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Matrox Electronic Systems Matrox RT.X2 User's Manual

1. Threshold Use this to proportionally increase or decrease the region outside your Mode range For example if you chose Red Only as your mode raising the Threshold will cause only the really bright red areas of your image to be affected by the shine Color Remapping These controls allow you to apply a color gradient to your effect For example you may want to simulate the look of a crackling fire by using a gradient that contains orange red and white Enable Color Remapping Select this option to enable color remapping Gradient Allows you to select a gradient Click the button on the right to see the list of available gradients You can use the Gradient Lower Boundary and Gradient Upper Boundary controls to specify a range of colors from the gradient you choose Use Gradient Built in Alpha Select this option when using a gradient that contains an alpha channel Gradient Lower Boundary Sets the starting color from the gradient you chose which will create a gradual progression between this color and the Gradient Upper Boundary color Drag the slider to progress through the various colors in the gradient For example if you selected a gradient that progresses from black to white and you want your gradient to start at medium gray drag the slider to 50 Gradient Upper Boundary Sets the end color from the gradient you chose which will create a gradual progression between this color and the Gradient Lower Boundary
2. Handles e Plot Click this button to plot the colors and luminance values that are present in the current frame of your clip You can drag the handles to move the indicator to different regions in the graph to adjust the Hue Key Saturation Key and Luma Key properties The luma plot histogram shows Creating a secondary color correction 80 each luminance value present in your image as a vertical line A longer line indicates a higher amount of pixels in your image of that line s luminance value Map Plot Hue St 5 Lum Show Key Auto Key BEF Indicator Handles e Hue Click this button to enable or disable the Hue Key properties Hue Aperture and Softness When enabled you will be able to see the Hue Key indicator and handles to modify the Hue Key properties in the selective key graph Map Plot Hue Sat Lum h Show Key Auto Key Indicator Handles Hue Aperture Softness e Sat Click this button to enable or disable the Saturation Key properties Low Clip Low Gain High Gain and High Clip When enabled you will Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 81 be able to see the Sat Key indicator and handles to modify the Saturation Key properties in the selective key graph Map Plot Hue st OF Lum Show Key Auto Key Meas Indicator Handles Low Clip Low Gain HighGain High Clip e Lum Click this button t
3. Remarks e The Split View option is for preview only You should disable it before rendering your material otherwise the split will appear in your video output e Ifyou are working in Adobe After Effects you should enable Live Update mode so that any movement of the split rectangle is reflected in the Composition panel as it occurs e Ifyou enable Split View and create a mask outside the split view rectangle you will not be able to see it The mask will only be visible when you move the split view rectangle directly over it If you invert a mask that is not in the split view rectangle area the whole clip will be inverted since the mask is ignored Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro Using RGB curves Note The RGB Curves settings are available only with the advanced versions of the Matrox primary and secondary color correction effects With RGB curves you can individually adjust the red green and blue color channels across the entire tonal range of your clip or adjust all three color channels simultaneously with a master curve RGB curves allow you to achieve color effects that would be difficult if not impossible to achieve using the Color Balance settings and also give you a high degree of control over the color channels in each tonal range For example you can easily add a red green or blue tint to your clip or use the master curve as a way to adjust the brightness and contrast of your clip
4. Map Lets you select your key colors within a circular graph that contains a color spectrum Plot Displays a plot of the colors present in your clip so that you can select the particular colors on which you want to key Show Key Click this button to display the matte used to create your key effect This enables you to further refine your key For example when you display the matte your key color such as green appears as black and opaque areas appear as white If you notice some white spots that you want to key you can adjust the key controls until the undesired white spots disappear Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 93 Auto Key Click this button to automatically key on the most common color at the current frame in your clip except gray For details on selecting key colors within the graph or performing an auto key see Using the chroma key graph to modify key colors and perform an auto key on page 95 Note You must expand the Graphical property in order to see the indicator when adjusting the chroma key controls Hue Use this to rotate the indicator around the perimeter of the color spectrum so that you can select different hues colors on which to key Aperture Use this to widen or narrow the aperture of the indicator to increase or decrease the range of colors on which you want to key Saturation Use this to select colors that have a particular saturation value Pale col
