applied during output Padding consists of black frames with contiguous timecode being written before and after the events being laid off How much padding is written is controlled by the n and Out timecode fields The timecode given to the padding will always precede the timecode of the 1st event being laid off and if a Mark In Timecode has been supplied the timecode of the padding will precede the Mark In TC Padding can only be carried out in Crash Record mode In Out Markers Qut Duration 01 04 00 00 01 04 20 10 0000 20 10 If ticked use In point as list in point The n Out and Duration boxes relate to the in out and duration times of your event list Record timecodes or source timecodes are used according to the Timecode Output Order selected You can set the n point timecode by e Pressing the Set In button Cue In
296. mportant considerations for use of the software User Manual This is the user guide that you are currently reading 2014 Digital Vision UM 2014 1 07 ee Documentation g Release Notes The release notes list all the new features bug fixes and known bugs Precision Control Panel Documentation The Precision Panel documentation includes an User Guide and a Hardware Installation Guide Valhall Control Panel Documentation The Valhall Panel documentation includes an installation guide giving information on the Valhall environment variables and setup a user guide and a quick reference labelled diagram of all the Valhall panel controls Hotkeys Reference Guide The Nucoda hotkeys guide is a labelled keyboard diagram and summary page of all the Hotkeys available in the application A shortcut to this PDF document is also placed on your desktop by the installation program Note that the application itself includes tool tip labels on buttons and user interface elements These will pop up when you hover your mouse over a button and display some explanatory text New in This Release Please see the Features and Benefits document for a description on new features 2014 Digital Vision UM 2014 1 07 Product Support Product Support is available to all clients with a valid maintenance contract To contact support see the Contacts section User Forum Digital Vision runs a web based user forum at the following addre
297. n C Nucoda 2011_O root general_prefs The location of the main preference file is displayed at the bottom of the General tab section Most preferences are stored in a text file called general prefs located in the application ROOT folder sk The ROOT folder is set in the environment variable NUCODA ROOT V2014 1 2014 Digital Vision UM 2014 1 07 Application Preferences 503 Capture Conform Capture Conform Auto assign Name replace with filename 1 folder up adding 2 folders Auto create library folder no auto folder 2 folder up adding 2 folders C Start fror Capture and conform i Capture timecode from 1st TC File header 7 Match Name Conform tape name from File header The Capture Conform preferences screen specifies global configuration settings and conventions used when naming and conforming imported and captured material See Appendix Extracting Names for more detail on how we extract names from files and folders Auto Assign Name Auto assign Name replace with filename 1 folder up adding Defines what library Material Name we give imported files sequences This name is extracted from the file name and or folder structure according to rules defined here Example folder file sequence on disk three two one clip 0000 dpx Naming Options The drop down choice here modifies the basic name string we calculate via the Folder Up Adding parameters see appendix Extracting Names for de
298. n splice or overwrite to a specific position on the composition timeline using the option record in Original timeline video track with clip alex one Command eee roc EROS CON CONAN overwrite name train record in 100 INFO Opening project PROJ1 NEO Opening cem a COME I INEO Cp added te Co rpo melon After overwrite to frame 100 of clip train Splice Overwrite from a Specific Source Position There are two methods to splice or overwrite a clip from a specific source position Explicitly using the source in option or implicitly using the timecode of the frame of the clip we pass in The second implicit method needs the full path of the clip frame to be used not the clip name Source In We can splice overwrite from a specific source position by using the option SOUrce in 2014 Digital Vision UM 2014 1 07 Splice and Overwrite Clips 467 Source Clip source In 10 100 Timeline record in 100 Command nccc USS project POTT eompoositeiom COMBI overwrite name slate record in 100 source in 10 INEO Open Ing projec PRO MMS INEO Opening comnocs ition C OMPI INFONCIE added co NC om os Levon Clip Frame Instead of using the source in Option to select the first frame of the source to splice we splice the source clip from the frame we pass in f we have a clip 008 200 300 dpx The following command Command Uc pro
299. n the LUT outputs The LUT data is specified after the header setup 1D LUTS A single 1D array per R G and B component The LUT values will range between min3D and max3D Earlier LUT versions use a different range v1 is between 0 and M v2 is normalised between 0 and 1 In the file this is expanded into a single list of r g b triples 3D LUTS The 3D LUT is an MxMxM array In the file this is expanded into a single list of r g b triples with red the fastest moving axis then green then blue 2014 Digital Vision UM 2014 1 07 ss Appendices An example of the RGB values in an EXR pipeline is shown in the diagram below EXR R G B values Clamped to range min1D max1D before lookup miniD LUT 1D INPUT RANGE max1D 3x 1D LUT EXR R G B values Clamped to range min3D max3D before lookup mingD LUT 3D INPUT RANGE max3D EXRR G B values Exam ple EXR RGB values pipeline File Format From a sample file included lut3d 2xN noinvert 1D only cms Lut3D exe lt 1D size gt lt 3D size gt lt invert green gt lt ld 3d test gt see Lut3D cpp for details on optional arguments NUCODA 3D CUBE 2 TITLE Identity Lut 1D Only Version 2 format LUT 1D SIZE 2 0 000000 0 000000 0 000000 1 000000 1 000000 1 000000 Comments start a line with or characters 2014 Digital Vision UM 2014 1 07 3D LUT File Format 555 Format Description version title and sizes of LUTs
300. nalyze Mode Determines how extensive an analysis is performed Values Normal Extended Default Normal e Normal Works for most types of material e Extended For more difficult material and highest safety Slower Picture Noise Values Low Normal High Default Normal Describes the noise level of the image ROI Margins Sets the region for analysis For best results in some cases the frame borders can be included in the analysis However if picture content is not locked to frame borders it might be necessary to exclude frame borders using the Region Of Interest control Individual control for Left Top Right Bottom in pixels starting from the image edge Range 0 TO 1000 Default 0 2014 Digital Vision UM 2014 1 07 276 DVO Effects DVO Scratch DVO Scratch processes vertical continuous scratches These are typically those not being detected by dust dirt removers which are looking for random defects in the picture The process is fully automatic and has an advanced detection algorithm with a fill in result far superior to the normal process of hiding the defect using information from both sides of the scratch Basic Settings Enable Colour Linear SMPTE Enable This toggle button allows you to enable disable the effect By default as soon as the effect is added it is applied enabled Colour The drop down list will default to the project setting for the input format You need to set this co
301. names or trademarks belong to their respective holders Title Nucoda User Manual 2014 Document Revision UM 2014 1 07 Software Revision 2014 1 Date 13 05 2014 Contents Table of Contents Welcome gt _ 9 Overview gt 12 Documentation nn LULU ee a ee ee at is 12 New in This Release 13 Product Support 14 Contacts 14 The User Interface 17 Interface Conventions 17 Main Screens O 19 AK AA MU AA ee ee ee 19 Project Desktop O 20 Project Library LL 21 File Browser 21 Network and Drives O UG tenet eeeeeees 22 Folder Navigation O 24 Folder Bookmarks 27 Folder Management 29 File Type Filter oc ae aies and APAT ENNA NATE 29 Tables 30 Projects OO
302. names only The various component parts of the Export Browser are shown below Folder Share Navigation File name Navigate to the desired folder using the standard file browser controls Set the desired file format format options if any export mode and global options using the controls at the bottom of the browser 2014 Digital Vision UM 2014 1 07 Export Path Preview A preview of the path and filename we will create using the current settings is displayed at the bottom on the browser window The following settings Current folder Z projects SH 77TH exports van3d Filename typed Folder Hierarchy set c_ o0 r will preview as shown below File Format and Options Use the drop down list to select a file format for your export Options available for the selected format will be displayed in the Format Options panel below dps Format Options Mode big endian Depth current RGB See File Format Support for supported file formats KA Switching to a different file format will reset the Global Options to their default settings Filename and Number Name your exported sequence s by typing in a name in the text box This will 2014 Digital Vision UM 2014 1 07 Export Media ag be the base name for every exported shot even when multiple shots are created on export e f you do not type in a base name file names will be numeric only e g 007845 dpx e Numbers are added a
303. nc Tri Level Syne Values Internal Sync External Sync Bi Level Sync Tri Level Sync Bi Level Sync SD Source Tri Level Sync SD Source Default External Sync where e Internal Sync sync is generated internally and is free running on layoff e External Sync sync on input signal e Bi Level Sync used for SD BB 0 3V e Tri Level Sync used for HD 0 3V to 0 3V e Bi Level Sync SD Source use Bi level sync on HD project e Tri Level Sync SD Source use Tri level sync on SD project Audio Settings Default Audio Capture Bitrate This setting specifies the sample size for VTR audio capture 2014 Digital Vision UM 2014 1 07 Application Preferences 527 Default Audio Capture Bitrate Values 16 Bit 32 Bit Default 16 Bit Use Video IO Card as Audio Monitor This setting will enable the video VO card as the main audio monitoring device rather than the computer workstation audio device Use Video IO card as audio monitor This is a Centaurus2 video card option only Eu This is a DVS Centaurus2 video board option only 2014 Digital Vision UM 2014 1 07 gs Appendices D Preferences Assistant The Preference Assistant is a utility tool for display and edit of the general prefs file Run the main application at least once before using this tool Hitting the UPDATE button on any tab will update your general prefs file at that time If you want to create multiple preferences
304. ndry Tinder Furnace and Keylight e GenArts Sapphire New e IMAGICA Corp of America Primatte The OFX API and documentation can be found online http opentx sourceforge net 2014 Digital Vision UM 2014 1 07 OFX Plugins sa Configurable Viewer Tools Viewer tools let you display various pieces of information and guide elements on top of your monitor image This includes various metadata items grids shapes logos masks and colour information graphs The following viewer tools are user configurable Grids Overlay lines rectangles and layout information HUD head Up Display Overlay text or graphics inside monitor area or image Masks Mask Blank areas of the image 2014 Digital Vision UM 2014 1 07 582 Appendices Graphs Display a graph or histogram of image colour map The displayed information and its position can be customised via one or more specification files The search path for the specification files is given in the main preference file general prefs Configuration Grids HUDs Masks and Graphs are configured via plain text files searched for in folders specified in the main configuration file general prefs Parameter Default File Extension Each specific parameter specifies a folder from which corresponding specification files will be loaded e Multiple specification files per folder will be loaded and aggregated e Only files with the specified extensions ar
305. nents used in any cache generated This is an advanced setting In general do not change this Component Bit Depth Default 10 bit Use this drop down to select the bits per component colour accuracy that you want the output format to render EI Component Bit Depth is an advanced setting and usually should be left at the default Render Resolution The image width and height in pixels are set automatically when you choose one of the preset formats from the setup menu ff you want to define a different image size for your output format then simply enter the values into the appropriate text boxes in doing so the default format will automatically change itself to Custom Setup Viewing Aspect Ratio The aspect ratio for viewing images is set automatically when you choose one of the default formats from the setup menu If you want to define a different aspect ratio for your output format then simply enter the value into the appropriate text box in doing so the default format will automatically change itself to Custom Setup You will be able to toggle the aspect ratio correction on off when viewing images Render Options Cache Output Default OFF Enabling Cache Output will cause output caches to be generated in the 2014 Digital Vision UM 2014 1 07 Creating Projects 4 output format if the source format differs from the output If the source format matches the output an output cache is generated if any Master l
306. ng Mode Proc Mode Narrow Values Narrow Medium Wide Auto Default Narrow The Processing Mode affects how motion is detected and selects between three main modes The Auto mode automatically selects the most appropriate setting based on the source and target mode chosen ae Only has an effect when Motion Mode is set to Motion Comp Motion Mode Motion Mode Motion Comp Values Motion Comp Interpolated Nearest Frame Default Motion Comp This determines how the images are recreated in the target format Motion Comp This uses motion compensation and is the default This allows the accurate recreation of fields and frames using the Digital Vision Phame motion vector algorithms Interpolated This is a simple method that recreates correct target fields and frames by careful mixing of the input source This method will often produce a lower quality result than the motion compensated approach blurs jerky 2014 Digital Vision UM 2014 1 07 DVO Twister 325 motion Try if Motion Comp falls Nearest Frame This uses no processing other than skipping or repeating frames to output the same clip duration Cut Mode Cut Mode Inside Scene Values Across Scene Inside Scene Inside Scene Frame Aligned Default Inside Scene DVO Twister has an internal scene detector and the Cut Mode determines how images adjacent to a scene cut are aligned Across Scene This ignores the cut and blends the images
307. ng the composition from above taking track output visibility into account A composition is composed of one or more media tracks image or audio stacked on top of each other in rows Each track has e Per track independent controls on the left and e Global track controls above these 2014 Digital Vision UM 2014 1 07 go Compositions ib Timeline IE Shots keyframe Editor 01 00 00 20 Ind 230 ba A r4 B1654 1 L Media segments Per track a set of track indicators on the left Enabling a Track ae Wwe The track enable button allows you to select one or more tracks to operate on i e e Delete e Splice or overwrite media e Push up or down etc Disabled tracks are still exported to file or tape Locking a Track Locking a track will prevent any edit changes i e e Edits cuts e Trimming e Moving segments e Track or segment insertion or deletion etc EE A locked track can still have the grade changed 2014 Digital Vision UM 2014 1 07 Composition Elements a Track Picture and Sound Output EI Toggle the timeline monitor picture and audio output via the toggle buttons HE Tracks with output turned off are not exported to tape or file Global Track Controls Globally you can also set the display of track thumbnails play heads audio waveform and set the active play head position to centred during play back Centre active play
308. ng the grain size and sharpness as well as matching the characteristics of highlight and lowlight intensity behaviour After Enable Colour Film Log Enable This toggle button allows you to enable disable the effect By default as soon as the effect is added it is applied enabled Colour The drop down list will default to the project setting for the input format You need to set this control according to the material that you are working with If the footage was shot with a video camera select a linear format ff this control is not set correctly the material may not be processed properly Default From Project 2014 Digital Vision UM 2014 1 07 DVO Regrain 313 Parameters Size Overall 100 Lowy 100 Saturation alll High 100 Midpoint 10 Size Desired pixel size of the grain Range 0to3 Default 1 pixel Sharpness Determines the sharpness of the edges of the grain Range 0 to 100 Default 50 Saturation Determines the colour saturation of the grain Range 0 to 100 Default 50 Overall Overall amount of grain added Range 0 to 400 Default 100 Low Specifies the amount of film grain to be added in low light dark areas The film grain added is in addition to the overall film grain as specified in Overall Amount above Range O to 400 Default 100 2014 Digital Vision UM 2014 1 07 a DVO Effects oF High Specifies the amount of film grain to be added
309. nge on a frame by frame basis It is recommended that Scene Mode processing be Disabled when used Local Mode Values Disable Normal Default Normal This option allows for more localised colour match processing than found in Scene or Frame Modes The Area Size and Sensitivity controls are linked to Local Mode processing Area Size Values X Small Small Medium Large X Large Default Medium The smaller the Area Size is the more locally aggressive it can be considered to be Sensitivity Values 0 1023 Default 64 The Sensitivity parameter is used to control the allowed difference ranges The values we set correspond to 10 bit levels The effect of Sensitivity is as a safety measure rather than a processing amount To speed up the processing of complete scenes material Local Mode processing can be disabled 2014 Digital Vision UM 2014 1 07 DVO Stereo Fix 247 Colour Match Safety Values 0 0 1 0 Default 0 5 This parameter sets a general safety level for the Scene and Frame Mode colour matching Colour Match Safety applies to black levels as well as the analysis and variability of the spectrum transform applied This does not include Local Mode which uses Area Size and Sensitivity Alignment Align Match to Left Align Mode Morph Manual V Offset 0 These controls allow us to correct the alignment or geometry between the left and right eyes Align Match Values to Left
310. nge the active version by selecting any other version from the list Versions are numbered Version 1 original Version 2 etc To the right of the version number is the Material Name Approving Versions f you want to mark a version to denote that it is the preferred version you can do so by approving it To do this 1 Select the version that you want to approve from the versions list so that it is the active version visible on the timeline 2 Select the segment on the timeline so that it turns orange 3 Press the Approve Version button on the timeline toolbar The version indicator will change from grey to green to indicate that you are now viewing the approved version 2 s org 00 00 00 00 Pa p Green triangle signifies the approved version f you later select a non approved version to view the indicator will turn back to grey You can change the approved version at any time simply by selecting a different version as the active version and approving it following the steps above This will set the previously approved version back to unapproved and set the new selection to approved 2014 Digital Vision UM 2014 1 07 132 _Versions o Deleting Versions Hotkey SHIFT N To delete a version at any time 1 select the version to be deleted so that it is the active version on the timeline 2 select the segment on the timeline so that it turns orange FZ 3 press the Delete Version button on the timeline
311. nger 003 UC Nico EJ Without the user option the last user we logged in as is used If wi Creating a Project format spec lt path gt Use the specified project format specification template Create a New Project project lt name gt OrMat spec spathy To create a new project from the command line create a project format specification file that describes the project This is the equivalent of setting up the project configuration settings in the GUI Specify the name of the project and its format specification file using the command Command Pa ence Osa erm OU AA PC CC re INFO Creating new project PROJ1 The above command creates a new project PROJ1 using the definition stored in the file hd 1 txt Project Format Specification LO MAC Sp C path This format spec is a text file that defines the elements of the project 2014 Digital Vision UM 2014 1 07 448 Command Line including both outputs and sources The output and source sections are specified using the section tags e output e source The basic format is as follows lt Global Parameters gt ke epi sOUEput sections source SOULCE e Some global parameters are required There must be one or more output sections The first output section will be the master format for the project There are zero or more source sections a 1 1 source will always be created The symbol starts a comment See For
312. nges the default conforming behaviour and looks to conform link our the available media with the list record timecodes Normally we conform i e link our media to the event source timecode Conforming to the list event record timecode is often required when our media has already been edited such that media timecodes are now those for the record timeline This media will usually have a start timecode the same as the first EDL record timecode event TC Offset Set the offset if any between the list record timecodes and media we are conforming Set positive or negative offsets via the and buttons Tape name Technically only the source events are associated with a tape You can associate the record events with a tape by entering it here It is good practice to always set a tapename here Fill record event gaps lf the record events are not all contiguous timecode but contain gaps fill the gaps with filler Match name When using Conform to material ensure we take account of the tapename we have entered in the Tape name field Keep playhead positions 7 keep playhead positions Make sure we do not reset or change the play head positions 2014 Digital Vision UM 2014 1 07 Importina List Files List Capture List Capture Once you have imported your list file we have a composition timeline that has no media inked to the shots A shot without media inked to it will display the offline