5. save e Set as Default Restore Default OK 1 Under Wipe Pattern click the Select Pattern button and choose a pattern for your wipe 2 If you would like to add a border to your wipe select Enable under Border Width Lets you adjust the width of your border by dragging the slider or entering a percentage in the text box Color Click this button to select a color for your border Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 147 Balance Lets you adjust the prominence of the border between image A and image B For example positive values make the border more prominent inimage B while negative values make the border more prominent in image A Reset Click this button to restore the default Border values 3 Use the controls under Softness to create a soft edge on the border of your wipe Nonlinear softness This option is selected by default You may find it useful to clear this option when using certain wipe patterns For example nonlinear softness often provides better results when creating SMPTE wipes while linear softness is usually preferable when creating organic wipes Amount Lets you adjust the amount of softness by dragging the slider or entering a percentage in the text box The higher the value the less sharp the edge of your border or wipe will become Reset Click this button at any time to restore the default Softness values 4 Use the controls under Preview t
6. 198 of time code can be read only while the tape is moving See also VITC luma key An effect that makes portions of a foreground image fully or partially transparent based on the luminance of that image so that an underlying image can show through See also alpha key and chroma key luminance The brightness portion of a video signal The luminance of a pixel determines its brightness on a scale from black to white See also chrominance luminance key See luma key M mark in To select the first frame of a clip mark out To select the last frame of a clip mask effect A Matrox effect that lets you apply a mask cutout shape to a clip to superimpose it onto another clip mask blur effect A Matrox effect that lets you create a region of interest by adding a mask to your clip and applying blurring to it mask mosaic effect A Matrox effect that lets you create a region of interest by adding a mask to your clip and applying a mosaic effect to it MIP mapping In 3D graphics a rendering technique where a texture is stored at multiple resolutions See also texture mapping M JPEG See Motion JPEG mosaic effect An effect that blurs an image by copying pixels into adjacent pixels both horizontally and vertically This gives the image a blocky appearance often used to hide people s identities on television move amp scale effect A Matrox effect that lets you position and scale your clips anywhe
7. 2 2 ecceeeeeee eee eee e eee eeeeeeeee 16 FOr WINKOWS VISTA sicsciseds cis eeneicnieseepeanzediauseimesctacreireentaraneneienatedenanetawes 16 FOF Windows XP aicscevcsncacesctcewdiedioserancareacheanedrearecancarsaercendbradndawaatcarwas 17 Loading Project PreSeOts wivisncsciiaisasicaswesceietrasnenvanestaaseetuaredsannaanecnanns 18 Setting Up YOUr Scratch GISKS icssiciicatiiessadinscadscceaidaatadeccesiteaeadeeieaiia 19 Displaying warnings in Adobe Premiere Pro s Events panel 19 Mixing interlaced and progressive clips in a project 2 20 ee 19 Mixing SD and HD clips iN a project 2 0 2 cee e eee ee eee eee eee eee eee eeeeee 20 Defining your General settings e sce eee eee ee sees eee eeeeeeeeeeeeeeeeeeeees 21 Selecting options for accelerated Premiere Pro effects 05 24 Specifying your video Output settings cece ee eee eee eee ee eects tees ee eeeeee 25 Selecting your DV 1394 output SettingS cece eee eee eee eee ee eee eeeeeees 27 Defining your Video Rendering Settings ccceeeeeeeeeeeeeeeeeeeeeeeees 27 Defining your Capture SettingS cccceeeene eee ece eee eeeeeeeeeeeeeeeeeeeees 28 Specifying your video Capture Settings ceeeeeeeeeee ee eeeeeeeeee teenies 28 Specifying your audio capture Settings cceeeee cece eects ee eeeeeeeeeee 31 Notes about capturing to Matrox m2v files ccc cece ee
8. The eyedropper can be used in two ways Click the eyedropper button and click on the desired color in your clip Click the eyedropper button and click and drag anywhere on your clip to create a rectangular area containing the color you want to select The selected color will be an average of the pixel information contained within the rectangle gt To perform a color match 1 Prepare your workspace for color correction by choosing Window gt Workspace gt Color Correction 2 Open your target clip clip that contains the colors you want to correct in the Source Monitor Note For best results when using a target clip that has multiple effects applied to it create a nested sequence and open it in your Source Monitor before performing the color match For more information about creating nested sequences see your Adobe Premiere Pro documentation 3 Apply the Matrox Color Correction effect to your target clip on the timeline 4 Use the controls under the Reference Monitor to move to a frame in your reference clip that contains the colors you want to match 5 Use the controls under the Source Monitor to go to the frame in your target clip that contains the colors you want to match to your reference clip Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 71 Select a reference color from your reference clip by using the Reference Color eyedropper under the color map you want to affect Master Shadows
9. n a VFW application on the capture clips RT X2 system or an offline editing station VFW application such as Adobe After Effects uses Matrox online editing project using the MPEG 2 I frame HD a 1440x1080i MPEG 2 I frame clips Te combesiting project preset project is rendered using the Matrox VFW MPEG 2 l frame HD codec Clips rendered using the Matrox VFW MPEG 2 I frame HD codec are imported into the online editing project Exported to tape as finishing quality HD video for broadcast Using the Matrox MPEG 2 I frame HD codec 186 Using Matrox RT X2 to edit Matrox Axio offline HD projects Note Matrox RT X2 SD does not support Matrox Axio offline HD clips Matrox RT X2 supports realtime playback of Matrox Axio offline HD clips so that you can use your Matrox RT X2 system as an offline editing station for Matrox Axio offline HD projects A Matrox Axio 720p project can be opened directly on Matrox RT X2 and the offline HD clips will be supported in real time A Matrox Axio full size 1080i p 1920x1080 project is not supported on Matrox RT X2 Therefore to edit this offline project you ll need to import it to a 1440 x 1080i p project on Matrox RT X2 as follows 1 Open a new Adobe Premiere Pro project on Matrox RT X2 by choosing File gt New gt Project and from the Available Presets list select the appropriate Matrox preset For example if you want to import an Axio 1080i 29 97 fps project select a Ma
10. 29 97 fps 10801 29 97 fps or NTSC 1080p 23 98 fps 1080i 29 97 fps or NTSC 1440x 1080p 25 fps 1080p 25 fps or PAL 1440x 1080p 29 97 fps 1080p 29 97 fps or NTSC 1440x 1080p 23 98 fps Note Analog component output for a 1440 x 1080i p project is always full size 1080i p 1920x 1080 Appendix B Matrox RT X2 Workflows Matrox RT X2 Customer Support This appendix explains how you can register your Matrox RT X2 and obtain customer support 190 Getting the most support If you have a problem that you re unable to solve by referring to your Matrox RT X2 documentation please contact your Matrox RT X2 representative He or she should be able to help you quickly correct any installation or system configuration problem If your representative is unable to solve your problem contact Matrox for further information and assistance Registration You can register your Matrox RT X2 in the Matrox RT X2 Support section of our web site at www matrox com video support To go directly to the registration page choose Start gt All Programs gt Matrox Mx tools gt Register Your Matrox RT X Product Important Only registered users are entitled to customer support software updates access to our user forums and special promotional offers Keep up to date with our web site In addition to registering your Matrox RT X2 our web site offers you up to the minute information about Matrox produ
11. Lock Colors D Red Color Gain Green Color Gain 2 DB Blue Color Gain D Crop Blur Amount Use this to change the amount of blurring in your clip Source Blend Factor Use this to superimpose the original image on top of your clip after you ve applied blurring A value of zero will show only the blur result and a value of 100 will show only the original image Anything in between will result in a blending of the blurring with the original image therefore creating a soft focus effect Lock Colors Select this option to proportionally increase or decrease the red green and blue color gain For example any adjustments you make to the Red Color Gain will be used for the green and blue color gain as well Red Color Gain Lets you increase or decrease the red present in your image Green Color Gain Lets you increase or decrease the green present in your image Blue Color Gain Lets you increase or decrease the blue present in your image Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 Note Ifyou are working in HD the blur soft focus effect may require rendering based on certain setting combinations Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 91 Overview of the chroma key effects You can use the Matrox realtime plug in to apply a chroma key or chroma key shadow effect to make certain areas of a foreground image transparent based on a color
12. legal level of a video signal reference white which is at 100 IRE See also black level super black and super white wipe A transition in which one image is gradually replaced by another image that is revealed in a given pattern For example the second image could be revealed from the top of the screen downwards until it fills the entire screen See also organic wipe X X y z coordinate system A 3D positioning system that includes a third z axis running perpendicular to the horizontal x and vertical y axes The x y z coordinate system is used in computer graphics for creating models with height width and depth and for moving models in 3D space Y Y waveform A specialized scope that displays the luminance Y values of a video signal Y C video See S Video YC waveform A specialized scope that displays the combined luminance Y and chrominance C of a video signal Y Pb Pr video See Y R Y B Y video Y R Y B Y video An analog component video signal comprised of three channels Y luminance R Y red minus luminance and B Y blue minus luminance Also called Y Pb Pr video 203 Glossary of terms 204 Your notes Appendix D Matrox RT X2 Glossary Numerics 1440x1080i p projects working with 178 179 181 3D DVE creating 85 mapping Motion effect to 24 3ds Max WYSIWYG plug in See Autodesk 3ds Max WYSIWYG plug in 486p 23 98 fps project working with 176 4 corner pin creating 8