313. noise reduction for the higher settings For fast motion material and a higher than default spatial filter threshold setting a high temporal mix setting may increase the probability of artifacts In such cases this setting may be lowered For a lower than default spatial filter threshold setting the Full setting may be used The default setting High should be safe in most circumstances Spike This setting enhances the spatial filter pertormance by incorporating a spike adaptation Values Off Narrow Medium Wide Default Medium The setting relates to the grain noise characteristics A low setting e g Narrow is suitable for smaller grain and noise sizes and or less pronounced variations in amplitudes 2014 Digital Vision UM 2014 1 07 so DVO Effects oF A high setting e g Wide is suitable for larger grain noise and or more pronounced variations in amplitudes Setting spike to Narrowin conjunction with setting Motion Sensitivity to High and Motion Estimation in the Processing screen to Best can help avoid motion estimation errors caused by noisy grainy material Pos Neg Profile Pos Ned Profile Neg Positive Luma Threshold Low 0 Luma Threshold High 100 The Pos Neg profile allows the user to select the amount of noise reduction both spatial and temporal applied to the highlights or lowlights within the image This function is important when dealing with grainy images in positive or negative film s
314. ns above e g aut oconf orm Requirements e The composition option is required to specify the current composition we merge from e The match option is required to specify how to match the shots e Use a conform option e g aut oconf or m to link referenced material Choosing Source Track merge from lt N mixdown gt This selects the source track containing the grades to merge or mixdown to select the mixed down grades the sum of the grades over all source tracks Match Method Malch lt Source record clip gt Required when using merge from This selects the method to use when matching shots when merging over the grades Match via source timecode Match via record timecode Match using clip name Command Ss nucoda_film_master project PROJ1 composition compname import edl S edl ttt merge edl add cle OCC Mare ian merge from 1 match record INTO Opening ceeJect PROTL rom MDs Niweoda OR prog INEO Opening cengcslcicn Compam INFO ttt merge edl imported 2014 Digital Vision UM 2014 1 07 EDL Import and Conform 475 Other Options Tapename Translation No Lranslate This option disables the automatic tapename translation on import Some EDL files contain a tapename translation table This table can be used to translate illegal tapenames e g containing spaces to legal ones e g spaces replaced with underscores Normally w
315. ntrol according to the material that you are working with If the footage was shot with a video camera select a linear format If this control is not set correctly the material may not be processed properly Default From Project Scratch Detection Parameters Detect Parameters Colour Mode w oCratcn Type White Column Aggress 0 500 scratch Width Normal pm m Pixel AgOressS 0 500 Image Noise Level ml Colour Mode This determines the image channels detection is undertaken in Values Y R G B R G B Default Y where 2014 Digital Vision UM 2014 1 07 DVO Scratch 077 Y Luminance detection only fastest R G B Separate detection in R G and B channels Processing of each channel is based on the combined result from the detection R G B Separate detection in R G and B channels Each detection channel affects the corresponding processing channel Column Aggressiveness First stage detector aggressiveness which determines what columns and pixels are selected as scratch candidates to be processed The higher the setting the more aggressive Range 0 0 1 0 Default 0 5 Pixel Aggressiveness Second stage detector aggressiveness which is a modifier for pixel selection within the selected columns from the first stage The higher the setting the more aggressive Range 0 0 1 0 Default 0 5 Scratch Type Used to describe scratch characteristics For moderate scratche
316. nvention and automatic sequence timeline splicing Import Folder Options v Filter file format o dpx Filter image size 1920 1080 7 Auto create library folders O Import and splice e TIETAN Import as background task Import Options Filter file format Select to import only files of specified file format Filter image size Select to import only files of specified pixel width and height Auto create library folders Select to automatically create library folders for the imported media Folders are created as per the auto folder settings Import and splice Select this to splice the imported media to the current composition 2014 Digital Vision UM 2014 1 07 Importing Material timeline automatically Choose the desired splice order from the drop down menu e File order is the order the file sequences are found e Timecode order is the order as per the extracted shot timecodes Import as background task Select to import as a background task After pressing Im port you can close the file browser and the importing will continue in the background Library Folders Y gg project root folder 001 Pr 002 AU Milk ka ai grade tests ey BLiAux Media you import is placed inside the currently selected library folder shown highlighted in orange The import process can also create library folders automatically placing each piece of media inside a folder named from the filename file path or
317. o Nucoda ss Nucoda AAF Import Options The various options available on AAF import to Nucoda are described below AAF import Nucoda BYE Grade w Offline Media files E Avid MediaFiles Import Ovenwrite existing track pama Merge existing grades from i none Match source TC Match record TC Wi Import material from MXF paths Wi Conform to material C Apply AAF effects W Expand nested tracks and retimes 0O Conform to record TE TE ajea 000 0000 Tape name Master Fill record event gaps Match name Keep playhead positions Import Cancel 2014 Digital Vision UM 2014 1 07 so Avid Integration Media files Set to the top level Avid media files folders Each is searched in turn for MXF media related to the active AAF composition The GUI allows the configuration of three folders The general prefs preference file lets you configure more See Media Files below Import material from MXF Ensure we load source material if we locate it paths on disk Apply AAF effects lf Avid renders pre computes are available we can select this to use them in the Nucoda system Avid Transitions i e wipes dissolves 3D transitions etc will be displayed as dissolves on the Nucoda timeline even if they are rendered on the Avid If you need these generate a mixdown See Transitions NOTE If you are planning to finish on the Nucoda or use the Record AAF Workflow you should use this option to ensure that your s
318. o Video This setting enables the OpenGL graphics on your display monitor to be sent to the video board output for display in realtime This includes the colour grading as well as any HUD or graphs displayed This setting is only supported for NVIDIA FX4600 graphics cards or better and DVS Centaurus2 video boards Eb OpenGL read back is not compatible with the nterlaced Stereo DVI setting below When enabled the nterlaced Stereo DVI setting will be hidden Interlaced Stereo DVI Output interlace Stereo DV Output When enabled nterlaced Stereo DVI Output will convert the DVI signal to a left and right stereo channel mode This stereo mode is supported on display devices like the Zalman ZM M220W 3D LCD monttor Interlaced Stereo mode is incompatible with OpenGL read back and will be hidden if read back is enabled Enable SDI I O Card Use Video I O and Monitoring via video I O card These settings relate to your SDI video card e g Centaurus2 Bluefish Lust 2014 Digital Vision UM 2014 1 07 Application Preferences 525 VI Enable SDI FO Card 5DI Link YCrCb 422 Default format PAL C Always use default format for monitoring Priority format Match ost format R5422 COM port Output Sync o External Sync SDI Link This specifies the default video card SDI colourspace and format Values YCrCb 422 RGB 444 YCrCb 444 Dual YCrCb 422 12 bit YCrCb 422 12 bit YCrCb 444 Defaul
319. o input Signal SDI Sync This shows the reported sync signal seen by the video card 2014 Digital Vision UM 2014 1 07 360 Video I O SDI Output This shows the video format resolution and frequency of the video output Signal Video Format settings pea PL 422 3 ne ie 422 Linear SMPTE Linear SMPTE Default FPS Blanking o capture output Colour Space control The first drop down button allows you to set the colour space mode for your material e YCrCb 422 e RGB 444 RGB Scaling control The second drop down allows you to set the video scaling mode that the application should apply to the material e Linear SMPTE no scaling e Linear CGR signal is scaled This setting is very important in order to ensure that what you see on your monitor is what you will get on output For a discussion of Colour Scaling modes see the Setup Manual FPS control Use 14 98 Aa tala sene DORES Kai DER 00 FRS eg VTR Capture only For certain bandwidth intensive formats we need to specify an optimal capture rate to use e Default FPS the default is the composition frame rate e Use 14 98 FPS 2K e Use 15 00 FPS 2K 2014 Digital Vision UM 2014 1 07 VTR Settings 36T e Use 5 00 FPS 4K Blanking VTR Output only This setting will blank out the top and bottom video lines This may be useful to hide any edge artifacts pushed into the video active area by certain effects
320. o their final destination See MXF Staging Avid Relinks MXF When the updated graded restored MXF media from the Nucoda system appears in the Avid MediaFiles folder the Avid system does an automatic re scan to update its media index Media Tool Once the re scan has completed open the Media Tool Tools Media Tool Media Tool Display x Media Drive 2 Projectat Le AAF conform Data C AAP Super Test F aaf test AvidProjectz G AAP Tester SA DM H ale 2 Interplay Media li asgradednes WWorkspace id VWorkepace2 E0 astest rs astest2project Avid Test01 All Drives Current Project All Projects Ca Master Clips i Precompute Clips Media Files Pan OK Cancel Avid Media Tool The Media Tool lets you select a Media Drive and a Project to scan and use for media Select e The Media Drive used for the MXF media you exported e The Project name you used for the MXF export The project name is the one you entered in the Project Name User Defined text box when exporting the MXF media in the Nucoda The Media Tool will open and show you a list of shots found matching the 2014 Digital Vision UM 2014 1 07 MXF Back to Avid an search criteria including project name Media Tool Media Tool shot list The Media Tool lets you organise sort and sift the media Relinking Duplicate your AAF sequence and move it into a new Bin Then drag and drop you
321. oducts include extensive support for interoperability with Avid products including e Avid Media Composer e Avid Symphony e Avid DS This chapter describes the main workflows available for Nucoda systems when working alongside an Avid Tested and qualified versions of Avid applications are listed in the Compatibility section alongside a list of supported formats and effects Process The workflow process involves two or three steps depending on your choice of workflow Step 1 AAF to Nucoda The first step is to transfer the AAF composition from the Avid e Export an AAF composition from an Avid and import it into a Nucoda We will detail the various options settings and things to look out for in this process See AAF to Nucoda Step 2 Grade and or restore on the Nucoda Finish on Nucoda and play out to server or tape or Step 3 Export the source modified AAF from Nucoda and re import into Avid or export graded MXF files from Nucoda and re link them to a copy of the original sequence in Avid The Nucoda can also be used for final finishing and output 2014 Digital Vision UM 2014 1 07 There are four main ways of transferring the material back to the Avid for finishing e Sending an Edit Modified AAF back to the Avid Sources in the AAF are updated to point to new graded media See Edit modified AAF Back to Avid Note that the Edit Modified AAF back to the Avid route is only available f
322. off modules YIR Capture Control YTR video Capture Settings Pre roll a Video Trim 0 YTE HO YY E 500 7 Qutput still Post rail 1 Edit trim 0 Only REC Lock 25 FPS Refresh YCrCh 422 SDI Input HO 1080i 50 Linear SMPTE SOI Sync no signal Capture f SDI Output HD 1080i 50 nly Audio 1 2 ae 5 6 riB Interface AES EBU Capture Only Jona faz pa File Storage Broadcast WAY Bit Depth 16 Bit EI Always check these settings carefully before proceeding with any video l O 2014 Digital Vision UM 2014 1 07 VTR Settings 359 VTR Deck Status Feedback HO F 500 still REC Lock 29 FPS The four deck status fields are read only display fields and provide feedback on e Model of VTR attached e g HDW F500 e Status of the VTR still stop play etc e Reported VTR frame rate e Record inhibit status REC Lock Note if the deck and project frame rates do not match you will get a warning message This message can be turned off by setting the general prefs frameRateWarning parameter to false Refresh Button The status fields should update automatically but you can perform a manual update by pressing the Refresh button Video Signal Feedback SD Input HO 1050i 50 SOI Sync no signal SDI Output HO 1050 50 The three SDI fields are read only display fields providing feedback from the video card SDI Input This shows the video format resolution and frequency of the vide
323. omes enabled as soon as a fix is made to the current layer Pressing Mix Down will make the changes to the current layer permanent burning them into the image This tool allows you to apply fixes with different settings to the same area Enable Grain Enable Grain High 100 SKE 1 Midpoint 10 50 Colour Linear SMPTE Saturation 50 Overall 100 Low 100 2014 Digital Vision UM 2014 1 07 270 DVO Effects Enable Grain will turn on the grain compensation This adds grain to the fixed area as appropriate blending the changes into the scene Default Off The parameters are the same as for the DVO Regrain effect Colour The drop down list will default to the project setting for the input format You need to set this control according to the material that you are working with If the footage was shot with a video camera select a linear format ff this control is not set correctly the material may not be processed properly Default From Project 2014 Digital Vision UM 2014 1 07 DVO Fix 271 DVO Flicker DVO Flicker analyses the image sequence to remove brightness and chrominance fluctuations These may be caused by varying exposure time unsynchronised light sources telecine tranfer aging film stock and or film chemical related issues Chrominance flucuations are often termed chroma breathing Enable Colour Linear 5 MPTE The effect is enabled and the colour mode of the input set via t
324. omposite Layer Note that this is active only if a composite effect is chosen 2014 Digital Vision UM 2014 1 07 Adding User and Layer Effects 205 Add User Effect to Effect layer at top Add Restoration Effect This is a DVO Dust Fix Effect layer Delete Effect or CC FX Layer g Reset Effect or CC FX Layer parameters User Effects Adding the effect as a user effect will add the effect to all the selected segments The effect will appear in the Effects layer of the effects tree L 4 re Effects sus OYO Dust 00 0100 00 00 01 00 0290 Ott Adding an Effect adds to all selected segments Layer Effects Adding the effect as a layer effect will add the effect only to the active segment ignoring other selected segments The effect will appear as a new layer in the effects tree Eh Effects al CE Base CC Layer GT Ea Layer 00 59 54 01 00 00 00 01 00 02 0 ara aye a fa Matte Keyer H Matte Tools HH DYO Dust Effect CC Layer applies to active segment only The effect layer will have the applied effect as well as all the isolation effects matte keyer shapes blur and router which are present in all layers 2014 Digital Vision UM 2014 1 07 Composite Effects Like an normal Effect a Composite effect is added to all the selected segments lt appears at the bottom of the effect tree F Effects pp ke Base CC Layer b CE Master Y E composite O Blend Transiti
325. omposition corprese Load Composition 1load composition lt file path Load the composition from given composition file into the specified project Command Ss nucoda film master project project x load composition S new day day011 content THRO TOPe nin proe ee Pro gjece done Nucoda AOI projeces mmo yecu The composition file will be loaded and create a composition with the Same name and contents as the original Saved composition Rendering a Composition Cache render output This command will render the caches for the specified composition Command o LL maset eo ro CE PROJ SSComoesicslom COME IL render output INFO Opening project PROUI INP O Opening cmc ich COMP Is INFO Rendering output for composi lion INFO render output 226 still to render 0 INFO render output 224 still to render 0 INFO rendor output 22 0 scill co vender 100 2014 Digital Vision UM 2014 1 07 488 Command Line Running Batch Operations batch mode lt file gt Run CLicommands from file ops file lt file gt Run some commands from file Both these options run application commands from the given text file The advantage of this is that the commands complete much more quickly than if run separately on the command line because the application only needs to startup initialise and open projects or compositions once The ops file command is left for backwards compatibility The
326. on Effects Transition effects can be added manually between two adjacent segments on the timeline An imported EDL may also include transitions between shots Enable the Transition button transitions will not be rendered and displayed unless the Transition button is enabled Transition Select two adjacent segments on the timeline hold down the CT RL key whilst clicking on the segments and press the Insert Transition button on the timeline toolbar 2014 Digital Vision UM 2014 1 07 Transition Effects 207 01 10 00 00 01 00 00 05 01 00 00 10 r4 230G TA WG Insert Transition Valid Transition A valid transition will be shown in white as a diagonal line between the two segments with a vertical line on the start and end frames 10 00 02 01 00 00 04 01 00 00 06 01 00 00 05 D a rd BIGSA 1 01 r4_B16 Invalid Transition lf there is not enough material for the transition as set insufficient handles then that part of the transition will be displayed as red 01 00 00 05 01 00 00 10 01 00 00 1242 01 0 Eu I4 BI65A 1 01 r4_B1654 1 You can fix an invalid transition by going into trim mode and either e Trimming the shot that requires the extra handles for the transition Once valid the transition changes from red to white e Adjusting the transition itself 2014 Digital Vision UM 2014 1 07 10 00 02 01 00 00 04 01 00 00 06 01 00 00 0868 E 0 Let
327. on UM 2014 1 07 974 DVO Effects DVO Print Align DVO Print Align uses a fully automatic process to align RGB separation prints even if the offset varies over time Basic Setup Enable Colour Film Log Enable This toggle button allows you to enable disable the effect By default as soon as the effect is added it is applied enabled Colour The drop down list will default to the project setting for the input format You need to set this control according to the material that you are working with If the footage was shot with a video camera select a linear format ff this control is not set correctly the material may not be processed properly Default From Project Controls Referen ce Colour Green HO Margins Fixed Colour Green Left Mas Offset 100 Top Analyze Mode Normal Fight Picture Noise Normal Bottom Reference Colour select the component Red Green or Blue that should be used as the reference Values Red Green Blue Default Green 2014 Digital Vision UM 2014 1 07 DVO Print Align 275 This is normally set to Green as more luminance detail is available in the component Fixed Colour Select the component Red Green or Blue to which all other should be locked Values Red Green Blue Default Green Normally select the component that is most aligned stable Max Offset Set the maximum adjustment that can be done in pixels Range 0 1000 Default 100 pixels A
328. on for Record Order Export If a sequence was imported from AAF for grading there is now an option to create an AAF file on export in Record Order TC This will create a single MXF file with an AAF containing references to the video and any audio files as a sequence Loading this AAF into the Media Composer will load the new sequence Automatic Interplay Check In When using the create AAF option above an additional option for nterplay Check In becomes available If the nterplay settings in the general prefs file is correctly configured the resulting AAF will be checked into Interplay automatically in the defined project 2014 Digital Vision UM 2014 1 07 Compatibility amp Features 385 AAF to Nucoda This chapter describes how to export an AAF from the Avid system and import it into the Nucoda This is the common starting point for each workflow we discuss e The Avid exports an AAF e The Nucoda system imports this AAF for grading Export AAF from Avid To export as AAF from the Avid right click your sequence and choose Export UU ASAL PA na F bk Send Ta d Export a Locators Export Settings At the bottom of the export dialog box the selected Export Setting and Options button allow you to define an export preset Here we have an AAF export preset defined called FM Enabled IT GG Export Setting FM Enabled Options Use the Options button to view the sett
329. ooks like Channel Extract Channel Extract Saturation Saturation My Favourites gt DVO Clarity My Favourites DVO Clarity DVO Grain Balance DVO Grain DVO Regrain Bob s Favourites P DVO Regrain Balance Bob s favourites gt DVO Dust Fix DVO Fix DVO Flicker effectList effects ChanneLlExtract Saturation MyFavorites This is a comment name My Favourites effects DvoClarity AGR4 DvoRegrain effects Balance Saturation BobsFavorites name Bob s Favourites effects Dust Fix Deblotch DvoDeflicker insertDefault false Hidden effects FieldDomCorrect FieldRemove FieldSwap 2014 Digital Vision UM 2014 1 07 sa Appendices Output Format Confguration Every project a main output format defined and may also have one or more secondary formats configured Available formats appear as a drop down list on the project screen with a name Setup E CI The Output Format Selector drop down list Interacting with the Output Format Selector drop down list and choosing a format The output formats available can be defined through the use of text configuration files Configuration Files The default configuration file exists in the application C Nucoda 2014 1oot lf a user configuration file exists in the same folder it will override the defaults This user configuration file does not exists unless you create it Default Configuration File Name d