13. Bottom Right Corner D Edge Softness b Skewed Edge Softness D Crop D Preview Settings D Enhance Sharpness 40 00 Top Left and Top Right Corner Use these controls to horizontally and vertically position the top left and right corners of your clip Bottom Left and Bottom Right Corner Use these controls to horizontally and vertically position the bottom left and right corners of your clip p Tip You can easily position each corner of your clip directly in the Program Monitor To do this click the Transform icon i iik beside Matrox 4 corner Pin in the Effect Controls panel A cursor will appear at each corner of your clip in the Program Monitor Drag these cursors to position the corners of your clip e Edge Softness Lets you apply softness to the edges of your clip If your clip is skewed you may get more desirable results using the Skewed Edge Softness control e Skewed Edge Softness If you altered your clip so that the perspective is skewed you should use this option to apply softness to the edges of your clip Important Skewed Edge Softness is not supported on clips where any corner is positioned beyond the boundaries of another corner In order for the Skewed Edge Softness to work correctly your clip should be a flat plane with four visible corners e Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 Chapter 4 Setting Up Realtime Effects with A
14. DV 1394 device control exporting to tape with 46 setting 44 DV 1394 output settings 27 DVCPRO codec See Matrox DVCPRO codec DVI output forcing to 60 Hz for WYSIWYG preview 161 E Effect presets 51 Error notification in Events panel 19 with X info 169 207 Events panel displaying warnings in 19 Exporting enabling DV 1394 output for 27 Matrox AVI files in Adobe Premiere Pro 36 to tape using Adobe Premiere Pro 45 using Matrox Media Encoder 43 See also Rendering using VFW programs eyeon Fusion WYSIWYG plug in about 160 required steps 162 See also Matrox WYSIWYG plug ins EZ HDV AVI See Matrox EZ HDV AVI EZ MXF See Matrox EZ MXF F Fixed effects applying in Adobe Premiere Pro 148 Flex CPU effects See Matrox CPU based effects Flex GPU effects See Matrox hardware accelerated effects Fusion WYSIWYG plug in See eyeon Fusion WYSIWYG plug in G Garbage matte effects creating 103 General settings in Adobe Premiere Pro 21 Glossary 192 Graphics clips supported formats 150 H Hardware information displaying with X info 168 Hardware accelerated effects 149 enabling disabling 169 HD clips scaling for use in an SD project 20 Index 208 HD projects scaling SD clips in 20 supported compression formats 187 HDV material capturing native on RT X2 29 capturing native on RT X2 SD 35 editing in SD on RT X2 181 editing in SD on RT X2 SD 182 exporting native 46 Impressionist effect creating 105 Input aspect ratio sel
15. assigned to successive video frames on tape Each frame has its own time code which is electronically encoded on the tape in the form hours minutes seconds frames See also drop frame time code LTC and VITC timeline The graphical representation normally a horizontal line of a video sequence It is usually divided into hours minutes seconds frames and is used to position video audio graphics and video effects that make up the sequence tonal range The range of light and dark areas in an image Tonal range can be divided into three different areas shadows midtones and highlights Shadows are the darkest areas of an image highlights are the lightest areas and midtones are the areas with tones between the lightest and darkest areas track matte effect A Matrox effect that lets you superimpose one clip onto another using an animated matte sometimes called a traveling matte to determine how the two clips are composited keyed Appendix D Matrox RT X2 Glossary transform settings Settings that let you change the position size and rotation of a clip in the Matrox realtime plug in Transform settings can be applied on the x y and z axes of a clip traveling matte effect See track matte effect twirl effect A Matrox effect that lets you create twirl patterns that twist and rotate your video and graphics clips into spirals coils or whirlpools V VCD Video CD A standard for storing video and audi
16. e Modulate Multiplies the shine pixel values with the source image pixel values This darkens the effect Subtract Subtracts the source image pixel values from the shine pixel values to create a new color Add Smooth Blending of the shine pixel values is performed only on the low saturated pale colors from the source image This will result in a more subtle effect Add Signed Adds the shine pixel values to the brightest pixel values of the source image Blend Blends the shine pixel values with the alpha pixel values of the source image Blend Signed Blends the shine pixel values with the brightest pixel values of the source image Original Opacity Sets the opacity of the source image Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 137 e Mask Settings Let you select a mask pattern and adjust the transparency settings to define the area where you want to apply your shine effect Enable Mask Select this option to enable the mask Mask Pattern Allows you to select a mask pattern Click the button on the right to see the list of masks Click here to select a mask pattern Invert Mask Select this option if you want to invert the opaque and transparent areas of your mask Outside Transparency Sets the transparency level of the region outside your mask Note The Outside Transparency setting is applicable only if you ve scaled down moved or rotated your mask using the transform contro