330. op CIUTEUT Output Single The tape will be scanned for the correct timecode in point and recording will commence For a crash record recording will commence at the tape position All the events shown in the event list will be written to tape The layoff can be halted at any time by pressing the Stop Output button 2014 Digital Vision UM 2014 1 07 88o Video I O KB Output Single Output Single will layoff a single selected event only List Output Name Tape Name sre In Src Out Rec in Rec Out Material PA PAR Ds BP 4 20 02 Rendered amp Found NewT ape 01 04 53 22 0104 44 03 01 04 55 16 01 04 45 22 NewTap The Output Single button is only enabled when a single event is selected in the event list Before the layoff starts the event is rendered if required and a final output validation check is performed if Validate Output is enabled see Validate Output Once layoff starts the button will turn red and the Stop Output button will become enabled and turn green Output List stop Output Output Single The tape will be scanned for the correct timecode in point and recording will commence For a crash record recording will commence at the tape position Only the selected event will be output to tape The layoff can be halted at any time by pressing the Stop Output button 2014 Digital Vision UM 2014 1 07 Avid Integration 382 Avid Integration Avid Integration 22 Digital Vision pr
331. or Nucoda compositions originally created from imported AAF files e Sending only MXF media back to the Avid See MXF Back to Avid e Sending an AAF containing a record order sequence back to the Avid and optionally doing an Interplay check in of the sequence and the new video medla See Record AAF Back to Avid with Interpla EI Note that the Record AAF back to the Avid route is only available for Nucoda compositions originally created from imported AAF files e Sending an Record order AAF back to the Avid for use in MC or manual check in into Interplay See Nucoda Exports Record Order AAF 2014 Digital Vision UM 2014 1 07 EN Avid Integration Compatibility amp Features The following Avid product versions are tested and qualified e Avid Media Composer 5 0 x 5 5 x 6 0 e Avid Symphony 5 0 X 5 5 x 6 0 e Avid DS 10 3 10 5 Avid Effect Support For the level of Avid effect support see the Avid Effects chapter MXF and Codec Compatibility See the Nucoda Forum for PDF files with supported MXF and codec formats Avid Audio Support Tracks in the Avid must be Mono and audio must be 48000 16Bit PCM MXF This option should used for adding mixed audio tracks to MXF exports When a new AAF is created on export the audio information will be passed through to the new AAF Version 2011 2 introduced the ability to import audio from AAF files and play them back on Nucoda Create AAF Opti
332. or YC Nucoce 014 1 rock gro jeckts ek is bluerrame export Eests Tue 16 Feb 2010 16 07 32 evant ramen export tests Tue le Feb 2010 16 07 32 greenframe export tests Tue 16 Feb 2010 16 07 33 purpletrame export cests Tue lo Feb 2010 Lo 0 7 33 yel lowzrame export tests Tue To ECO 2010 RE 0723 Or IS GO ING Removing Items project index composition with index Remove named clip remove indexed clip lt index gt Remove clip with index Removal operations cannot be undone You may wish to backup copy your project folder before using them Each removal operation can work on the name of an item or its index The item index is as returned from a list operation e g Command Ss film master project et list INFO Opening project Tet From TC Ngcoda 20141 root projects Ct Compositions in project et cf C Nucoda 2014 I zcet projects et ls COme imported from C Temp et edl 2 Graded 001 Tue ko Feb ZOLO 16322413 si Check Tue ko Fc 2010 T6 2 2244 To remove the Graded 001 composition use the command 2014 Digital Vision UM 2014 1 07 Removing Items ag Command 5 film master exe project et remove indexed composit INFO Opening project eu from EC Nuceoda 2014 1 toot projects et INFO Deleting composition indexed 2 Graded 002 from Project Eb of TC Nuccdi 2014 Keet projects el Removing Projects remove project lt name gt remove indexe
333. or detailed instructions on using the browser component The file browser collapses contiguous sequences into single rows and shows the start and end frames in square brackets 2014 Digital Vision UM 2014 1 07 Importing Media 6 Name 907 76 908 76 dpx EQUENCE 90000 90095 dpx equence 31052 91 156 dpx eqguence Select a sequence and press the browser Im port button to import the selection into the library as a shot As shown in the screenshot above you can import multiple items at once by selecting more than one item e g SHIFT Click or CTRL Click and pressing the Im port button Before doing the import check your import options see below Once you have finished importing your media click the Close button to close the file browser Import Options Import For image media the mport Options dialog lets us select the method used to extract the Timecode and the Tapename from the media imported The browser O ptions button will open the import Properties dialog Properties Timecode 15t tc header Tape Dir Level l 2014 Digital Vision UM 2014 1 07 Importing Material BE Set the default settings in the Application Preferences Capture Conform tab It is very important that we ensure where we can that we have a proper tapename and timecode associated with our source media Timecode Timecode nd tc header Timecode filename We can extract the timecode fro
334. or not Fixed Start and End mode are set separately 4 Under certain circumstances typically for very unsteady material a Fixed setting might look wrong 2014 Digital Vision UM 2014 1 07 DVO Steady 2 DVO Alias DVO Alias takes care of the negative side effects of out of band vertical frequencies that show up on screen as line flicker or twitter This is commonly seen in footage containing venetian blinds or car grills Parameters Enable Cutoff Frequency 70 Colour Film Log Enable This toggle button allows you to enable disable the DVO Alias effect By default as soon as the effect is added it is applied enabled Cutoff Frequency This controls the amount of filtering and selects for the maximum vertical bandwidth to keep A setting of 10096 equals a full bypass You should start at a high value and lower until the flickering has been removed Range 0 to 100 Default 70 Colour The drop down list will default to the project setting for the input format You need to set this control according to the material that you are working with If the footage was shot with a video camera select a linear format ff this control is not set correctly the material may not be processed properly Default From Project 2014 Digital Vision UM 2014 1 07 290 DVO Effects Ka DVO Aperture The DVO Aperture tool is a high quality frame based spatial filter that increases the apparent sharpne
335. orting media Render Output Pressing the Render Output button will start or queue a render task for the currently active composition Only visible video tracks are rendered we render a mix down f you have marked an in point we will render from this position until we reach an out point or the end of the composition If there is no in point we export the entire composition If there is a Mark In and Mark Out set we render any unrendered material lying between them Export Media For a discussion of the Export Media options see the Exporting section Task Queue Render tasks and their status will appear in the Task Manager This is accessible via the Library Tasks button Tasks are displayed in the Task manager window with their progress and status 2014 Digital Vision UM 2014 1 07 138 Rendering Task Manager Render tasks include both Render Output Render BG and Export Media tasks Suspend Tasks SUSpENd The Suspend button will suspend all running tasks Delete Tasks You can delete one or more tasks by selecting them and pressing the Delete button 2014 Digital Vision UM 2014 1 07 O Cc o QC O O gt lt LLI tao Exporting KK Exporting 10 There are two export options available from the Library Render Output Export Media Capture asks Export Composition Library Library Export buttons e Export Media renders and exports a composition to a chosen f
336. os which will be expanded on display See below 2014 Digital Vision UM 2014 1 07 5 Appendices textSize textSize lt FLOAT gt Set the size of text drawn color color lt FLOAT R gt lt FLOAT G gt lt FLOAT B gt lt FLOAT A gt Set the color Red Green Blue Alpha for drawing fill Pil APEC where FILL is solid or open Set the fill mode anchor anchor lt VERT gt lt HORIZ gt where String Values VERT bottom middle top HORIZ left center right This defines the horizontal and vertical positioning for e text elements e image elements image image lt INT x gt lt INT y gt lt PATH gt where PATH is full path to image file Draw specified image at x y using the current coordinate system and draw style Images should be in PNG format The image path can be relative to specification file or given as an absolute path 2014 Digital Vision UM 2014 1 07 Confiqurable Viewer Tools 587 origin Origin lt VERT gt lt HORIZ gt where String Values VERT bottom top HORIZ left right Define the coordinate origin for all drawing operations Macro Expansion Macros are available for use with the text operator and will be expanded to the associated information Macro Format To specify a macro use a text element e g text 20 50 Name srcName text 220 80 Frame recTimeFrames Available Macros Macro Text Source Information Me
337. osed before being processed Note that the matrix settings will not change when Transpose is enabled However it is transposed internally before use Presets identity Matrix Preset 1 Preset 2 You can define presets for both the gamma settings pre and post and the colour matrix settings These can be made available inside the Gamma Matrix tool as preset buttons To create and use a preset you need to do two things 1 Define the preset and the values it sets 2 Lay out the preset button in the tool interface These operations require the modification of two text files in the application root folder Preset Definition C Nucoda 2014 1 root ParamPresets prefs File Format All presets are defined in the ParamPresets prefs text file wrapped inside the ParamPresets tag The Gamma Matrix effect is defined in a section wrapped with the tag GammaMatrix Within the GammaMatrix section define one or more preset sections as shown below 2014 Digital Vision UM 2014 1 07 ParamPresets GammaMatrix PresetID1 PresetID2 oe Each preset has a unique identifier shown above as PresetID1 PresetID2 etc These unique names are used to reference the preset when placing it as a button in the tool interface see the Preset Layout section By convention these preset identifiers are named in a style that identifies their usage i e p reGamma16 postGamma20 matrixRGBtoXYZ e matrixIdent
338. ot tracking as we go 2014 Digital Vision UM 2014 1 07 Tracking Basics 35 While tracking is in progress the shape is drawn with a thick border Once tracking is complete or stopped the shape reverts to its normal outline If the shape turns red feature points can not be matched in this frame In the first instance let the tracker continue because it will attempt to match new points Kk If this continues to fail e Turn on Image Enhance and retry e Redesign or edit your shape to find better feature patterns The selected feature tracks until the end of the shot and then stops The tracking creates a new key frame for each frame displayed in the key frame box at the bottom of the screen A key frame is created for each frame of the shot we track We can now use this tracked shape as a mask 2014 Digital Vision UM 2014 1 07 346 DVO Tracker Using Other Tracks One shot may have any number of effect layers each including a Shapes layer Eh Effects La CE Base CC Laver gt 2 1 wheel b 8 2 wheel front Y E 3 rear window fa Matte s hatte Tools CC Layers 1 2 all contain tracked shapes Layer 3 rear window is new The tracking data from any previously tracked shape can be selected and applied to any other shape via the Other Tracked Shapes drop down list d0 OP Ob Image Enhance Feature Points Off jj Other Tracked Shapes v OT Apply Offset Predict Tracking
339. ot of the drive Network When browsing the Network the panel will show other systems available on the local network Nowhere Local drives Network AGUA BRANDY C3PO COBRA DeN 2S FS MAGNERS MEZCAL MOJITO Network displays available network systems The top level folder list will display the available Network Shares on the selected system 2014 Digital Vision UM 2014 1 07 24 The User Interface Nowhere amp MAGNERS S on Magnersi Local drives C Network Desktop Digital vision oat ea 5 on Magners Ai ah Di temp C a ERA TESTS ARLES Shared Folders saree on Magners WIL DJ System Magners has a shared folder S on Magners AGLA If the target system Magners above requires authentication you will need to do this before starting the application Once we have selected a ocal drive or network share we navigate the filesystem folders via the central panels ADD eer AOC C027 0320612 ROC ALES CONG Ue LIL tet Halr FACE alread bes One Level op T JPEG ele Id O DED T2 ROC PEG 38mple3 Folder Hierarchy i es Cascade View Cascade Control Rasdonk Modia Current Folder Contents Ip sequence iph Sequence Selected File 2014 Digital Vision UM 2014 1 07 File Browser 25 Full Current Location The file browser always shows you the full current location to your current folder in the box at the top Cmediauimagestestsequencesitc annotated pal Full
340. others to use it to assign the mid range Both methods are correct 2014 Digital Vision UM 2014 1 07 Printer Lights 213 Use Density with a dynamic to grade a fade to black Gamma Matrix Identity Matrix Preserve Luma P1230 to P3 D65 Transpose P3 D64 to XYZ The Gamma Matrix tool applies a matrix colour transformation to your image sequence A gamma correction factor can also be set before and after this transformation is applied You can define and apply presets for both the gamma correction and the colour matrix The gamma function applied here is based on a standard power law mathematical expression Compared to a 3D Lookup Table the Gamma Matrix tool allows for a more precise and efficient way to convert between various colour domains e g RGB to from XYZ or RGB Rec709 to from RGB DCI P3 etc CE This tool is not designed to convert between video and film colour domains e g film look or negative density Enable The Enable toggle button enables disables application of the effect Toggling this off will cause the effect to take no part in the processing chain Gamma Gamma Matrix 2014 Digital Vision UM 2014 1 07 Switch to the Gamma settings using the Gamma button Enable Pr Gamma 1 000 Post Gamma 1 000 ve mode preserve Clamp at 1 0 Preserve Denormals Pre Post Gamma A gamma correction can be applied to the sequence before pre and or after post any colour
341. ource image aspect ratio This may result in a cropped or blanked image depending on the difference between the Source and output resolution and aspect ratio Filtering The filter type selects the mechanism used to transform the pixels in the source image to the new output This mechanism involves calculating the value of an output pixel as an aggregation of contributing source pixels How the various pixel contributions are weighed defines the filter In order of worst to best or increasing accuracy No Filtering Only the source pixel at the center of the projected boundary is sampled This method is very prone to visible artefacts such as jagged image edges Bilinear Filtering The four pixels in the source image that are closest to the center of the projected boundary are sampled Their weighting is based on the relative proximity to the center of the projected pixel boundary This produces an accurate colour result but doesn t cut down aliasing as well as Gaussian does Box and bilinear will produce very similar results for small scale reductions but due to the nature of the software coding bilinear is generally the fastest of these two options Box Filtering All pixels falling within the projected pixel boundary are sampled and their weight is proportional to their area that lies within the projected pixel boundary Box and bilinear filtering will produce very similar results for small scale reductions but box can produce b
342. out modification are permitted provided that the following conditions are met Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution Neither the name of Industrial Light 4 Magic nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR 2014 Digital Vision UM 2014 1 07 Legal Notices 605 PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE 14 libpng See http www libpng org
343. ower using trims Even if Temporal Spatial strengths are at O Pos Neg Trim will still add to this and result in processing within highlights or lowlights Out Mix This control is the same as the Out Mix control available in the basic mode tab and changes here are mirrored there Range Oto 7 Default 0 Global Balance Global Balance allows a combination of the basic level of spatial filtering and motion adaptive spatial filtering Maximum filtering according to spatial strength is achieved in areas with motion The Global Balance slider allows you to to set a minimum level of spatial filtering rather than having the level set entirely based on motion detection ff the slider is set to O then parts of the image with no motion will receive no spatial filtering Increasing the slider increases the spatial filtering of areas with little or no motion Range 0 to 100 Default 50 Motion Estimation DVO Grain is a fully motion compensated noise grain reducer This means that much more aggressive settings can be used without introducing smearing 2014 Digital Vision UM 2014 1 07 DVO Grain 305 The motion estimation drop down button allows you to set the motion estimation to Range Off Normal Best Default Normal The Best setting is good for fast motion but is slower than Normal In almost all cases Normal or Best should be used Key Chroma Trim Enable Basic mode Processin B The Key chroma ad
344. parate disk volumes in order to optimise concurrent disk writes and minimise interference For example capture video to the S volume and audio to the W volume Deck Status HDW F500 25 FPS still The deck status is displayed in a summary line at the bottom of the controls tab Information displayed is e VTR deck model e Frame rate e Control status lf the VTR deck is record inhibited this will be shown as REC Lock 2014 Digital Vision UM 2014 1 07 Video Capture 365 Capture Methods Capture Marked Capture Live Capture List Capture single There are three main methods for performing a video capture e Capture Marked specify an in and an out point then capture this marked region e Capture Live start recording as the VTR plays e Capture List import and then capture from a list e g an EDL The Capture Single operation is discussed as part of the Capture List section Capture Live Capture Live This is the simplest capture method and involves pressing the Capture Live button at an appropriate time as the video tape is playing Pre roll and post roll settings do not apply during live capture When Capture Liveis pressed it turns red and the Stop Capture button is highlighted To stop capturing press the Stop Capture button Capture Live stop Capture 2014 Digital Vision UM 2014 1 07 366 _Video 10 lf you do a Capture Live without having pressed pla
345. pare events shots on a timecode basis only This method can sometimes result in multiple matches where we have more than one candidate shot for the same timeline event 2014 Digital Vision UM 2014 1 07 508 Appendices To differentiate these multiple shot matches we can extend our comparison to include tape name or film name or clip name The extra level of conform differentiation is performed if Match Nam eis enabled A drop down list assigns the method used to differentiate multiple event shot matches in a conform Conform tape name Conform film name Conform clip name e Conform tape name e Conform film name e Conform clip name Match Name When conforming we differentiate events with one ON of clip name tape name or film name wi Match Mame Conform clip name from File name folder up We take the associated names from the list EDL CTL etc Rendering Rendering DPX export style Big endian CIN Little endian OGL HN DPX export colour depth Current colour depth RGB O 12 bit RGB O 10 bit YUY Render tile threads 2 Image memory MB 1024 Cache preallocation frames 20 Render frame threads 1 vi Cache fragmentation test The Rendering preference tab configures global settings used as defaults for various render parameters DPX Export Style DF export style VY Big endian CIM C Little endian GL 2014 Digital Vision UM 2014 1 07 Application Preferences so The d
346. pen and allow you to select the desired version to revert back to 2014 Digital Vision UM 2014 1 07 Recovering a Project ag Recover project From Tue 28 Apr 2009 11 41 50 28_11_46 Recover Recover Project dialog window Using the From drop down list select a previous project revision From Tue 28 Apr 2009 11 41 50 Tue 26 Apr 2009 11 41 21 Tue 25 Apr 2009 11 40 51 Tue 26 Apr 2009 11 36 18 Tue 25 Apr 2009 11 58 16 oject Then press the Recover button to do the recovery The selected project is copied to a backup folder timestamped as per the Backup Folder box see below and then replaced with the chosen project version The selected project will now be as it was at the stated date and time chosen from the drop down list lf you are reverting to a previous revision because your current project has a problem it is best to revert in stages one by one newest to oldest until you find a suitable version Backup Project Backup Project Grandstand EP 0 2009 04 26 11 46 When you press the Recover button the current project is backed up copied to a folder as named here The backup is given a timestamp as a suffix This backup folder is placed beside the current project oS C Digital Visiont2009 O rooth projects Name CO Grandstand EP 01 2009 04 28 11 46 Each backed up project is the entire state of the project In the example illustration above we have 2014 Digi
347. pendent on the system type See the nstall and Configuration Guide for configuration settings for various supported systems Image Memory Image memory MB 1074 This setting defines a pool of memory the application will allocate for storing and rendering image sequences HE Leave this at the default setting unless instructed to change it by a Digital Vision engineer Cache Rendering Setup Cache preallacation frames 0 7 Cache fragmentation test These parameters setup some options on how cache renders are generated Cache preallocation frames Values text entry Default 20 This defines how many frames are preallocated tor caches before the caches themselves are written to disk This will help prevent caches getting fragmented To disable cache preallocation set to O zero Cache fragmentation test Default on KE This test is for Windows NTFS only Do not enable on SAN filesystems e g Stornext SNFS lf turned off caches will not be tested for fragmentation and no fragmentation status will be displayed on the timeline 2014 Digital Vision UM 2014 1 07 Application Preferences 511 Fragmented cache files are displayed in bright red on the timeline 01 00 00 04 01 00 00 06 Memories C Display ungraded as greyscale Generate thumbnails from First frame Cue method H Timecode Update method Manual Display Ungraded as Greyscale v Display ungraded as greyscal
348. porting an AAF You should also choose to export using one of the modes e Tracks Multi Src TC e Visible Multi Src TC SS SSS i See the Export Modes section for definitions of the export modes mentioned above K Name your AAF file and press the Export button MXF Staging Note that MXF files created as part of an AAF export are staged in the tempRootDir folder before being moved to their final destination See MXF Staging 2014 Digital Vision UM 2014 1 07 ES Avid Integration Once all the associated MXF media files have been successfully exported the AAF file that was used to create the composition will be copied to the exported AAF file and its media references updated to reference the new MXF media Avid Imports Edit Modified AAF When the updated graded restored AAF is available the Avid can import it into a Bin When the Nucoda system writes new media to an Avid media folder the Avid system will do an automatic re scan of media folders Right click inside your chosen Bin and select Import New Sequence Go To Capture Mode Choose Columns Set Bin Display Get Bin Info Select Offline Items Export Navigate to the folder containing the new AAF select it and Open The AAF is imported and appears in your Bin Note that the graded sequence is tagged DV Graded Graded media files are tagged dv graded This makes sorting and searching your
349. pt as specifically allowed in the license agreement This product includes software that is copyright 2009 Avid Technology Inc its licensors and its licensees All rights reserved This product is manufactured by Digital Vision AB under license to patent pending applications and issued U S and other patents U S Patent Application 10 817 209 published as U S patent publication 2004 0196903 U S Patent Application 10 817 217 published as U S patent publication 2004 0196911 Canadian Patent Application 2521467 European Patent Application 04749684 0 published as European patent publication 1629675 This product includes software that is copyright 2008 RED Digital Cinema Digital Vision applications incorporate and are based in part on the work of Name URL Notes FLTK http www fitk org 1 2 FFmpeg http www ffmpeg org 1 Freetype http www freetype org 17 FTGL http figl wiki sourceforge net 3 libtiff http www libtiff org 4 libipeg http www ijg org files README 5 winpcap http Avww winpcap org 6 GLEW http glew sourceforge net 7 8 9 OpenFX http openfx sourceforge net 10 mxflib http sourceforge net projects mxflib 11 2014 Digital Vision UM 2014 1 07 Legal Notices en AAF http aaf sourceforge net 12 OpenEXR _ http www openexr com 13 libsigc http libsigc sourceforge net 1 libsndfile http www mega nerd com libsndfile 1 libpng htto www libpng org pub pn
350. pub png srce libpng LICENSE txt 15 zlib See http www zlib net zlib license htmi 16 Boost Software License See http www boost org LICENSE 1 0 tt Boost Software License Version 1 0 August 17th 2003 Permission is hereby granted free of charge to any person or organization obtaining a copy of the software and accompanying documentation covered by this license the Software to use reproduce display distribute execute and transmit the Software and to prepare derivative works of the Software and to permit third parties to whom the Software is furnished to do so all subject to the following The copyright notices in the Software and this entire statement including the above license grant this restriction and the following disclaimer must be included in all copies of the Software in whole or in part and all derivative works of the Software unless such copies or derivative works are solely in the form of machine executable object code generated bya source language processor THE SOFTWARE IS PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND EXPRESS OR IMPLIED INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY FITNESS FOR A PARTICULAR PURPOSE TITLE AND NON INFRINGEMENT IN NO EVENT SHALL THE COPYRIGHT HOLDERS OR ANYONE DISTRIBUTING THE SOFTWARE BE LIABLE FOR ANY DAMAGES OR OTHER LIABILITY WHETHER IN CONTRACT TORT OR OTHERWISE ARISING FROM OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALI
351. r Softness sets the amount of softness to create inside the shape boundary edge e Inner Softness sets the amount of softness to create outside the shape boundary edge e The Variable Softness button lets you vary the amount of softness created for different parts of the shape 2014 Digital Vision UM 2014 1 07 Outer Softness o Outer Softness 0 Inner Softness 0 Inner Softness 0 027 Variable Softness Variable Softness Inner Softness guide Basic bezier shape Increase Inner Softness Outer Softness Inner Softness 0 027 Variable Softness Outer Softness guide k controls Increase Inner and Outer Softness Enable Variable Softness Increase Softness Softness Vary the softness by manipulating the If viewing shape is difficult Press the variable softness controls keyboard p key to change the shape colour You may get unwanted artifacts if points and or handles overlap or Cross Del Outer Del Inner Del Outer Del Inner e Del Outer will reset any outside outer softness variation change e Del Inner resets any inside inner softness variation change 2014 Digital Vision UM 2014 1 07 Valhall Control Panel On the Valhall Panel you can manipulate Inner and Outer Softness using the Image panel ISO menu on button 3 e g r Base Isolate Soft In 0 011 Enip Rect Herz Create Shape Soft Out Move X Move Y Blur Cc 0 055 h dE NT 1 000 LP AE NF Shape Overla
352. r effects instead These two options are covered in the adding effects section To re order a layer 1 Select the layer it is highlighted 2 Hold down the mouse left button and drag the layer up down the effects tree an orange guideline appears 3 Release the mouse button when repositioned correctly IB List ss Effect DT 01 00 10 00 01 00 12 00 01 00 14 00 o1 12 4 When you ve reached the place where you want to place the layer simply let go of it with the mouse All the other layers will 2014 Digital Vision UM 2014 1 07 automatically shuffle down and be renumbered accordingly You cannot place any effects after the master layer The master layer is always the last layer in the pipeline Renaming Layers To rename a CC layer 1 Select the layer it is highlighted 2 Press the F2 hot key to edit the layer name 3 Rename the layer and press ENTER when done You cannot rename the Base or Master layers Deleting Layers To delete a layer 1 Select the layer it is highlighted 2 Press the Remove Layer button or the keyboard DELETE key Y L Effects Jb Timeline I8 List fee Effect T a Retime KI n b F Base i HE 1 CC Layer W1 B 5 kal i p E 2 CC Laver l Bis date i 01 12 b Cf Master i 01 00 10 10 01 00 12 00 01 00 14 00 KI QI ao wee eer be bebe tebe The effect layer selected is removed from the active segment so make sure that your active playhead i
353. r new shots from the Media Tool into this new Bin E astest project Bin With the shots selected as shown above right click the sequence and select Relink New Sequence Batch Capture Batch Import Consolidate Transcode Modify 2014 Digital Vision UM 2014 1 07 ag Avid Integration The Relink dialog window opens F Selected items in ALL open bina Allow relinking to offline tems Relink by Start Timecode and Tape bd Create new sequence 1 sequence selected Select e Selected items in ALL open bins It is best to close other bins to avoid incorrect re linking e Relink by Start timecode and tape e Create new sequence The new imported sequence created is activated in your monitor Note that if you use two or more identical clips on your timeline same timecode tapename etc but using different grades then they may re link incorrectly The clips may re link such that they now have the same grade However the correctly graded clips should be available in your Avid Media Tool and can be found and spliced in to the track yi Avid pre computes will not re link However they will be available in the Media Tool Avid DS The Avid DS workflow integration is much simpler to that of Media Composer There is no need to rescan the database decompose any clips or relink any media manually This is all done automatically and transparently
354. r use Nowhere Home Exports mazda 001 mazda 007 mazda 003 New bookmark in the list Delete and rename Bookmarks To delete or rename a bookmark select and jump to it and use the appropriate button 2014 Digital Vision UM 2014 1 07 File Browser _ 2 Folder Management At the top right the file browser displays the name of the current folder D007 C017 080512 RDC To the right of the current folder name are the two buttons e Rename Current folder e Create New folder Rename Current Folder Type a new name for the folder and press the Rename Folder button Create New Folder Type a new name for the folder and press the Create New Folder button The new folder is created within the current folder File Type Filter All files The File Type Filter drop down list lets you limit the display of files in the current folder to the specified file type only 2014 Digital Vision UM 2014 1 07 Oow The User Interface Use the drop down list and select the desired filter Tables Many areas of the application display information in a tabular format including the library video O screens capture lists project list and file browser Tabular display of assets in library Tables behave in a similar manner throughout the application Selection Select items by left clicking with the mouse Selected items are shown in orange Thumin Type Status Clin Name Aimer ia ee ape Nam
355. rary Library Properties 2014 Digital Vision UM 2014 1 07 DVO Effects oF Data Values Linear Log Default From project Set the clip data format Other Parameters 0 0 Centre Field Order Follow Clip Repos X and Y repositioning after Fill mode is chosen Centre Values On Off Default On This centres the scaled image on the output picture If disabled it maps the scaled image on the output picture from the ower left corner Field Order Values Follow Clip f1 12 f2 f1 Default Follow Clip The Field Order parameter sets the input field order in time for interlaced input Follow Clip Uses the clip properties assumed correct DD nie Assumes top field first f2 f1 Assumes bottom field first This setting is independent of the output field order as set in the project properties 2014 Digital Vision UM 2014 1 07 DVO Upscale _ 32 Resize Resize SIZE 1 000 SIZE X 1 000 Sire Y 1 000 X and Y scaling after Fill mode is chosen Sharpen Sharpen SIZE 1 500 Amount 50 Edge Adv only 50 Texture Adv only 100 Adjusts post scale crispness The controls differ between Advanced and Fast modes Size Values 0 5 2 0 Default 1 5 Adjusts the sharpening radius Amount Values 0 100 Default 50 In Fast mode this is the overall sharoness amount In Advanced mode the flat area sharpness amount Edge Values 0 100 Default 50 2014
356. re screen with two options on the bottom left e Data Capture this is the mode used for batch capturing digital media e VTR Capture this is the mode for capturing media from tape For capturing from a VIR deck press the VTR Capture button ees 01 01 12 15 4 d I gt b gt YTA Capture Control TR deo Capture Settings Sw tc h Ta bs Capture Methods Capture Marked Set Mark Tape Tapel Capture Live In Out skip Event Capture List Stop Capture skip Tape Capture single Snucodas capture project C audiosusumu Capture HDW F500 25 FPS still Capture Locations Switch between Data and VTR Capture The Control tab is where the interactive controls for carrying out a video capture are located 2014 Digital Vision UM 2014 1 07 sa videoo Prior to attempting any capture you should always review and adjust all the values in the settings tab as appropriate for your material and composition Capture Locations 7 deo Sinucoda3 6 capture projectl 7 Audia Caaudiosusumu Captures Defaults As per general prefs preference file Use the tick boxes to choose which data streams to capture video audio or both The capture paths are shown and can be edited in place or set via the file browser click the EF ICON f you change a path here the new location will be saved to the general prefs preference file For optimal performance the audio and video capture locations should be set to se
357. resultant animation graph if you turn the Smooth button off before completion the smooth process will stop and any smoothing done will be reset to its previous state Once complete an undo operation will also reset the entire track path to its pre smoothed state Reset Track Points These buttons allow you to reset all or some of the key frames created by the tracking process 2014 Digital Vision UM 2014 1 07 Reference 353 From left to right we have Reset all track key frames from current E position to start of shot Reset all track key frames PITEN Reset all track key frames from current i position to end of shot The tracker key frames are shown below the Shapes panel as green diamonds Key frames shown in green and current key frame in blue FFF Pressing the reset all left button will result in all key frames to to the left of the play head being reset inclusively This results in the following key frame status Key frames after reset all left button pressed Image Enhance Image Enhance Image Enhance will do some image processing on the shot to increase the contrast such that tracking is optimised and a more accurate track calculated This enhancement is transparent and done in the background with no visible image changes Enabling mage Enhance may be necessary for certain type of media particularly those with lower contrast or high contrast changes Image Enhance wi
358. rmat definition section Example insertDefault true UM 2014 1 07 Output Format Confguration Colour Tool Order Y 8 Base CC Laver Ce Matte Kever amp amp d CMix Bal Colg Matte Tools Channel Mixer Base Colour Colour tools are effects such as Keyer Channel Mixer RGB Curves and SOP They exist inside the Master and CC Layers The default order of the tools can be changed in both the GUI and the Control Panel by editing the main application preference file general prefs C Nucoda 2014_1 root general prefs The recommended way to change the tool order is via the utility program Preferences Assistant Always make a backup if you choose to edit the general prefs directly GUI Tool Order Two preference file options set the tool order e defaultRealTimeEffectIDs Master Layer tool order e defaultSecondaryCCEffectIDs Base and CC Layer tool order Format Note that each option should be on a single line in the preference file some tools must stay in the default position in the layer These are identified in red defaultRealTimeEffectIDs ChannelMixer Saturation SlopeOffsetPower PrinterLights LiftGammaGain Balance RGBMLevels DifferentialColorCorrect BrightnessContrast BrightnessRegions RGBMCurves Solteclige Saturation defaultSecondaryCCEffectIDs ChannelMixer Saturation SlopeOffsetPower PrinterLights LiftGammaGain Balance RGBMLevel
359. rojeces FROJIT INFOT Birch Import runminGg Importing aimporeing directory GE n ME me Import running Tnperzing importing A rectory oer 1 INFO Batch Import completed 2 recon importing directory Ler gt quit At the interactive mode prompt gt you can type any valid command line command and see the result immediately Use auit to exit interactive mode Listing Information List projects or compositions within projects List details to list captured material clip list s List details of clips in composition Any item listed includes an index You can use this index when performing remove operations Listing Projects list To list projects available use the command 1ist 2014 Digital Vision UM 2014 1 07 Listing Information an Command S film master 1list Projects ls testi Ae sear 2 Check Danger 002 Vee Nucoda yea Jc Check Danger 003 Tes Nuceda 4 Road Less Travelled Part 1 C Nucoda 5 Who Goes Here See Niece ane 53 Mist Snow rog anci Rain 1 C luccla Ts Mist onov Fog and Rein 7 CC Nu odane 8 Road Story 002 CE Nico 200 T s 9 et CE Nacod 00h a tO cc Cs Niced 7005 I a Listing Compositions To list compositions available within a project use the command Command 9 film master project PROJ1 list INFEO Opening project Te CSN NN oda DM rook PC Jee ok Com positions in project Ver2 of TC Nuccda 01441 rock ero jecees ox
360. roject Operations List button Settings for Selected Project Whenever you select a project from the project list the project settings panel will refresh to show you the current settings for the selected project 2014 Digital Vision UM 2014 1 07 Project List 35 Project List The top panel lists all available projects Project properties displayed are e Project Name e Status e g Offline Available e Project Location e Creation Date e Modification Date The Project List is displayed a standard table For more detail on tables and their use see the Tables section Project Status Red Calibrations 001 day 1 CDigital Vision 20 The Status field can have two values e Available the project is available for use and exists at the specified location e Missing the project folder cannot be located at the specified location lf a needed project is listed as Missing you will need to locate the project folder or retrieve from backup Then you can A Move project folder back to original location or B Detach the missing project from the list and then attach it from its new location Creating Projects New Project Creating a project consists of defining 2014 Digital Vision UM 2014 1 07 e One or more output target formats Required e One or more source definitions e g proxies Optional The project screen has 3 main panels At the top a list of all available proje
361. rols the motion sensitivity control on the Setup section adapts the temporal filtering in respect to grain size and intensity Spatial Filtering spatial strength spatial Size spatial Threshold SEEN 5 Green reen 1E Blue 5 P Blue 11 800 Ped E P Jed Rec 11 800 i Spatial Global Edge preserving spatial filtering complements the adaptive temporal filters by processing grain and noise in portions of the image that are detected as being in motion while leaving non moving areas unaffected The spatial filtering is done before application of the temporal filters and works in unison with DVO Grain s motion processing Spatial Strength This is the overall level of spatial filtering applied in each channel Normally they should match the temporal strength Range 0 to 15 Default 7 Spatial Size The Spatial Size drop down lists adjust the spatial size of the grain noise in pixels for each channel Values 1 3 5 7 9 Default 7 Setting R G B spatial size equally will give best performance Spatial Threshold The spatial threshold determines when to filter depending on the intensity of the surrounding pixels Range 0 to 100 Default 7 2014 Digital Vision UM 2014 1 07 30 DVO Effects JU Use the spatial threshold sliders to adjust the setting for each channel if there is a high enough intensity contrast e g an edge between the grain noise and surrounding pixels filtering will not occur A
362. ronment from Digital Vision The Nucoda platform is the leading colour grading finishing and mastering solution for film television and commercials post production This manual will help you get the most out the system Document Revision UM 2014 1 07 Date 13 05 2014 2014 Digital Vision UM 2014 1 07 to Welcome eee ee 2014 Digital Vision UM 2014 1 07 O Z D gt O 12 _ Overview Overview 2 Nucoda e Nucoda e Nucoda Look Welcome to the Nucoda Finishing Environment from Digital Vision The Documentation section lists the documentation included with the application and where to locate it First Time Users The User Interface chapter gives an overview of the application environment and GUI but those who want to jump straight into creating projects may want to skip ahead to the Projects chapter and return to the User Interface section at a later date after having acquired a feel for the product Documentation Several items of documentation are included all of which can be accessed via the Nucoda Docs 2014 1 shortcut that is placed on your desktop by the installation program You can also access the index page directly from C Nucoda 2014 1 docs index html Install and Setup Manual The Setup Manual describes how to install and configure the application It also details installation and configuration of graphics and video hardware and i
363. ry play head e Event a selected event e Revert the previous grade on the shot e Source the segment source e Groups a selected group member 2014 Digital Vision UM 2014 1 07 Stereo Multitrack Stereo Multitrack 14 A Stereoscopic mode can be enabled on a per project basis This allows both the display and the grading of stereo left and right channels Setting Up Stereo For stereo support you need to 1 Enable a project setting and 2 Choose your stereo mode if using an interlaced DVI device DVS Centaurus Il Licensing You will need the DVS Centaurus Il license option Multidevice to use stereo multitrack mode SDI output See the DVS Centaurus I Video section of the Setup Manual for more information Project Setting Stereo is enabled independently per project To enable stereo on a project select the project on the main project screen and select the Stereoscopic Output tick box H Stereoscopic Output Application Preferences Two modes of stereo channel output are supported SDI video and interlaced DVI 2014 Digital Vision UM 2014 1 07 186 Stereo Multitrack SDI Output of left and right stereo on SDI channels A and B through a DVS Centaurus Il video board You will need to enable your SDI VO card via Preferences Monitoring VideolO Enable SDI I O Card 7 Enable SD O Card SDI Link YCrEp 422 Default format HD 1080p Interlaced DVI Output of interlaced st
364. s DifferentialColorCorrect BrightnessContrast BrightnessRegions RGBMCurves SoftClip HueCurves HLSCOLOrCOrrect Eli 2014 Digital Vision UM 2014 1 07 550 Appendices Control Panel Tool Order Two preference file options are in the panel section e defaultMasterFX Master Layer tool order e defaultLayerFX Base and CC Layer tool order Format Note that each option should be on a single line in the preference file defaultMasterFX CMix Bal ColC BReg Clip W SOP W Ley W RGB W defaultLayerFX CMix Bal ColC BReg HCurv ka OM oa WOOP W hey RGB None HCurvy HJ S The Valhall Control Panel has space for six options on the display at once Use the string None to designate a space on the panel display 2014 Digital Vision UM 2014 1 07 colour Tool Order 551 3D LUT File Format LUT format v3 extends support to High Dynamic Range HDR images e g OpenEXR and allows the transformation of extended range inputs This means LUT data values can exist outside the range 0 0 to 1 0 Example LUT files are distributed in the folder C Nucoda 2014 1 root cms In addition example C programs are included to generate sample LUT files These are found in the Example Code folder alongside some sample program outputs e v2 format code example Example Code Lut3D cpp e v3 format code example Example Code Lut3Dv3 cpp The Nucoda 3D LUT file format is ASCII text with a cms fi