17. sceceseeeeeseeeeseeeeeseeeees 187 Supported master output formatS 2 0 2 ccc cece cece eee eee eee ee eee eens 188 Appendix C Matrox RT X2 Customer Support G tting TNS MOOSE SUPPONE eassasneissnsassacnaracansacsna tucemnsdasmacmiiewasauisun dainwe 190 Registrato seinne n EAA EE ERE EEEO E 190 Keep up to date with Our WD S TE icciscsastivsnaiunccktotassssnansnwenntensamsonnons 190 Contacting US csinsicuoksatsenteinanadcoeaniminaniencaiesindbesh aaneransaaateeetwdnaeuntens 190 Appendix D Matrox RT X2 Glossary Glossary Of TERNS eneee R E 192 Contents Introducing Matrox RT X2 This chapter outlines some of the features of the Matrox RT X2 product line and describes the available Matrox RT X2 documentation Welcome to Matrox RT X2 Matrox RT X2 products let you get maximum productivity from Adobe Premiere Pro and are ideal for corporate communicators event videographers project studios educational facilities and digital filmmakers Matrox RT X2 SD is for users who want to deliver in SD only while Matrox RT X2 and RT X2 LE give you the flexibility to edit view and output HDV and SD material Matrox RT X2 SD key features The following are key features of Matrox RT X2 SD Realtime multi layer editing of video graphics and effects Realtime Matrox Flex CPU effects including color correction speed changes chroma luma keying and many more Realtime and accelerated Matrox Flex GPU effects including 3D DVEs
18. A non differential serial data transmission standard used for computer connections See also serial control RS 422 A differential serial data transmission standard that is often used for linking video production equipment VTRs mixers etc Because this standard is differential RS 422 connections are less subject to interference and noise than RS 232 connections See also serial control S saturation A measure of the depth of a color Fully saturated colors are vivid while colors that lack saturation look washed out or faded scroll See roll 1 SD Short for SDTV SDTV Standard Definition Television A television format with image resolutions up to 525 vertical scan lines for NTSC video and 625 vertical scan lines for PAL video SDTV can have a 4 3 or 16 9 aspect ratio See also HDTV SECAM S quentiel Couleur Avec M moire sequential color with memory A color television system developed in France and the former USSR It uses a composite interlaced display comprised of 625 scan lines per frame refreshed at a rate of 25 frames per second The color difference signals are transmitted sequentially on alternate lines serial control A method of remotely controlling a device via a data line The control data is transmitted in serial form that is one bit after another such as for RS 232 and RS 422 connections setup See black level shadow effect A Matrox effect that lets you project a realistic shadow from a
19. A technique used to incorporate the video and audio portions of a video clip into one file See also AVI intra frame compression A video compression method that removes redundant information from within a frame Intra frame compression treats each frame of a video segment independently Several video compression formats use the intra frame method These include Motion JPEG DV and MPEG 2 I frame Also called spatial redundancy reduction Contrast with inter frame compression See also I frame Intra frame IRE unit An arbitrary unit designated by the Institute of Radio Engineers to define the amplitude of a video signal 1 IRE is equal to approximately 7 mV J JPEG pronounced jay peg Joint Photographic Experts Group A compression and storage standard used for still digital images See also Motion JPEG K key effect See alpha key chroma key and luma key keyframe A particular frame at which one or more effect settings have been defined Settings applied at a keyframe remain active on the clip until a later keyframe is defined to turn off or change the settings L lens flare effect A Matrox effect that lets you choose from many different patterns to simulate the light refractions caused by shining a bright light into the lens of a camera when taking a photo LTC Longitudinal Time Code Time code that is generally encoded as an audio signal onto a linear audio track of a tape This type Glossary of terms
20. Exported to tape as HD Exported to tape as SD Be ewe analog component video for video NTSC or PAL broadcast for broadcast Remarks e To output a 1440x 1080p 23 98 fps project as 10801 29 97 fps or NTSC Matrox RT X2 will perform a standard 2 3 pulldown e When using a Sony HVR V1 camera to shoot HDV 1080p 23 98 fps material that you ll be capturing on Matrox RT X2 you must set the camera to Advanced mode 24A e You can also choose to export to disk as HD or SD video For example you can export a 1440x 1080i 29 97 fps project to an avi file in the same format as the project or as NTSC video as explained in Exporting to a Matrox avi file on page 36 Working with HD projects 180 720p workflow example The following diagram illustrates a typical workflow for working with a 720p project on Matrox RT X2 Native HDV 720p video footage on tape HDV clips captured When needed Matrox natively over the 1394 RT X2 will remove interface redundant frames when the mxf files are played back on the timeline Panasonic P2 mxf and p Sony XDCAM EX 720p Matrox project using a mp4 files imported to 720p project preset project Exported to disk such as to an MPEG 2 file for i DVD authoring component video for broadcast for broadcast ora ai avi Exported to tape as 720p 50 fps or Exported to tape as SD video 59 94 fps analog NTSC or PAL Appendix B Matrox RT X2 Workflows 181 Capturing H
21. Mask Mosaic to expand the property list vy th Matrox Mask Mosaic D Mosaic Settings D Mask Settings D Crop e Mosaic Settings Let you adjust the size of the mosaic blocks and the sharpness of the color in the mosaic effect Block Width and Block Height Use these controls to set the width and height of the mosaic blocks in your effect If you select Fixed Aspect Ratio you only need to adjust the block width and the height will be set to the same value Color Sharpness Select this to sharpen the color of each mosaic block in your effect This causes each block to take on the predominant color of that section of the underlying image instead of the average color e Mask Settings Let you select the mask pattern and adjust the transparency settings for your effect Select Shape Click the button to the right of the current pattern to see the list of available mask patterns xz Select Shape Click hereto selectanew pattern Shape Transparency Sets the transparency of the shape and the area around the shape At the default setting 0 the shape is completely opaque and the area around the shape is transparent Dragging the slider to the left increases the transparency of the shape which makes the mosaic effect less apparent Dragging the slider to the right decreases the transparency of the area around the shape which increases the amount of mosaic outside the mask area Outside Transparency Sets the transp
22. Match Reference Match gC H7 Bro E 6 Auto White Balance Auto Balance Midtones HighLights Reference Match Reference Match mc 4 iG ais Auto Balance Auto Balance You can drag the handle in the center of any color map to adjust the color balance Hue and Saturation for a specific tonal range such as to adjust the color balance globally throughout your clip using the Master color map or adjust the color balance of only the shadows using the Shadows color map Drag the handle toward a color you want to increase in your clip or away from a color you Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 67 want to decrease For example if you move the handle towards red you also decrease cyan by the same amount as shown in the following diagram L Tip For increased precision hold down the ALT key while you drag the handle If you want to reset the color balance Hue and Saturation setting click the Reset Color Balance button under the color map you are using Shadows 2 Reset Color Balance button i i Reference Match Ho o Auto Balance To adjust the luminance for a tonal range drag the corresponding luminance slider under the appropriate color map For example if you want to adjust the Creating a primary color correction 68 luminance for only the shadows drag the luminance slider under the Shadows color map Shadows 2 Luminance slider Reference Match Bro OG Auto
23. Matrox VFW codec to render to a Matrox MPEG 2 avi file that includes the alpha key information This avi file will play back in real time on your RT X2 system and will be automatically keyed when you place the clip in your Adobe Premiere Pro sequence The following sections explain the various settings you need to make to render material to a Matrox avi file using a VFW program For details on exporting video from a Matrox project using Adobe Premiere Pro see Exporting to a Matrox avi file on page 36 Using Adobe Premiere Pro to export video on your RT X2 system lets you overcome the 2 GB avi file limit of VFW programs Remarks e When you select the Desktop editing mode for an Adobe Premiere Pro project Adobe Premiere Pro works like a VFW program as explained in this chapter e Speed changes are not supported on Matrox VFW avi files with alpha e You can t use Adobe Premiere Pro to render effects with alpha using the Matrox VFW Alpha codecs because Premiere Pro does not preserve the alpha key information during the render Instead you should use Adobe After Effects to render your effects with alpha to a Matrox VFW avi file e Although Matrox has tested many VFW programs there may be certain operational limitations when using Matrox RT X2 with some of these programs as well as with untested programs Using VFW programs without the RT X2 hardware If you installed the Matrox VFW software codecs see Installin
24. NTSC 0 9 For NTSC or 486p material that uses the standard TV screen format If you re downconverting HD video to NTSC or 486p format the video will be exported in letterbox mode D1 DV Widescreen 16 9 1 2 For NTSC or 486p material that uses the widescreen 16 9 format If you re downconverting HD video to NTSC or 486p format the video will be exported as anamorphic horizontally compressed 4 3 video D1 DV PAL 1 067 For PAL or 576p material that uses the standard TV screen format If you re downconverting HD video to PAL or 576p format the video will be exported in letterbox mode D1 DV PAL Widescreen 16 9 1 422 For PAL or 576p material that uses the widescreen 16 9 format If you re downconverting HD video to PAL or 576p format the video will be exported as anamorphic horizontally compressed 4 3 video Square pixels 1 0 For all HD material except 1440x 1080i p that is not downconverted HD Anamorphic 1080 1 333 For all 1440 x 1080i p material that is not downconverted 37 Exporting to a Matrox avi file 38 7 It s recommended that you do not select Recompress This retains the quality of your video It also optimizes the speed of the export because realtime video segments that have no effects will be copied directly to disk without recompression assuming that the compression and video format of your video clips matches the format to which you re exporting 8 Choose OK to save your