365. s typically choose the specific scratch type evident in the material In case of very heavy scratches with emphasised edges it can be advantageous to select W B Values White Black W B Default White e White for white brighter scratches e Black for black darker scratches e W B for a mixture of black and white scratches LG Do not use W B as a default setting as it will sometimes process too much in the picture 2014 Digital Vision UM 2014 1 07 278 DVO Effects Scratch Width Sets the width profile for scratches Values Thin Normal Wide Default Normal If detection processing is insufficient in areas which have many scratches close by a Wide setting is recommended Image Noise Level Characterises the level of noise in the image Image noise will affect the accuracy of detection Range 0 0 1 0 Default 0 3 Processing Parameters Process Parameters E Colour Mode RGB Base strength 0 Residual strength 0 500 Colour Mode This determines the colour mode of scratches we detect and process Values RGB YUV Default RGB where e YUV for monochrome scratches e RGB for colour scratches HI YUV colour mode can not be used in detector mode R G B 2014 Digital Vision UM 2014 1 07 DVO Scratch 279 Base Strength Determines base strength of the processing This affects properties such as smoothness as might be noticed in mde scratches Range 3 to 3
366. s be chosen by setting the aspect values the same as the size values Example aspect 37 20 1 85 fps NM Type Rational The fps parameter specifies the frames per second as a rational number Example fps 2997 100 i e 29 97 fieldOrder S 2014 Digital Vision Type String The fieldOrder parameter specifies how to interpret a frame in the format It is a string wrapped in double quotes and can take values InterlacedUpper Format uses interlaced frames fields with upper field dominant InterlacedLower Format uses interlaced frames fields with lower field dominant Format is not fielld based UM 2014 1 07 548 Appendices Example field0rder Progressive dropFrame B Type Boolean The dropFrame parameter specifies if the format uses drop frame timecode true or not false Example dropFrame false initial B Type Boolean This parameter is optional The initial parameter specifies that the format it appears in will be selected on application start for a completely fresh installation Example initial true insertDefault B 2014 Digital Vision Type Boolean The insertDefault parameter can be used in a user configuration file userOutputFormats prefs to load in the default output formats a specified in the defaultO utputFormats prefs file at the location the directive appears This parameter must be placed outside any actual fo
367. s been rendered i e it has an applied effect and is shown in lighter green Note also that the second segment has a lighter colour indicative of an applied effect Uncached 01 01 56 16 01 01 57 07 01 01 57 00r _ 001r _0805 The first segment needs caching This segment may be an MXF source or other cacheable media or an ungenerated proxy and is shown in dark red It has no applied effects 2014 Digital Vision UM 2014 1 07 Composition Elements 105 Unrendered 01 07 56 16 01 01 57 07 01 01 57 00r CO 0805 The second segment needs rendering This segment has an applied effect and requires rendering It is shown in a lighter red Caches Missing 01 00 01 06 01 00 01 11 01 00 01 16 F reel 13 scene 2 00 00 00 00 Segment has missing caches Missing caches are shown in yellow You will be prompted to fix these which will render them Caches Fragmented Segment has fragmented caches 01 00 01 06 01 00 01 11 01 00 01 16 reel 13 scene 2 00 00 00 00 Fragmented caches are shown in bright red You will be prompted to fix these which will re render them BL and AUX Segments BL ALS BL and AUX segments will conform automatically via an EDL You can also 2014 Digital Vision UM 2014 1 07 106 Compositions manually splice BL or AUX segments using the keyboard e BL SHIFT CTRL b or v e AUX CTRL ALT b or v The actual black lev
368. s for often used configurations This is a mirror of what is in the Application Preferences License 4 Digital Vision 2009 1 Preference Assistant Welcome Master Layer Tools CC Layer Tools Panel Tools Media Locations Monitoring Video 10 License Users License File C Digital Vision License license fic MAC Address 00 1E C9 81 CF 0E server localhost 100 Enter New License aneil Update View and update your license file Copy the new license string into the text box and press the Update button 2014 Digital Vision UM 2014 1 07 532 _ Appendices so If the string entered starts with Panel the rest of the string is taken as the Control Panel welcome string e g Panel Grading System Sets the Control Panel welcome string to Grading System This is the general prefs option panel welcomeString 4 Digital Vision 2009 1 Preference Assistant Welcome Master Layer Tools CC Layer Tools Panel Tools Media Locations Monitoring Video 10 License Available user general prefs Default Install This will overnite fhe current general prefs file so please save if first required Save current prefs as Save This will save fhe current general prefs fie with any changes fhaf have been applied Preference files stored at C Digital Vision Digital Vision 2009 1 Extras User Prefs 2009 14 The Users tab lets you create separate preference files for multiple users and easily switch betwe
369. s is the default mode Use the mouse to eft click a segment to select it it turns orange To select multiple segments e Drag a selection box with the mouse see diagram below e Use the SHIFT key to SHIFT click multiple segments and all segments in between e Use the CTRL key to CTRL click multiple non contiguous segments Drag mouse to select segments Using the mouse to drag a selection region 2014 Digital Vision UM 2014 1 07 no Compositions Region Zoom You can use the mouse to drag a selection box around a section of the timeline On mouse release the timeline will zoom to fit the selected segments 10 00 11 22 LH si kaTa h n D Draglregion to zoom to segments Drag select a box and timeline will zoom to display segments Segment Editing This mode lets you move or copy one or more segments on the timeline Select one or more segments as per the direct select mode described above To move the selected segment s we drag with the mouse and to copy we use the keyboard short cut keys Moving Segments To move segments select them press with the left mouse button and drag them to the new location on your timeline Dragging will obey ripple mode f you are not in ripple mode dragging one or more segments on top of other segments will replace the segments below In ripple mode the segments below are pushed out of the way The default move mode is snap to cut The star
370. s on the result of the previous frame s For best results a certain amount of frame history needs to be built up and this numeric slider is used to specify how many frames of history to use Range Oto15 Default 5 frames Use Handles Use Handles The Use Handles button controls whether the history includes available 2014 Digital Vision UM 2014 1 07 262 DVO Effects oF handles of a scene shot Normally the history frames accumulated will terminate on a shot edit event start end edit There may be extra frames available handles before or after the start and end edit points of a shot however and these will be included as history if Use Handles is set If handles exist full and precise processing will be available from the first frame of a Clip Default On The remaining controls on the Setup page are used to optimize the processing further These controls should only be used by experienced operators with a good understanding of the dirt and scratch concealment process Max Filter Max Filter Enable Filter Temporal 1 Enable In addition to the filter selected in the Processing tab a separate max filter can be enabled The Max Filter will only be used when Use Adaptiveis enabled in the Processing tab This is very useful when you have material with mostly small dirt and the occasional bigger stains Default Off Filter Filter Mixed 2 Filter Mixed 3 Filter Mixed 4 Filt
371. s positioned over the correct segment when carrying out this operation EI You cannot delete the Effects layer or the Master layer You can delete the Base CC layer but the first CC layer created afterwards will become the new Base layer If you use CC layers the first will always be the Base 2014 Digital Vision UM 2014 1 07 Managing Layers and Effects gg You can use the control panel Undo button or press CT RL Z on your keyboard to revert mistakes lf you have multiple colour correction layers numbered 1 N and you remove one of them the remaining layers will be renumbered to reflect their position within the effects tree Applying and Editing Effects The colour correction layers in the effects tree are by default inactive and will not be applied to the corresponding segment until you edit the parameters of one of the effects within the layer User effects and layer effects on the other hand are often active by default and are applied to the corresponding segment from the moment that they are added You can adjust the parameters of any effect whether active or inactive To edit an effect double click on the effect name in the effects tree to edit it The composition editor panel will automatically switch to the Effects tab to show the parameters for the chosen effect The currently edited Effect will be orange View Output Hot key w In addition the view mode will automatically switch
372. s that the underlying project data folder is not located in the expected location Warnings You may sometimes see a warning when opening a project This may relate 2014 Digital Vision UM 2014 1 07 Opening Projects to a version mismatch or to missing cache renders Version Mismatch Warning lf you open a project that was created with an earlier application version you will receive a warning dialog alerting you to this fact Open Project Version Mismatch This project was created with an earlier application version Ifyou continue to open the project it may no longer open correctly in an earlier version Are YOU sure YOU wish to continue pl It is usually safe to open a project created with the same Major Minor version as used currently i e 3 6r1 to 3 6r2 However projects created in earlier Major Minor versions may not be safe e g 3 5r7 to 3 6r1 Missing Caches f some or all of the rendered cache files cannot be located on disk you will receive a warning alerting you to this fact Open Project 100 of rendered cache files are missing It is recommended that you remove references to these before continuing This may occur if 1 The cache cacheRootDir volume is unavailable 2 The project has been moved and attached on a different machine 3 After a crash etc For case 1 you may wish to press Canceland investigate For other possibilities pressing Yeswill delete the cache references before
373. s you create a folder structure as part of an export process Eu The Folder Hierarchy panel does not create filenames only folders See the Filenaming section for naming exported files Folders are created automatically below the current file browser folder the base folder and can include shot names tapenames project name and many other metadata elements see the Variables section below Folder Hierarchy You can create a folder hierarchy on export by e Choose a preset from the drop down list or e Enter a hierarchy definition in the text box including variables You should consider using a folder hierarchy when doing any multi mode export e g Visible Multi or Tracks Multi A multi mode export may cause exported frames to be over written See Export Modes 2014 Digital Vision UM 2014 1 07 Presets event tapel clip event compasitianfclip namelires None Presets are pre defined folder structures available in a drop down list for ease of selection and re use When selected the preset will also be written into the text box and can be edited as required A back slash character delimits folders Manual Entry or Edit You can create your own folder structure by typing in preset variables and other text strings in the Folder Hierarchy text box You can create a folder structure by separating the elements with a back slash character Saving a Preset Pressing the Sa
374. s you to change the source path location on disk for a clip stored in the library This can be useful if a clip is moved on disk and needs to be re linked to the composition Properties Open the clip Properties dialog and select the Change button to the right of the clip Source Path property CDL Source ME SR LL Fr EG leren VIEW Source Path S media images mazda 2k OE5012A 437311 dpx Change The Relink Clips dialog opens and displays the Before path current location used and the After path the new location we can set Initially they will be the same 2014 Digital Vision UM 2014 1 07 60 The Project Library Relink Clips Change path After using z 3 x the browse button Before S media images mazda 2kK 0E5012A W437311 dpx After S media images mazda 2k OE5012A 437311 dpx Before After Status S media images mazda 2k OE5012A 43731 1 dpx S media images mazda 2k OE5012A 43731 1 dpx Online Status indicates if we locate new After path OK Open the File Browser and navigate to the new path required and select the clip located in the new location The After path will update The Status indicator will display Online if the selected After path is good and the clip is located If we cannot locate the new path we display Offline Once complete press the Apply button f you want to undo your change and revert to the original After path press the Revert button Library Filters
375. sable basic mode This mode uses presets to automate and hide much of the effect complexity When you edit any of the settings in the processing or setup tabs the basic mode becomes automatically disabled Similarly when you select a mode from the basic modes all settings will be automatically adjusted to fit the selected mode and basic mode will be automatically enabled Presets Extra Light Light Medium Default This is a collection of preset settings e g Extra Light Heavy etc that setup the effect for a predefined level of dust dirt Values Extra Light Light Medium Heavy Extra Heavy Default Medium Strength This slider allows the adjustment of the strength of dust reduction processing to use ft is only available in basic mode Range 5to 5 Default 0 Enable White Enable Black White black dirt removal is enabled via the corresponding Enable White Enable Black toggle buttons 2014 Digital Vision UM 2014 1 07 252 _DVO Effects D e Enable Black for black dark spots e Enable White for white light spots Both can also be enabled at the same time Default On These options also appear in the Processing tab and they are linked changing one location affects the other EI Note that if neither button is enabled then DVO Dustwill not filter at all Processing Filters Enable Presets Processin Cj SETUE The filters used by the process are very important in determining
376. scussion On the control panel the black and white trackballs adjust soft clips when the Color panel is set to Clip The outer rings adjust a neutral clip and the balls clip the RGB channels separately to cause colour in the peak whites or blacks 2014 Digital Vision UM 2014 1 07 The clips are useful for removing colors introduced by clip settings in a telecine or camera as well as creating color offsets in the highlights and shadows Effect Notes You can store all or a chosen subset of the effects on a segment including any keyframes using effect Notes This is available via the Memories button at the bottom right of main screen Auto Keyframe 2 ka OO Aperture Memories Exit Project Storing and Recalling a Note In Memories Notes view store a note for the current shot by pressing the Store button To recall a note press the Recall button The effects contained within the note will be applied to the current shot 2014 Digital Vision UM 2014 1 07 Effect Notes _ 225 F Effects pr CC Base CC Layer b 8 1 CC Layer Y CT Waster saturation Frinter Col Cures Bright Contrast Bright Regions Soft Clip saturation current note Pan Scan o m 9 omposite Recall selected note to segment Append selected z note to segment Recall Recall with ER keyframes ale Notes shot Store a note Store Delete Sort time and date Properties Notes are
377. selectable focus instead of locking to a single point This has several advantages especially in archiving restoration applications with time constraints and problems like camera shake and film stretching The Mode control determines where the analyzer focuses within the frame Values Full Centre Weighted Border Weighted Frame Only Default Full e Full Complete frame e Centre Weighted Complete frame with priority towards centre e Border Weighted Complete frame with priority towards borders e Frame Only Only analyzes film frame edge i e requires complete frame edges This is further specified by the Frame Only Border Enable controls Frame Only mode is fastest Size Sets analyzer size which should be related to image size and motion Values Small Medium Large Default Medium Size affects processing time The larger the size the more processing required 2014 Digital Vision UM 2014 1 07 22 DVO Effects Size Setting Suitable For Small SD low normal motion HD 2K low motion Frame Only mode any format Medium SD normal high motion HD 2K normal motion Default Large HD 2K high motion 4K low normal motion Density Determines the amount of analysis within the frame Values Small Medium High Default Medium e Low Lowest safety margin less accurate e Medium Normal safety e High Increased safety margin more accurate Processing time increases with the densit
378. sing 1 4 Medium the default can be useful during any conform checks while 1 2 Premium is better for grading Avid ALE Load the R3D shots and perform some basic sanity checks on the shots on a timeline You can easily add many metadata properties to each shot including metadata items such as e Scene e Take e Director e DoP etc This metadata can be encoded and exported as an ALE List file for import and processing in an Avid system Basic Quality Assurance The R3D rushes can be loaded into an application such as Nucoda Compose or Nucoda Fuse and viewed at 1 4 Medium quality for initial QA Our project outout format can be set to SD and a fit mode The sequence can be conformed via EDL see Conforming with Red We need to check that each shot is the desired resolution and adjust as 2014 Digital Vision UM 2014 1 07 40 Red Support required It is possible for R3D shots to be shot at a differing resolutions In this case we would want to adjust the properties for this shot and change its decode quality parameter such that its pixel resolution matches the shots around it Once fully checked we can export the timeline as Quicktime or MXF or any other format for use in an Avid or Apple Final Cut Pro Pre Grade Caching or DPX Generation As above the R3D sequence can be conformed from an EDL and some basic quality checks performed Our project output format may be set at an RID 2K format i e 2048 x
379. sis function Currently once analysis is complete it should be turned off to enable rendering a After analysis if you change any of the processing parameters you will need to re run the analyse step Peak XOffs YOffs Once analysis is complete these display some statistical results Aggressiveness This parameter determines how aggressive the effect should be in attacking unsteadiness Range 1 10 Default 5 Low values are used for fine errors Small and quick e g introduced by a scanner telecine and does not try correct for slower and larger movements High values does not only take care of fine errors but also handles coarse errors large and slow like very old material or handheld shaky cameras Reduction Reduction 2014 Digital Vision UM 2014 1 07 DVO Steady 285 Used to set how much the unsteadiness should be decreased with separate controls for horizontal X and vertical Y reduction Range 0 100 Default 100 Reduction is typically set to 10096 to achieve maximum correction A bit of residual unsteadiness might be necessary to create a more natural result sometimes e g a camera shaking during frame capture resulting in motion blur Max Adjust Max Adjust Sets a maximum limit in pixels for how much the process is allowed to adjust the stabilized frames with separate horizontal X and vertical Y controls Range 0 100 Default 20 pixels Motion Safety
380. size for Specific mode Range 0 100 Default 20 Soft Border When Enabled default creates a soft border where the picture has been clipped A soft border can give a more natural look Zoom Enlarges the picture according to selected mode Values Disable To Blanking Fill Screen Letter Pillar Boxed Fill SCreen Full Default Disable e Disable No zoom Default e To Blanking Enlarges to specified blanking see below e Fill Screen Letter Pillar Boxed Enlarges picture until either full vertical or full horizontal size is reached e Fill Screen Full f necessary makes a cutout to fill the complete frame i e no black borders blanking All modes keep the correct aspect ratio Blanking Blanking Specific Border Size Left Top Right Bottom 2014 Digital Vision UM 2014 1 07 288 DVO Effects The Blanking Mode determines whether to use a masked or a full image Set blanking mode to Specific and specify Blanking Size if blanking mattes should be added to the processed pictures e Disable Use complete image e Specific Apply blanking mattes according to Blanking Size controls Default Border Size Range 0 2048 Default O pixels This specifies the number of pixels from the each edge of the picture Scene Cut SCENE Cut Start Medium safety End Medium Safety Determines if the first last frame of a scene shot should be adjusted Low Medium High Safety
381. sk for an acknowledgement in product literature see the README file in the distribution for details We hope to make this software industrial quality although as with anything that s free we offer no warranty and accept no liability 6 winpcap See http www winpcap org mis c copyright htm Copyright c 1999 2005 NetGroup Politecnico di Torino Italy Copyright c 2005 2009 CACE Technologies Davis California All rights reserved Portions Copyright c 1990 1991 1992 1993 1994 1995 1996 1997 The Regents of the University of California All rights reserved Portions Copyright c 1995 1996 1997 Kungliga Tekniska H gskolan Royal Institute of Technology Stockholm Sweden All rights reserved Portions Copyright c 1997 Yen Yen Lim and North Dakota State University All rights reserved Portions Copyright c 1993 by Digital Equipment Corporation Portions Copyright C 1995 1996 1997 1998 and 1999 WIDE Project All rights reserved Portions Copyright c 1996 Juniper Networks Inc All rights reserved Portions Copyright c 2001 Daniel Hartmeier All rights reserved Portions Copyright 1989 by Carnegie Mellon License included with product distribution in folder docs licenses 7 GLEW The OpenGL Extension Wrangler Library Copyright C 2002 2008 Milan Ikits lt milan ikits ieee org gt Copyright C 2002 2008 Marcelo E Magallon lt mmagallo debian org gt Copyright C 2002 Lev Povalahev
382. sk named User will also appear in the GUI list This allows us to set the mask size and position interactively Example Mask Specifications monitorMask 1 0 1 name 1920x1080 units pixels rect 0 0 1920 1080 monitorMask 1 0 1 name 10 in units normalised rect 0 1 0 1 0 9 0 9 monitorMask 1 0 1 name 4 3 units normalised unitsImageAspect 1 333 rect 0 0 0 0 1 0 1 0 2014 Digital Vision UM 2014 1 07 Confiqurable Viewer Tools ses Graphs Specification Display a graph or histogram of image colour map Parade style centred Fill style south west File Specification e A graphs file must end in the extension graphs e g test graphs e lt should be a plain text file The format used for a Graph file is simpler than that used for Grids and Masks Each specification file specifies one or more graphs each identified by unique name a GraphiD string and containing a list of drawing instructions Graph File Format This is a comment and ignored lt GraphID 1 gt lt Graph Specification gt lt GraphID 2 gt lt Graph Specification gt Graph files e Do not use semi colons to terminate lines e Use C style comments two characters at line start Overview The main elements of the graph are shown below 2014 Digital Vision UM 2014 1 07 se Appendices D Interval Lines AP 793 158 1367 237 min avg max 9 5165 19
383. sliders for the X Y movement of each Warp 4 control point Four points leading to eight sliders The Warp 9 GUI controls are similar but have eighteen sliders corresponding to X Y for all nine control points Warp 9 as 4 You can make the Warp 9 tool warp in a similar mode to Warp 4 by selecting a corner point and dragging whilst holding down the ALT key Mouse drag top right point ALT Normal Warp 9 single point drag and warp Warp 9 warp behaviour with ALT held behaviour down Note that the warper behaves in a similar way to Warp 4 and as if the mid points do not exist The central point stays locked in place however 2014 Digital Vision UM 2014 1 07 The Precision Panel has a 4 Points toggle to enable this mode In effect the Warp 9 tool changes to a Warp 4 Warp 9 Input FX 0 10 00 C 00 10 10 00 0 10 00 D 00 10 10 00 Top Bottom Right X Centre X 2184 051 2048 000 1024 000 Centre Y 778 000 Bottom Left Y Bottom Right Y Top Right Y 1610 350 1602 400 0 000 0 000 Frame Violation For frame violation issues the Precision Panel has mode that lets you modify all left points in X all right points in X all top points in X etc e Use the Left Top Right Bottom buttons to select the row of affected control points e Then move all the selected points in the X or Y axes using the All Left X or All Left Y or All Top X All Top Y etc Left All Left X Top Left X Middle Left x Bottom Left X
384. sm The Project Library Delete Folder To delete a folder select it and press the delete folder button Recurse Recurse The library only displays the contents of the currently selected folder by default To display the contents of the current folder and all sub folders enable the Recurse button mi cfine Y m a 001 ei 002 a O03 With the Recurse button off we only see the contents of the scans folder With the Recurse button on we see the contents of the scans folder and folders 001 002 003 etc Library Contents The main library view is located to the right of the folder list and shows the contents of the active orange folder The contents list is tabular with each row being a single item shot timeline audio file etc and each column being a property of the item Thumbnail Type Status Material Name Clip Name Tape Name COMP Test CC 001 MOMIE WOO COM O720L8 WOO COM 072018 MO 0024 CO06 1713C 0024 CO06 0713C MOVIE 6012 003 06 AUS 6012 003 06 AUS hi MA SAFIH A Li TACINE Library content rows 2014 Digital Vision UM 2014 1 07 Library Contents 55 E For more detail on tables and their use see the Tables section Item Types Each library item has a type CLIP A CLIP is the label for both image and audio media For image media this is source media composed of individual file based frames e g DPX or TIFF sequences An audio CLIP will have an icon
385. ss http forum digitalvision se Please consider joining the forum and taking part in wide ranging discussions with our growing community of users Contacts Stockholm Digital Vision Telefonv 30 126 26 Hagersten Sweden t 46 0 8 546 182 00 f 46 0 8 546 182 09 London Digital Vision 11 Wardour Mews London W1F 8AN United Kingdom t 44 0 207 734 8282 f 44 0 207 292 6969 Email Contacts e support digitalvision se e sales digitalvision se 2014 Digital Vision Linkoping Digital Vision Agatan 40 582 22 Linkoping Sweden t 46 0 13 200 100 f 46 0 13 200 150 Los Angeles DV Sales and Support 6464 Sunset Blvd Suite 830 Hollywood CA 90028 USA t 1 818 769 8111 f 1 818 769 1888 UM 2014 1 07 Contacts 15 2014 Digital Vision UM 2014 1 07 The User Interface The User Interface 3 This chapter will give you an overview of the user interface and some basic components of the application Interface Conventions The following interface conventions are used for various elements Functional A function button performs a single action only ee ng tat Open Project Active and available Inactive function button function button lf a button is not available for selection it is greyed out Secondary Windows The two dots preceding the button name indicate that a new window or dialog will open when pressed Drop down Menus PAL O1 43 The thre
386. ss Slider 100 to 100 2014 Digital Vision UM 2014 1 07 578 Appendices Contrast Slider 100 to 100 Gamma Gamma correction used to transform the camera data for display Slider 100 to 100 Saturation Slider 100 to 100 Extra Metadata All available metadata is also displayed in a raw format CINE Bright 0 CFA BayerFlip rg gb Calibration uninterpolated color CalibrationUsed White Calib amere rj ETAO rial 6748 rsion 660 fersion 493 No 32 stMovielmage 816 FrameRate 1900 Gamma 0 Height 576 ImageCount 12 Phantomversion 1 RecordingTimeZone 7200 Saturation 0 Software version 649 Temperature 0 TotallmageCount 4071 Time Thu Apr 24 16 15 57 676409 2008 ainB 1 R 1 eGainB 1 27061653 alanceGainR 0 619855869 Width 1024 Audio Formats WAV Audio Uncompressed WAV audio files Extension wav Broadcast WAV Audio An extension to the WAV file format to include extra metadata Extension wav bwf 2014 Digital Vision UM 2014 1 07 Format Support 579 Audio Interchange Format The audio interchange format Extension aiff aif aifc Compressed and uncompressed variants 2014 Digital Vision UM 2014 1 07 so Appendices OFX Plugins OFX is an Open Source standard for visual effect plugins We support the full OFX API Application Programming Interface and a variety of plugins Plugin support includes e The Fou
387. ss of the picture This is a critical function when dealing with film scans and compensates for the loss of high frequency information generated in the film scanner Problems requiring aperture correction arise in a scanning system when the frequency response falls off as the effective wavelength of the detail to be resolved in the image approaches the dimension of the scanning aperture The aperture processor normally increases response to high frequency content in the signal thus adding subjective sharpness to the picture Aperture correction should therefore be employed as the last process in the chain Parameters Enable Horizontal U Vertical 0 Colour Linear SMPTE Enable This toggle button allows you to enable disable the DVO Aperture effect By default as soon as the effect is added it is applied enabled Horizontal Vertical Separate controls for the amount of horizontal and vertical aperture correction Allowed values are from 0 to 100 in increements of 10 Values 0 10096 in 10 increments Default 0 Colour The drop down list will default to the project setting for the input format You need to set this control according to the material that you are working with If the footage was shot with a video camera select a linear format ff this control is not set correctly the material may not be processed properly Default From Project 2014 Digital Vision UM 2014 1 07 DVO Aperture
388. ss the Export button on the bottom right of the file browser window The export progress report will be shown in the main Library screen or via the library Tasks window Output Timecodes The source and record event timecodes can be output as a timecode or a frame count CTL Options Video Mix Down solo Video Track V1 The CTL format has a restricted set of options available Video Mixdown and Solo Video Track with the same meanings as for EDL export above 2014 Digital Vision UM 2014 1 07 Scene Detection Scene Detection 11 The Scene Detect module can perform an automatic detection of scene changes in a contiguous segment adding scene edits where found When enabled the detection will begin from the current location of the active play head Setup Scene Detect To configure scene detection switch to the Scene Detect tab Sensitivity 0 700 Lead In Field Boundaries Colour Linear CGR C Panel Audio notify on scene Change Parameters Sensitivity This numeric slider is for adjusting the sensitivity towards detecting scene changes The lower the value the less sensitive scene detection is going to be so changes have to be very obvious to trigger a scene change whilst the higher the value the more sensitive to changes the scene detector is going to be and smaller amounts of changes will trigger an edit If this value is too high then edits will be inserted in the middle of a scene
389. sting colour correction layers These effects can be added in two ways as user effects or as layer effects User effects are added to the Effects layer at the top of the effects tree ae Except Composite effects which are added at the bottom of the effect tree below the Master layer Layer effects are added as new layers in the effects tree These may be Colour Correction layers CC Layer Base or Effect Layers FX Layers The benefit of layer effects is that you can change the position of the layer within the effects tree and therefore the order that it will be processed in since effects are processed top down based on their order in the effects tree User effects can only be ordered within the effects layer and the position of the effects layer cannot be changed As when adding colour correction layers layer effects are only added to the 2014 Digital Vision UM 2014 1 07 Adding User and Layer Effects 203 active segment This is because the effects tree of each segment can be different i e have a different number of layers and effects and layers are added at a specific position within the tree i e under the currently selected layer However User Effects on the other hand are added to all selected segments and only when no segments are selected is the effect added to the active segment The effects available are accessed via the effects list drop down menu button on the right of the work area panel D
390. t YCrCb 422 Default Format This specifies the default video card SDI video format to use Values PAL NTSC 720p HD 1080i HD 1080psf HD 1080p 2k p 2ki Default HD 10801 Always use default format for monitoring Fi A ways use cj efa LI It If rm at fo rma NITO FI n ja When enabled the monitor is locked to the format set above and will not try and switch to a new format even if its input changes This is useful if your output monitoring device does not support some output formats and you wish to lock it to something supported Priority Format Use Frame based project output formats This setting is only relevant if we are using a progressive frame based non interlaced project output format f we have a progressive output format e g HD 1080p this specifies whether we set our video I O card to output a progressive signal p Match p format or a progressive segmented fields signal psf Match psf format 2014 Digital Vision UM 2014 1 07 56 Appendices Match pst format Match p format Values Match p format Default Match psf format RS422 COM Port Default 1 This sets the workstation serial COM port to use for VIR control On a DVW workstation with built in RS422 ports this setting is not used if the environment variable USE DVS VITR IF is set Output Sync This setting specifies the sync signal the video I O card uses Internal Sync External Sync Bi Level Sy
391. t and end of the dragged segments will snap to any cut points they cross and allow positioning flush to any other segment beside above or below 2014 Digital Vision UM 2014 1 07 Manipulating Compositions _ 111 Di Vertical bar and arrow Snaps to cuts During segments being moved by dragging A vertical bar and arrow shows the dragged segments snapping to any cuts they cross After segments moved to new position To position segments freely with no snapping to cuts hold down the CTRL key while dragging Copying Segments Use the keyboard to copy the selected segmenis to a different location on your timeline Copy c Splice v Overwrite b Splice will ripple the timeline and ignore ripple mode The segments will be inserted at e The active play head location or e The Mark In point if it exists f a Mark In and a Mark Out point exists the segments will be inserted to fit 2014 Digital Vision UM 2014 1 07 112 Compositions between them and clipped if longer Trim Mode For discussion of trim mode see Trim Modes below Marking Regions Cc KH HH 0 When adding clips to the composition timeline we take account of any timeline marks set see Timeline Marks No Marks With no marks a clip is inserted full length at the active play head position 1 00 00 01 01 185 00 01 01 30 00 01 01 45 00 01 02 00 00 01 02 B065 CO017 080425 B065 C017 080425 00 00
392. t and video drop out removal system It can remove around 90 of visible imperfections without introducing unwelcome artifacts DVO Dust utilises a pioneering set of processing algorithms and new filters with the Digital Vision Emmy award winning PHAME motion compensation technology With manual dust busting being very time consuming and expensive the automation in DVO Dust can typically reduce the amount of operator time required by an order of magnitude This saves enormous amounts of time and money without any compromise in terms of picture quality This effect has three groups of parameters ms The Enable toggle button allows the complete effect EURE to be turned on or off Presets e Presets preset selections for quick dirt removal e Processing specific processing options e Setup additional settings for various processing selections Processing SETUp Basic Settings and Presets Enable Presets Processing SETUp The DVO Dust effect provides a number of presets ranging from Extra Light to Extra Heavy removal These work as a very good starting point before moving on to the more advanced controls in the Processing and Setup tabs You may not need to use any of the advanced parameters 2014 Digital Vision UM 2014 1 07 DVO Dust 251 Basic Settings Enable White Enable Basic Enable Black Medium Default strength 0 Enable Basic The Enable Basic toggle button allows you to enable di
393. t multicam edits will be tagged NoGroups and can be exported as an AAF for conforming on the Nucoda system See your Avid manual for details Subclips Avid subclips are not currently supported and should be removed before transferring the sequence to the Nucoda There is a documented process to easily relink subclips to master clips Refer to your Avid documentation The text below is taken from the Avid Help file 2014 Digital Vision UM 2014 1 07 Avid Effects a Relinking to Selected Clips You can also use the Relink command for connecting subclips or sequences to selected master clips and subclips To relink to selected master clips and subclips 1 Move the subclips or sequences that you want to relink into the bin containing the clips 2 Select the clips targeted for relinking 3 Select Clip gt Relink 4 Select Relink all non master clips to selected online items to relink related subclips or sequences to the highlighted clip in the bin 5 Click the Relink to media on volume menu and select an option Select All Available Drives to search across all media drives that are online Select a specific drive volume if you know the location of the media or if you want to relink to media on a specific media drive 6 Option Select Relink only to media from the current project 7 Option Select Match case when comparing tape names 8 Click OK The subclips or sequences are linked to the selected clips or
394. tails on calculating the basic name string replace with filename ignore filename replace with filename Uses filename only This ignores any file folder calculations i e folder up additions Material Name clip prepend filename Place filename before the concatenated folders we use 2014 Digital Vision UM 2014 1 07 sn Appendices Material Name clip two one append filename Place filename after the concatenated folders we use Material Name two one clip ignore filename Just use the concatenated folders no filename Material Name two one See Appendix Extracting Names for details on the naming rules for the concatenated folder Folder Up Which folder we start counting from The folder containing the imported file sequence is index 0 Adding folders How many file folder levels do we add as a name string to create the final name Auto Create Library Folder Auto create library folder filename 1 folder up adding Defines if we create named folders in the project library automatically on material import The names created are extracted from the file name and or folder structure according to rules defined here See Appendix Extracting Names from File Folders Example folder file sequence on disk three two one clip 0000 dpx Naming Options The drop down choice here modifies the basic name string we calculate via the Folder Up Adding parameters see Appendix Extracting
395. takel NAMING ENTRATA Effects chooser Ext Project DWO Restore DYO Enhance DWO Convert Sec Transition Generator Colour composite Input Clip Colour Transform To add an effect you need to select the effect from this list The selected effect will be shown as the button label once the list is closed Valid effect addition buttons will be enabled on the effects toolbar Next select the segment s that you want to add the effect to 2014 Digital Vision UM 2014 1 07 To select multiple effects hold down the CT RL key on the keyboard while clicking them refer to the section on selecting timeline segments for alternative methods By selecting segments you are overriding the active segment so if you want to also add the effect to the active segment you have to select it Selected segments are in orange import Generate Source a Export Media Hew Composition List Capture Tamis Export Composition Timecode Ee E HE Emeri r Ai i Effects buttons If any segment is selected on your composition the scrollbar is also shown as orange Changing the scrollbar colour to orange means that you can see if a segment is selected even if it is not visible This can prevent accidental effect application to the wrong segment At the bottom of the main screen are the buttons that control effect addition deleting and parameter reset Add CC Layer nse Add FX Layer Add Inverted CC layer ro Add C
396. tal Vision UM 2014 1 07 Manipulatinc positions With a drag bar selected you can trim a shot by e Dragging with the mouse e Using the keyboard shortcut keys see below e Typing in a trim value The keyboard shortcuts are as follows E See the Hotkeys guide distributed with the software Note that these keys refer to the Digital Vision application keyboard and the key names may be different on a normal keyboard You can enter a value directly by typing it into a numeric text entry box that appears above the edit mode buttons Use a negative value to trim backwards Number entry box for trim mode If a shot has head handles the offset as a timecode of the first visible frame of the segment is shown on the segment This is the Source Offset 01 00 00 00 01 00 02 00 0100 04 00 lio 04 scene 0142f 00 00 04 11 Source Offset Source offset displays current number of frames to first frame visible lf you trim the head of a shot the source offset will update You will not be able to trim a shot beyond the available handles and no change to the shots on the timeline will occur if you type such a value into the trim edit box 2014 Digital Vision UM 2014 1 07 on Compositions Slip Mode Slipping allows you to change the range of source frames that are used in a segment changing the start and end frames without changing the position of the segment within the timeline or its overall length This
397. tal Vision UM 2014 1 07 e Grandstand EP 01 This is the current project the project that opens This project is actually a revision we have recovered e Grandstand EP 01 2009 04 28 11 46 This is a backup of the project created when we pressed Recover at 11 46 on 2009 04 28 Note that recovery can only go back in time Once you recover a previous version of a project you cannot use this method to revert to a later version again To do this you can rename the appropriate project backup folder to the project name Location and Configuration Projects are stored in folders located using the proj ectRootDir setting given in the main preference file C Nucoda 2014 1 root general prefs The project folder will default to a subfolder C Nucoda 2014 1 rootprojects Each project consists on a single folder which can be copied moved or otherwise archived once a project is complete Project folders contain the complete project except for the source media renders caches any proxies or thumbnails With the source material placed in the expected location as per project library or re conformed linked elsewhere all other media can be regenerated 2014 Digital Vision UM 2014 1 07 The Project Library 52 The Project Library The Project Library 5 Library Keyboard Shortcut F1 The Project Library is used for a wide variety of tasks including e Importing and exporting media e Creating composition time
398. tapename extracted To configure this see Automatic Naming in the appendices Importing Audio Import audio material into the library in the same way as image media In the Library module press the Im port button browse to the audio media location and select and import The audio formats supported are e Wave Audio wav either 44 1 KHz or 48 KHz 16bit stereo e Broadcast Wave bwf e Audio Interchange File Format aiff aif aifc 2014 Digital Vision UM 2014 1 07 Importing Audio The default sample rate is 48KHz The audio sample rate is configured in the main preference file general prefs using the audioSampleRate parameter lt cannot be configured through the GUI currently Importing List Files Import a list into the library in the same way as image media In the Library module press the Im port button browse to the list file location select and import In the case of a list file you are creating a Composition not importing shots Initially the list created composition will have no media linked to it To link media to the composition created see the next section List Capture A list file is a formatted text file that defines the basic layout of a composition and relates the source media events defining shots to the record timeline locations The source media is defined by a tapename or reel and source timecode The supported list file formats are e EDL CMX 3600 format e