25. Once the Matrox EZ HDV AVI files are created do not change the location or name of the referenced HDV avi files or your VFW program won t be able to locate your original HDV clips If this occurs Matrox RT X2 will display an appropriate error message Converting a 32 bit tga sequence to an avifile with alpha Matrox RT X2 allows you to create a single avi file with alpha from a 32 bit tga sequence The created avi file will contain the alpha key information which means that when you place the file on the timeline in Adobe Premiere Pro the clip will be automatically keyed Having only one file simplifies management and makes it easier to include the composition in your final edit Note You can convert 32 bit uncompressed or RLE compressed tga files to an avi file with alpha When selecting only one tga file the program automatically detects other files with the same base name in the same folder for example demo001 tga demo002 tga etc and uses these files to create the avi file When multiple tga files are selected only the selected files will be taken to build the avi file The avi file will be created with the following naming convention Base Name_Compressor_Output Format avi For example if the base name for your converted tga sequence is demo the compressor is Matrox MPEG 2 I frame Alpha and the output format is NTSC 4 3 the created avi file will be named demo_MPEG 2_I frame_NTSC_4_3 avi You can crea
26. Position Moves the camera inward or outward from the shadow Transform Allows you to apply or change various transform settings for your shadow such as the size position and rotation of the shadow For more information see Transforming your clip on page 52 Creating a shadow effect 134 Creating a shine effect The Matrox shine effect allows you to create rays that shine through text or add shimmer to an object in your clip You can also use the shine effect to make two dimensional text appear as three dimensional text gt To set up a Matrox shine effect Click the triangle beside Matrox Shine to expand the property list vy ik Matrox Shine D LightSource volume Preprocessing Color Remapping Noise Postprocessing Mask Settings Crop VVVVVV Vv e Light Source X Position Sets the position of the light source along the horizontal axis Y Position Sets the position of the light source along the vertical axis Z Position Sets the depth of the light source Rotation Rotates the light source Positive values rotate the light source counterclockwise and negative values rotate the light source clockwise e Volume Length Specifies how far the light rays shine outward from the light source Positive values make the rays shine outward while negative values make the rays shine inward Mode Allows you to select the mode you want Additive or Blend Click the triangle on the righ
27. a 3D DVE effect on page 85 To set up a Matrox move amp scale effect Click the triangle next to Matrox Move amp Scale to expand the property list e 2D Transform X Y Position Use these controls to position your clip on the x horizontal and y vertical axes X and y values of 0 0 pixels align the center of your clip with the center of the screen and positions are measured from this point You can enter positive or negative pixel values to move your clip right or left x and up or down y X Y Scale Use these controls to make your clip smaller or larger Full screen size is represented as 100 You can shrink your clip to 0 or enlarge it to 1000 Note however that by enlarging your clip the resolution may become blurry You can adjust the size controls individually or if you select Fixed Aspect Ratio you only need to adjust the x axis Adjusting the percentage on the x and y axes changes your clip s width and height respectively Anchor Point X amp Y Sets the point of origin from which to scale your clip along the x horizontal and y vertical axes X Y Edge Softness Lets you apply softness to the edges of your clip along the x horizontal and y vertical axes You can adjust the softness controls individually or if you select Fixed Aspect Ratio you only need to adjust the x axis The higher the softness value the less sharp the edges become Chapter 4 Setting Up Realtime Effects with Adobe
28. and High Gain controls and vice versa This prevents the low and high controls from keying on the same luminance values e Mask Allows you to apply a mask to your effect For more information see Applying a mask to your effect on page 57 e Transparent Outside Mask Select this option to apply transparency outside the mask area This allows you to define a mask area where you want the keying to be performed and show only your underlying image outside the mask For more information see Applying a mask to your effect on page 57 e Invert Key Select this to invert the key selection giving you the opposite result of what you originally selected e Show Key as Output Select this to display the matte used to create your key effect This enables you to further refine your key settings For example when you display the matte areas of your clip that are completely transparent appear as black and opaque areas appear as white If you notice some white spots that you want to key you can adjust the key controls until the undesired white spots disappear Using the luma key graph The luma key graph contains a luminance spectrum and a luminance eyedropper You can drag the handles in the luminance spectrum to adjust the Transparency Low Clip High Clip Low Gain and High Gain properties Eyedropper Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro You can select luminance values on which to key by adjusting the Low C