399. tatus of timeline segments The colours shown below are the defaults They can be changed by editing the preference file colour prefs in the folder C Nucoda 2014 11root Cached and Rendered We mention two types of frames below cached frames and rendered frames Cached A cache also known as source cache is a source sequence that has been cached to our internal format currently DPX except for float half float sources It may be a full size clone e g 1 1 Source Clone or from R3D Quicktime or MXF or a source proxy at 2 1 3 1 etc These caches have no effects applied Rendered A rendered cache is a sequence that has one or more effects applied and has to be rendered Colour Coding Normal N A 01 00 01 06 01 00 01 11 01 00 01 16 F By reel 13 scene 2 00 00 00 00 Bag AA 2014 Digital Vision UM 2014 1 07 104 Compositions No processing required No timeline colour means the segment requires no rendering e g no applied effects or no source caching generation needed Cached a DOO TOMO TO EE 0 LH Resident Evil 2 reel 13 scene 2 00 The first segment above has been cached and note it has no applied effects This segment may be a cached MXF source or some other cacheable media or a generated proxy 2 1 3 1 etc and is shown in dark green Rendered LL 01 00 00 03 PS EE Fe a EY Resident Evil ab ifreel 13 scene 2 00 The second segment ha
400. te By Clip Name Command MUCOCE FUSS oco ceer PRO conn oclcion COME IL name train splice INFO Opening projece PROUT INFO Opening Composlelonm COME I INEO C Iip adden Ke co moske won Splice Overwrite By Clip Path This will do an import to library followed by a splice Command S nucoda fuse project PROJ1 composition COMP1 splice M shots 004 300000 dpx INFO Opening project PROJ1 INFO Opening cor clan Cop INFO found range SUUO0OD 200164 INEO Cl added co Comes ie lon You might want to give the imported clip a library name and description possible on first import only Command mico ap EC EROTICA sapiens O KA AA description this is a train clip INEO Opening projyece PROJI EO Opening con cic ca Che INEO Found range 200000 OUEST INFONSET clip name tro eran ENPO Sec clip deer pcl on Eo CA AS a eatin wel 5 INEO Clip added tro compose Lor Splice Overwrite to a Different Video Track If the composition has more than one video track we can select the target track using the track option Command MUCOCE TESS coco MARQUE COCO cocoa COL NX splice name train track V2 INFO Opening projyece PROJI INFO Opening con es icicn COME NAO Clip alec Cc come T Eion 2014 Digital Vision UM 2014 1 07 466 Command Line Splice Overwrite to a Specific Record Position Source Clip 0 100 Timeline reacord in 100 We ca
401. tering only in areas with motion 2014 Digital Vision UM 2014 1 07 DVO Grain NE Starting with enabling Basic mode and selecting one of the available preset modes will automatically set up spatial threshold size Chroma Trim Chroma Trim The Chroma Trim controls are used to adjust the grain noise reduction on each selected colour This allows for the boosting or cutting of both the spatial and temporal filter settings within the selected colour Range 8 to 7 Default 0 The colours 1 2 3 are selected via the key tab as described in the Chroma Adaptation section below Having a temporal strength of 7 setting up chroma adaptation for a red colour and corresponding trim to 2 will set the temporal strength to 7 2 9 for areas in the picture that contain the selected red colour Other other Po s Neq Trim Out Mis TOO 40 Motion Est Normal Pos Neg Trim The Pos Neg Trim control works in conjunction with the Pos Neg mode controls in the Setup section Having selected the mode and luma thresholds 2014 Digital Vision UM 2014 1 07 sn DVO Effects oF in the Setup section use the Pos Neg Trim control to adjust the noise reduction levels equally for all RGB channels in highlights Neg or lowights Pos Range Oto 7 Default 0 Having a temporal strength of 7 setting up neg mode to neg and the pos neg trim to 2 will set the temporal strength to 7 2 9 for highlights Processing is sl
402. the final processed quality DVO Dust includes a variety of filter algorithms that can effectively process a wide range of input footage Processing Filter Mixed 3 Use Adaptive size Filter Size f Filter Mixed 2 Filter Mixeg 4 Filter Temporal 1 Drop down Filter list 2014 Digital Vision UM 2014 1 07 DVO Dust Spatial Temporal Mixed Filters Values Spatial Mixed 1 Mixed 2 Mixed 3 Mixed 4 Temporal 1 Temporal 2 Copy Prev Copy Next Bypass Default Mixed 3 The following generic filter groups are defined Spatial All filters named Spatial are filters that work only within the current frame or field if the material is interlaced i e it has taps only in the current frame These filters are intended for very small spots Mixed All filters named Mixed have taps in both the current frame and the frame previous to and following the current frame That is it has both spatial and temporal taps All these filters however have more taps in the current frame than in the previous and following frames together more spatial taps than temporal These filters are intended for normal spots The different Mixed types Mixed 1 2 3 etc change the ratio between spatial and temporal The larger the number the more temporal filtering 2014 Digital Vision UM 2014 1 07 254 DVO Effects JU Temporal Filters named Temporal have both spatial and temporal taps but with more temporal than spatia
403. the mouse or the GUI controls Owners of a Precision Panel can also use it to control the warper tools Control Points Control points are placed around the edges of the source image Control Points Warp 4 Warp 4 four warper control points Warp 9 nine warper control points including the central control point 2014 Digital Vision UM 2014 1 07 Warper Control points change their look when used An unselected control A selected control point A control point with a point mouse cursor proximity indication Mouse Control A control point is indicated in red when your mouse cursor is within range To select points e Select one control point Click it with the left mouse button e Select multiple control points Hold down the SHIFT key while click selecting points with the left mouse button e Hold down left mouse button and drag to warp image Marquee Select You can marquee select multiple control points by drag selecting them Drag select multiple points using the mouse GUI Controls Once selected you can manipulate control points via the GUI controls using the mouse or keyboard to enter value 2014 Digital Vision UM 2014 1 07 Warper Basics _ 233 Top Left x i Top Right X Top Left Y 1556 0 Top Right Bottom Left x Bottom Right x Bottom Left i Bottom Right Y The Warp 4 GUI controls The Warp 4 GUI controls are shown above and include separate
404. till store 1 Warn when playback sync is lost Perf per frame 4 Perf per count 64 CL Ripple Mode on LC Reset Recall Selection C Open projects in SAFE mode C Panel Audio notify on Scene Change Preference file location C nucoda v3_6 Root_v3_6 general prefs O Auto Keyframe persist on shot change The general preferences screen specifies global configuration settings Location display Location display C Frames Select whether you want the default location display across your project to show frame numbers or timecodes Changing the display style will affect the following e the timeline timebar e the current position and in out duration displays on the GUI and control panel e the in out values in the library e the render progress report This setting can also be changed from within your project Reference mode still store 2014 Digital Vision UM 2014 1 07 Application Preferences sa Values Still store Live memory Default Still store Select whether comparisons against the reference frame should be carried out in still store or live memory mode Keycode kK eycoge Fer per frame Fer per count A keycode allows the unique identification of any frame on a reel of film For a film reel these settings define e Perfs per frame how many perforations in one film frame e Perf per count how many perforations make up one keycode count increment See Appendix Keycode SAFE mode
405. ting an EDL use use frame numbers to include frame numbers instead of timecodes in the output EDL Command 5 nucoda film master project project x composition c export ed1 S edll edl use frame numbers INFO Opening project project x from D Nucoda 2014_1 projects project INFO Opening composition comptest Result The output EDL will be standard EDL CMX format with frame numbers e g ES SComeoeesit ECM PAL CO SES ER V JE Mos ee AO E A ae a4 cP ROM CITE NAME FROM FILE S media Images mazda 2k OEF5012A 14388771 dpx EROM COMMENT Saving and Loading Compositions save composition lt file path Save given composition and all referenced source clips to given file load composition lt file path Load composition and all referenced source clips to given file Save Composition Save composition lt file path This command will save the the specified composition given by the composition parameter to the specified file 2014 Digital Vision UM 2014 1 07 Saving and Loadinc positions The lt file paths argument should be the full path including the drive letter filename and extension Composition content files saved through the GUI are given an extension content Command 5 nucoda film master project project x composition c save composition S output compl content INFO Opening project oroject x trom TD Nucoda 2014 Nprojeccs project INFO Opening c
406. titrack Then switch to Shots mode and enable Multitrack Grading using the button shown below Multitrack Recall Append grading on off Motes i shot Store Delete RARE Mean nena Sort time and date shots that are grouped into multitrack mode are shown with green triangles on their right hand edge 00 09 00 01 00 10 00 01 00 11 00 Multitrack shots grouped Multitrack shots shown in group Note that multitrack mode will only enable on both tracks if the two tracks are the same length The render indicator bar also shows the render status of each track separately 907750 90300 Each track now has an independent render status bar Grades will now be applied to both the top and bottom tracks 2014 Digital Vision UM 2014 1 07 Using Stereo 18 Stereoscopic Depth Grading Stereoscopic Recall Append depth grading Notes Shot on off otare AIMEE Sort time and date The Stereoscopic Depth Grading button will cause Pan Tilt and Rotate Pan Scan transforms to be applied normally on the top track but in reverse on the track below This can easily be seen in the track thumbnails as shown below Track thumbnails show that top track has positive pan This is reversed on the bottom track 2014 Digital Vision UM 2014 1 07 Colour Management Colour Management 15 Hot key CTRL F12 The Colour Management System CMS lets you apply colour transformations to your s
407. to Play Output In this mode any changes to the effect parameters are rendered automatically and the resulting output image is displayed in the viewer This output image is the cumulative result of all the effects that have been applied to that segment i e the full effects tree 2014 Digital Vision UM 2014 1 07 View Selected Hot key e You can change the view mode from Play Outputto Play Selected by Using the drop down list selecting the option from the view mode drop down list or by holding down the CTRL key when you double click on an effect to edit it In this mode you will not see the cumulative result of all the effects in the effects tree but will see only the cumulative result up to the effect that you are currently editing Further to this if you are editing an isolation effect i e matte keyer shapes or blur you will only see the cumulative result of the isolation effects in that particular layer In View Selected mode the effect that you are editing will appear in yellow in the effects tree Once an effect has been edited it appears as bold in the effects tree as does the layer that it belongs to EEEE Ib Timeline List in Effec LP Tracker ase gt C Base i shadows Midtones Saturation Enable Enable gt Printer a Red 0 032 Red 0 016 Col Curves Ez PEN A Saas a pi Green U U3Z Green 0 004 Bright Contrast Blue 0 019 Blue 0 016 s Soft Clip o Saturation m Pan Scan
408. to whom the Materials are furnished to do so subject to the following conditions The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Materials THE MATERIALS ARE PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND EXPRESS OR IMPLIED INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM DAMAGES OR OTHER LIABILITY WHETHER IN AN ACTION OF CONTRACT TORT OR OTHERWISE ARISING FROM OUT OF OR IN CONNECTION WITH THE MATERIALS OR THE USE OR OTHER DEALINGS IN THE MATERIALS 10 OFX From http openfx sourceforge net Documentation Doxygen ofxCore 8h source html 2014 Digital Vision UM 2014 1 07 604 Appendices Copyright c 2003 2004 The Foundry Visionmongers Ltd All rights reserved Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution Neither the name The Foundry Visionmongers Ltd nor the names of its contributors ma
409. tock Positive film will generally show more grain in the lowlights whilst Negative film will generally show more noise in the highlights Neg Values Positive Negative Default Positive Parameters e Positive more grain reduction in lowlights e Negative more grain reduction in highlights Film mode Having selected the mode you need to set the Pos Neg Trim level on the Processing screen This will adjust the noise reduction levels equally for all RGB channels in highlights Neg or lowlights Pos 2014 Digital Vision UM 2014 1 07 DVO Grain Luma Thresholds The range of luminance values affected by the Pos Neg Trim can be set by two luma thresholds Luma Threshold Low Range Oto 50 Default 0 Luma Luma Threshold High Range b50 to 100 Default 100 Luma These two thresholds determine the point in highlights and lowlights where the Pos or Neg trim is at its maximum The effect of the Trim will gradually decrease between these two points Noise Reduction Level Luminance Level Trimming the Grain Noise Reduction level for Positive film Noise Reduction Level Luminance Level Trimming the Grain Noise Reduction level for Positive film 2014 Digital Vision UM 2014 1 07 312 _DVO Effects _ _ _ DVO Regrain DVO Regrain allows you to quickly set up and generate natural looking film grain The intuitive controls enable you to match almost any type of film stock by setti
410. toolbar The active version will be removed from the list and the next version in the list will become the active version At this point the version numbers will reshuffle to close the number gap created by the deleted version lf on deleting a version there is only one version left the triangular version indicator will disappear from the segment and the segment will return to being a regular segment without versions a Version operations are always applied to the active or selected segment on the timeline so the active selected segment must be appropriate for the operation being carried out otherwise no action will be performed 2014 Digital Vision UM 2014 1 07 Rendering 134 Rendering Rendering 9 Adding effects to segments or transforming sources for output will require CPU processing rendering This rendering normally happens transparently in the background as you work and in most circumstances requires no explicit intervention Master layer effects are rendered in realtime on the graphics card GPU and do not require system CPU processing You will have to renderyour composition if you e Add effect layers or e Add adjustment segments e Create and use proxy sources 1 1 Clone 2 1 etc e Create source caches for example from MXF Quicktime or Red raw files Proxy Source vs Source Cache A proxy source and a source cache are technically the same thing but we differentiate them because a
411. tors Any applied effects are indicated above the shot using coloured bars Base layer CC FX layer Master layer and Pan Scan lf multiple FX or CC layers are present these are indicated by small boxes in the LY bar In the illustration on the right the shot on the left is the active shot blue outline All effect layers have an applied effect coloured bars and there are two CC FX layers indicated two boxes on LY bar Active shot on left with effect indicator bars You can toggle the display of the effect indicator bars using the Marks Timeline Mark In and Out points will be shown with dotted lines Handy Hotkeys icon hotkey function Toggle full screen mode i e hiding the GUI mg ESC Exit full screen mode back to GUI mode Zoom into the active region of the timeline 2014 Digital Vision UM 2014 1 07 Handy Hotkeys 125 F Fit the whole timeline into the viewing area none Zoom timeline in out none mouse wheel Zoom timeline in out Ctrl drag mouse left Pan the timeline left right right mababa Zoom tracks in out showing bigger smaller thumbnails up down none Ctrl F2 Toggle between standard timeline view and large panel view none Ctrl HOME SWitch to the next play head making it the active play head HOME Jump play head to the start of the composition END Jump play head to the end of the composition n or Down Jump play head to the start of the previous one
412. ualisation purposes Normal Separate left and right outputs Blended Blends left and right image which could be used to verify alignment processing Side By Side Displays left and right images side by side with halved horizontal resolution lf this mode is used to verify colour matching simultaneously please note that many monitors might have colour reproduction which varies spatially or by viewing angle 2014 Digital Vision UM 2014 1 07 24 DVO Effects oF Mirror Controls Auto Mirror Flip Right Mirror Left Mirror Right Flip Left Flip Right The Mirror Controls will automatically determine and correct for a mirrored left or right eye If required manual correction can also be set here Auto Mirror Values Disable Left Right Default Right Automatically determines mirror and flip between left and right eye If we detect a requirement to mirror or flip it is applied to the specified eye This automatic correction will follow any manual mirror or flip settings applied to the other eye Mirror Left Manually set left eye to be mirrored Mirror Right Manually set right eye to be mirrored Flip Left Manually set left eye to be flipped vertically Flip Right Manually set right eye to be flipped vertically 2014 Digital Vision UM 2014 1 07 DVO Stereo Fix 235 Colour Matching Colour Match to Left Colour Match Safety 0 50 Scene Mode Non Uniform Frame Mode Disable
413. ult is source timecode no translate Do not use any EDL tapename translation table strip extension Strip clip name extensions e g mov etc Import ASC LUT s and create a CDL base 2014 Digital Vision UM 2014 1 07 470 Command Line tye Create an ASC CDL and CDL base layer Note track numbers are indexed from 1 Use the nelp import option to the application to see some basic usage for the EDL import functionality Importing import edl lt path gt lt new add mark gt To import an EDL or AAF list use the import ed1 option with the path to the file Requirements e One of the options new add Or mark IS required to fully specify the operation See below You can use import edl with AAF files but most other options in this chapter relate to EDL import only Creating a New Composition import edi lt path gt new This imports the file and creates a new composition in the library with tracks created as required No media is imported or linked to a composition automatically See the import material and conform options below Command o nu ucoda film master proje t TPROJIT import edl S edl ttt edl new INEO Opening pro jece EEOTI trom O Nuceda JON pre INFO ttt edl imported Naming the Composition By default the composition name material name is taken from the EDL TITLE line Use the name Option to name the composition cr
414. ure Layoff video List Output List Output Layoff List Capture gt z bess je CRD bd These options will only be enabled when your system has a video VO board installed Audio I O Support for 8 channel audio capture and layoff with the following video cards e Bluefish Lust AES EBU audio e DVS Centaurus2 AES EBU and embedded audio Video I O Capture and layoff modules have similar layouts e The monitor and transport controls are situated on the top left e The settings and control tabs sit below the monitor and transport controls e The event list and event controls are on the right hand side 2014 Digital Vision UM 2014 1 07 358 Video I O o Playback Transport Controls The playback controls on a VTR deck are more commonly referred to as transport controls These controls are the same on both the capture and layoff screens Current Tape Position Cue to timecode R ew n d UE O O UE 1 D JA F A ct F orwar a 44 Play Jog Backwards Reverse Stop Play Jog Forwards Timecode Box Cue This field displays the current tape position lf you enter a timecode in the box and press the Cue button the tape will cue to this location VTR Settings The VTR Video Capture Settings tab contains a variety of configuration settings including VTR status video format used and audio channels active The available settings are similar between the capture and lay
415. urrent Current Folder Single Pane Mode Display folders below current folder location only Folder File Contents The files within the current folder are displayed in the bottom pane Current Folder File Contents ope EJUS BELEN CE Import 2014 Digital Vision UM 2014 1 07 File Browser Files that exist within the current folder are displayed in a tabular format see the Tables section for a discussion of table use The files displayed can be filtered by file type Contiguous file sequences i e no gaps are compressed to display only the start and end frames i e exporl0977 33 dpx xpo0rl097 39 dpx sss EXPOFT091812 Adpx is displayed as export 97738 97812 dpx Use CTRL R to refresh the file browser Folder Bookmarks Folder Bookmarks let you store a folder location and jump to it via a drop down list Nowhere f kaAmedilawCamera Form Bookmark Manage List Bookmarks Using Bookmarks To jump to a previously bookmarked folder select the bookmark from the bookmarks drop down list k Nowhere Home 2014 Digital Vision UM 2014 1 07 2 The User Interface Adding Bookmarks To add a bookmark for the current folder or manage bookmarks press the Bookmarks button A dialog window will open To add a bookmark for the current folder press the A dd button scaling tests Delete Rename Bookmark dialog The bookmark will be added to the list and available fo
416. utomatically to exported sequences and correspond to the frame timecodes The numbers thus depend on the selected export mode and may be record or source timecodes e File extensions are added automatically Number Handling Frame numbers will be added automatically on export zero padded to the specified width Frame Padding The frame numbers correspond to the record Rec or source Src timecode as per the chosen export mode Because numbers are added automatically some care has to be taken if you choose to type in numbers as part of the base file name f you type in numbers as part of the base file name e Rec TC modes use the numbers as the starting timecode number for every shot created If shots are exported to multiple folders every shot in every folder will start at the given number e Src TC modes ignore any numbers and always use the source timecode for shots created A filename entered as test will usually result in a file called test090000 dpx or similar To put another before the numerics enter a filename test note the two dots This results in a file called test 090000 dpx Using Variables in File Names dox Ft graded You can also use variables in the file entry box e g st graded might expand to a base filename newrttl graded See the Folder Hierarchy and Variables for a list of variables available 2014 Digital Vision UM 2014 1 07 14 Exporting Examples Filename Pad
417. vailable settings We import the AAF and use settings e All events as a new composition e Import material from MXF paths e Conform to Material e Expand nested tracks and retimes 2014 Digital Vision UM 2014 1 07 388 Avid Integration The AAF file creates a Nucoda timeline which we can then start working on Avid timeline Nucoda timeline lf updated AAF compositions become available the Nucoda can import them and merge them into any active timeline When we have completed our work we can proceed as follows e Finish on the Nucoda e Finish on the Avid and proceed to one of the work flow options outlined next HE Do not delete or move the AAF you import to the Nucoda ff the AAF you import is deleted or moved you will not be able to export an AAF from the composition it creates We recommend you manage your AAF files carefully and keep copies locally This includes network drives where drive letter may change If you are not having any success please check in the library where the AAF file is expected to be and verify it s existence Thumbnail O Duration Rate Type Description 25 00 MOVIE A01 4EE76C40 4EE76C4EE76C40 10 10 01 0 13 37 16 00 03 36 05 4800C CLIP A02 4EE76C41 4EE76C4EE76C40 10 10 01 0 13 37 16 00 03 36 05 4800C CLIP SVT AAF Transfer 002 Exported 02 00 59 59 18 01 00 22 22 00 00 23 04 25 00 COMP imported from E 1SVT AAF Transfer aaf 2014 Digital Vision UM 2014 1 07 AAF t
418. vanced motion estimation technology along with edge preserving 3 D spatio temporal filters and temporal recursive filters to allow artists to produce clean sharp pictures and to match the look of film grain from shot to shot including grain matching for underexposed film The process of adaptively selecting the best mix of spatial and recursive filtering for each pixel is unique to the DVO Grain algorithm This effect has four groups of parameters The Enable toggle button allows the complete effect Sl to be turned on or off Basic mode e Basic mode basic settings for a quick de grain e Processing specific processing options e Key keyed settings for chroma adaptation e Setup settings for various processing selections Processin B Basic Settings and Presets Enable Basic moge Processing KEY Setup The DVO Grain Basic mode provides simple control of the grain noise reduction without sacrificing performance Basic mode is a good starting point before using the more advanced settings in the Processing and Setup tabs if necessary 2014 Digital Vision UM 2014 1 07 28 DVO Effects oF Basic Settings Enable Basic Mode Default strength 0 Out Mli 100 01 Enable Basic The Enable Basic toggle button allows you to enable disable DVO Grain basic mode When you edit any of the settings in the Processing or Setup tabs basic mode becomes disabled automatically Similarly when you select
419. ve button will add your folder hierarchy definition to the drop down list Deleting a Preset Presets are stored in a plain text file in the application root folder C Nucoda 2014 1 root ExportFolder prefs ExportFolderPresets Preset e Preset t c e Preset o e Preset o c n r To delete a preset remove it from this file save the file and restart the application 2014 Digital Vision UM 2014 1 07 Export Media Variables The following variables are available Var Description Note n Material name NONAME used if material name empty Event number see below for the event number format Composition name NOCOMP used if composition name rv GC Resolution EE will be represented as WidthxHeight in pixels e g 2048x1556 Original material name NOORIG used if original material name is empty Sf Frame number Replaced with a numeric frame number zero padded to specified Frame Padding Event Padding By default event folders start at 1 and are zero padded to 4 digits i e folders will be named 0001 0002 You can adjust the start number and default event number padding by editing the export section in the main preference file general prefs found in the folder C Nucoda 2014 1 root C Nucoda 2014 1 rootgeneral prefs export eventStart 1 eventPadding 4 2014 Digital Vision UM 2014 1 07 156 Exporting Export File Formats Choose a file format to export to via the for
420. ve handle forward 10 frames Switch to Shot List View Toggle large shots view standard view UM 2014 1 07 N C D Lo gt Versions 3 When adding a media clip to a composition timeline it is possible to add it as a version of an existing clip segment instead of as a new segment By adding a version you preserve the underlying clip segment in the composition along with all the changes you have made to it e g trimming or effects Versions therefore allow you to experiment with different clips or to make gradual changes to a clip segment and save each one as a separate version until you decide which version you want to keep A segment containing a version is denoted on the timeline by a triangle in the centre 01 00 00 00 0 00 05 01 00 00 10 masa 1 00 00 15 Version Marker Approved Version Grey triangles denote the presence of underlying versions in that segment and a green triangle identifies the approved version Approving a version is simply a mechanism that allows you to differentiate your preferred version from all the others You can change the approved version at any time Version Controls The buttons for adding approving and deleting versions are on the timeline toolbar FR a y a 0067 8255 r4_230 Me 0067 2 Switch Toolbar Version Controls Add a source duplicate version for active shot Hotkey CTRL N 2014 Digital Vision UM 2014 1 07 Add a grade version for act
421. ved from nests on expansion Each clip in the nest is placed on its own track even if a clip sits beside another on the same track inside the nest Transitions Currently all Avid transitions are treated as dissolves in the Nucoda Transitions are not displayed even if they have been rendered and are available To include transitions in rendered timelines supply them as a mixdown Dip To Colour The Dip To Colour effect applied as an effect to a cut will not work Apply as separate effects at the start or the end of a clip Avid Multicam You should commit multicam edits before exporting an AAF for use in the Nucoda system Avid Media Composer 5 and 6 This option is available in he GUI e Select your sequence in the Bin e Right click and Commit Multicam Edits Relink Modify Commit Multicarn Edits Duplicate Remove Redundant keyframes Get Bin Info 2014 Digital Vision UM 2014 1 07 TE Avid Integration Older Versions Select Tools Console Console enah lecommitmulticam Enable Commit Multicam 15 on enablecommitmulticanm In the console type enablecommitmulticam and press lt ENTER gt Console enablecommitmulticam Enable Commit Multicam 15 on enablecommitmulticam Now commit the multicam edits by right clicking your sequence and selecting Commit Multicam Edits This will create a copy of the original sequence before the sequence is changed The sequence withou
422. vel Example Settings Low detail Base Level Less No detail below average Preservation 0 noise grain size Higher detail Base Level More Detail observable below Preservation 100 average size of noise grain Speed and Quality Range Highest Speed Highest Quality Balanced Default Balanced By default we try to balance the quality of our output with the amount of processing time we use to produce it The Speed vs Quality setting lets you adjust this trade off between quality and processing time used 2014 Digital Vision UM 2014 1 07 296 DVO Effects oF Intensity per Channel Intensity per channel mid high The intensity of noise and grain might be very different in the low mid and high lights of the picture As part of the automatic analysis undertaken for each shot DVO Clarity calculates the intensity distribution of noise grain in each component red green and blue The calculated distribution is displayed as a graph The graph is calculated per shot 2014 Digital Vision UM 2014 1 07 DVO Clarit 297 DVO Grain Digital Vision DVO Grain algorithm is specifically designed to manage the look of film grain and to reduce unwanted electronic noise in film or video originated material Uses include restoration compression pre processing and image processing of new feature film television and commercial material The Grain algorithm incorporates the Digital Vision Emmy award winning PHAME ad
423. voiding jaggedness typically associated with similar processes Parameters Enable Mode align to f1 Half line fix Top Fix lines 1 Bottom Fix lines 1 Data Linear Enable When enabled DVO Deinterlace will process the input as per the settings described below Mode Values align to f1 align to f2 double rate f1 f2 double rate f2 f1 Default align to f1 The Mode control sets which field s the progressive frame is aligned to in terms of motion and content 2014 Digital Vision UM 2014 1 07 322 _Dvo Effects D Keep field 1 and align the missing information in the new frame to the contents of the original field 1 Keep field 2 and align the missing information in the new frame to the contents of the original field 2 double rate f1 Make a complete progressive frame using every single f2 field using the above methods This doubles the number of frames Top f1 field first double rate f2 Make a complete progressive frame using every single f1 field using the above methods This doubles the number of frames Bottom f2 field first Half Line Fix In an analog video signal there may be a visible half lines unless removed when captured i e half the line is blanked and the rest of the line contains image information Including the half line when de interlacing is usually unwanted To remove the blanked part enable Half Line Fix and select the line s to address for top Top
424. whilst if the value is too low scene changes may be missed Lead In This numeric slider is for specifying the minimum number of frames to leave in a segment before the next edit is inserted with the default set to 5 frames So at its highest sensitivity setting the scene detector might be detecting scene changes every frame but it will only insert an edit every 5 frames 2014 Digital Vision UM 2014 1 07 16 Scene Detection Field Boundaries If enabled edits can also be inserted at field boundaries on interlaced material When working with interlaced material scene changes sometimes occur between fields as opposed to between frames so by turning on this option you allow the scene detector to insert edits where the scene change actually occurs ff this options is turned off then the edits will be inserted on the frame boundary rather than where the scene change actually takes place Colour Scene detection is dependent on the material colour format and especially whether the input is inear or logarithmic The default setting will be taken from the project colour scaling setting Setting the incorrect value here may result in incorrect scene change detection See The Setup Manual for a discussion of colour scaling Panel Audio Notify Enabling this will cause an audible notification when a scene change is detected The sound is produced via the control panel Usage Once you have adjusted the settings switch back to
425. will have to mix these down for them to appear in the AAF renders will just come accross as dissolves Retimes f we select to expand retimes on AAF import the Nucoda system generates AAF retimes through the use of Adjustment Segmenis An alternative method of transferring retimes is to use a Mixdown This has the advantage of a Keeping the complete source material available b Keeping the timeline synchronised c In the case of timelapse material there could be a large amount of material for rendering and transferring Freeze Frames When using the freeze frame effect in the Avid rather than have the Nucoda build it using an Adjustment Segment you might prefer to export the single frozen frame and re import it into the Avid to create the freeze frame segment in effect rendered to the right duration or create a Video Mixdown This is due to the fact the the Freeze Frame is represented as a single frame on the timeline if used Nested Effects Avid Media Composer and related products allow you to wrap multiple tracks and multiple effects inside a single video track segment This compound segment is called a nest and renders a single visible output Because nested effects add complexity to the timeline we import and process it is best to minimise their use 2014 Digital Vision UM 2014 1 07 Avid Effects 417 The Nucoda currently supports simple nests only On import to the Nucoda dissolves are remo
426. with little impact on your interactive work It is generally a good idea to leave it enabled Render FG Fender FG Default On This will cause unrendered portions of the timeline to be rendered for display when playing timeline If this button is disabled playback of unrendered timeline areas will display grey not generated frames Render FG l Render FG Cache Default Off The Cache button is relevant to composition playback only During timeline playback any unrendered frames are rendered on the fly dynamically for display if Render FG is enabled but are not normally saved to disk Enabling the Cache button causes any unrendered frames encountered during playback to be saved to disk This rendering is identical to that done with Render BG enabled or when doing a Render Output operation except it occurs only during timeline playback of unrendered frames pla Enabling the Cache button may affect timeline playback due to the extra work required to save out rendered frames to disk 2014 Digital Vision UM 2014 1 07 Automatic Render Controls 137 Transition Transition Default On The Transition button enables the rendering of transition effects e g dissolves Manual Render Controls Render Output Export Media These controls are in the project library and let you set off specific render tasks such as rendering a specific portion of the timeline or rendering and exp
427. y Region of Interest RON specific ROI Size Left Top Fight Bottom Set or find active area of picture the region of interest to be analysed Values Disabled Specific Default Specific e Disabled use complete frame e Specific set region of interest via additional parameters below 2014 Digital Vision UM 2014 1 07 DVO Steady 288 ROI Size This is the number of pixels from each edge where the frame active area starts Range O to 2048 Default O pixels Only borders which have visible non clipped film frame edges must can be used and Region of Interest must be set to include those Processing Analyzer Processor Processing parameters are applied to the pictures in accordance with the result from the analyze pass Basic Setup Enable Colour Film Log Analyze 12051 0 646 0 145 Enable This toggle button allows you to enable disable the effect By default as soon as the effect is added it is applied enabled Colour The drop down list will default to the project setting for the input format You need to set this control according to the material that you are working with If 2014 Digital Vision UM 2014 1 07 24 DVO Effects oF the footage was shot with a video camera select a linear format If this control is not set correctly the material may not be processed properly Default From Project Analyze This toggle button enables the analy
428. y be used to endorse or promote products derived from this software without specific prior written permission THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE 11 mxflib Copyright c 2002 2007 Matt Beard BBC R amp D and Metaglue Corporation See http mxflib cvs sourceforge net viewvec m xflib m xflib C OP YING revision 1 5 amp view markup 12 AAF Public Source License See http aaf cvs sourceforge net aaf AAF LEGAL AAFSDKPSL TXT view markup Included with product distribution in folder docs licenses 13 OpenEXR See http www ilm com opensource ilm bsd lic html Copyright c 2002 Industrial Light 4 Magic a division of Lucas Digital Ltd LLC All rights reserved Redistribution and use in source and binary forms with or with
429. y i e with no footage being displayed in the viewer you will capture blank black frames for the duration of the capture Once capture has stopped the captured footage will automatically be added to your project library Capture Marked Capture Marked This capture method will capture the footage defined between the marked in and marked out timecodes Specify the Mark In and Out points by e Manually typing in the in and out timecode into the appropriate in out timecode box or e Cueing the VTR deck to the In timecode and pressing the Mark In button then e Cueing the VTR deck to the Out timecode and pressing the Mark Out button YTR Capture Control YTR Video Capture Settings Mark In Mark Out Duration 01 01 19 00 01 01 9 00 00 00 NAA J Tape Tape Set Mark In Set Mark Out Tapename entered At current VTR location For accurate marking of the In Out points you can use the jog frame buttons to locate the exact frame positions Once marked the duration display field will show the total duration of the marked region and pressing Capture Markedwill begin the capture 2014 Digital Vision UM 2014 1 07 Video Capture 367 00 00 10 00 Capture Marked Tape atop Capture During capture the Capture marked button will turn red and the VTR deck will cue to the pre roll point before the marked timecode in point Once the mark in position is reached the capture will commence and at this point the
430. y Colour The shape overlay colours are defined in the Shapes section of the file C Nucoda 2014 1 root colour prefs Two sets of colours are defined a normal and an alternative set of colours The alternative set are tagged with Alt You can switch between the normal and alternative colours dynamically by pressing the keyboard p key Example Shapes l Cuc Mne Outer Inner VariableLink One Ihave Ie OuterAlt InnerAlt VariableLinkAlt 2535 1NG lo 100 125 050 299 255 07O LOO OOS IRS SAS SALES 10051007100 es oke O e E255 O E OSO AGO pu Be careful editing this file and always create a backup first 2014 Digital Vision UM 2014 1 07 Tracking Shapes sa Tracking Shapes Shapes as partlofa You can attach tracking information to shapes via the T rack Points button 2014 Digital Vision UM 2014 1 07 DVO Tracker DVO Tracker 20 Version 2009 introduces a sophisticated new tracker called the DVO Tracker The tracker automates the selection of optimal tracking points within a user specified area of a shot The DVO Tracking controls are available inside every Shapes layer and become active when a shape is selected Pet re DVO Tracker controls inside a Shapes control pane Tracking Basics Any Shapes layer inside a CC Layer including Base or FX Layercan be used to create a track for a shot Before starting familiarise yourself with the shot you wish to use P
431. y editor for the selected library items FAA BEANE The Properties available depend on the selected item Most image sequence types have basic properties but many movie formats such as Red SI 2K etc have extended format properties and extra miscellaneous metadata associated with them Audio clips have their own specific audio properties including channel routing 2014 Digital Vision UM 2014 1 07 Properties and Metadata 57 Basic Properties 2 Format Properties O Extra an Nucoda Properties MISC Metadata The layout of the Property dialog Property Editor Layout As can be seen in the illustration above the Property Editor is composed of a number of panels that descrive different aspects of the metadata Not all library items will include all metadata and all the panels Basic Properties Basic Properties are those common to all library types and include item name tape name description timecode and duration components and colour space Name PA Clip name Description Tape name WOO COO4 0720L8 Film name Drop frame In 25 23 14 26 48 15 Duration 00 00 22 17 Format 10 Bit Frames Aspect 1 775 Colour Linear SMPTE COL Source VI Create clone 2014 Digital Vision UM 2014 1 07 The Project Library Format Properties Some items have format specific properties we can edit and these are shown in the Format Properties panel The image below shows the extra properties
432. y is where we import and export media create compositions and manage our project assets See the Project Library section of this manual File Browser A sophisticated file browser is used throughout the application It is used to navigate both local and remote filesystems You will use the file browser component in many places including e Import and export of media list files and LUT files e Attaching and detaching projects e Capturing material from lists This section describes the file browser and its various components 2014 Digital Vision UM 2014 1 07 22 The User Interface nooo Cov Co S014 080512 AOC DOO _ Gite i CO 7 DT LUGI DooT Eig DT ed 3 COO r C20 UBOS 12 ROC JPEG ss sipa mcg Options Import File Browser Import Media version showing main functional areas 1 Network and Drives 2 Navigation and Folder hierarchy 3 Folder Bookmarks 4 Folder Management 5 File Type Filter Network and Drives To the left of the main file browser panels are the panels that allow e Network folder and local folder browsing e Local drive selection or e Network share selection 2014 Digital Vision UM 2014 1 07 File Browser 23 Local Drives When browsing Local drives the available drive letters will be shown in the panel below Nowhere Local drives Network Local drives displaying available drive letters You can double click a drive letter to jump to the ro
433. ype of EDL used and whether we match a tapename or clipname oF A recent change to the RED ONE camera firmware build 16 and later means that we now extract the conform tapename clipname from the filename rather than the file header 2014 Digital Vision UM 2014 1 07 aga Red Support Avid Style EDL The EDL format is as follows TITLE Bedhead Main Conform FCM PAL 001 A006 C039 0806UL V C 07 31 07 07 07 31 07 20 002 A006 C038 0806UU V C 07 28 17 02 07 28 17 19 003 A006 C039 0806DV V C 07 31 19 02 07 31 19 16 The EDL has a full tapename field that we can use for conforming Avid EDL Tapename Field The tapename field in this EDL is 16 characters long exceeding the legal CMX3600 limit This EDL can be created on an Avid system using the Avid EDL Manager application and the Red16 EDL template 1 This process Is described in the Avid Red workflow document 2 1 Red16 template http www staticpictures com metacheater 2 Avid Red workflow http www avid com red Import EDL From the Library use the Im port button to open the file browser and load the EDL The EDL options dialog will open EOL import Import AIT events as new composition C Overwrite existing track none C Merge existing grades from none C1 Import material from file paths Conform to material Create ASC COL layers Use Record as Source TC Tape name Master C Fill record event gaps C Keep play

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