29. box allows you to apply a mask in two ways e Click and drag directly in the Select Mask window to create the rectangular area where you wish to apply the mask You can resize the mask area by dragging any side of the rectangle For example dragging the right side of the rectangle adjusts the right edge of the mask area To resize the entire mask area at once drag one of the corners the corner that s diagonally opposite the corner you are moving will remain stationary Use the Left Right Top and Bottom controls to adjust any edge of your mask by a given number of pixels You can enter values in the text boxes or drag the sliders to resize your mask area For example drag the Left slider to adjust the left edge of your mask area Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 59 Creating a primary color correction Color correction is important for all productions whether you want to achieve continuity when cutting between shots ensure broadcast safe levels or establish and emphasize a look Matrox color correction provides basic proc amp control three way color correction complete with master shadows midtones and highlights control and input and output level control You can also easily match colors with a reference shot For more information about color matching see Matching colors between two clips on page 70 Tip Adobe Premiere Pro includes a workspace setup that is optimized for worki
30. card exceeds the maximum operating temperature you ll receive a warning message with further instructions as explained in the section Error notification on page 169 gt Chapter 7 Monitoring Your Matrox RT X2 System 169 Monitoring your RT X2 card s operating temperatures As shown in the X info Hardware section the RT X2 Card page displays the current and maximum operating temperatures for your Matrox RT X2 card To avoid damage to your Matrox RT X2 system make sure that you don t operate your RT X2 card at or near the maximum temperature for a prolonged period of time You should target your RT X2 card to operate at least 10 C below the maximum operating temperature You should monitor the temperature of your RT X2 card periodically and take measures as needed to lower the room temperature and or improve the ventilation in your Matrox RT X2 system For details on how to ensure your system is properly ventilated see your Matrox RT X2 Installation Manual Enabling and disabling the Matrox hardware accelerated effects in Adobe Premiere Pro The X info program provides a page to display hardware information about your display card On this page you can also choose to enable or disable the Matrox hardware accelerated effects in Adobe Premiere Pro If your display card supports the Matrox hardware accelerated effects Enable Matrox hardware accelerated effects in Adobe Premiere Pro will be selected by default If you
31. color Drag the slider to progress through the various colors in the gradient For example if you selected a gradient that Creating a shine effect 136 progresses from black to white and you want your gradient to end at dark gray drag the slider to 10 Noise Use these controls to apply noise patterns to your shine effect Noise Pattern Allows you to select a noise pattern Click the button on the right to see the list of available patterns Click here to select a noise pattern Amount Sets the amount of noise that will be applied to your effect The higher the value the more apparent the noise pattern becomes Size Sets the size of the artifacts in the noise pattern Drag the slider to the right to increase the size of the artifacts or to the left to shrink them X Progression Sets the progression of the noise pattern along the horizontal axis Y Progression Sets the progression of the noise pattern along the vertical axis Postprocessing Use these controls to define how your shine colors blend with your source image s colors Each mode involves a calculation that uses the pixel values from your shine effect and the source image Mode Use this to select the mode you want to use for blending Click the triangle on the right to expand the list e None There is no blending only the shine pixels are displayed e Add Adds the source image pixel values to the shine pixel values This lightens the effect
32. devices RT X2 or RT X2 SD to capture material from an analog source connected to your RT X2 breakout box Note Analog input is not supported for 486p 23 98 fps and 29 97 fps 576p 25 fps 1440x 1080p and 720p projects DV 1394 to capture material from a DV 1394 device connected to your RT X2 breakout box If you selected the RT X2 breakout box as your input device from the Input Source list select the type of input you want to capture Component Composite or S Video This will be set to Component when capturing analog video for an HD project not supported on RT X2 SD Remarks If you selected DV 1394 as your input device the name of the DV 1394 device connected to your breakout box will appear in the Input Source box If Matrox RT X2 can t detect your source device when you start a capture you ll receive an error message Either black video will be captured or the capture won t be able to start until a valid input signal is present In either case you must make sure that your source device is switched on and properly connected to the breakout box to properly capture the video Matrox RT X2 sets the Input Format to NTSC or PAL for an SD project If you re working with a 1440x 1080i project your analog source video must be full size 1080i 1920x 1080 but it will be captured to 1440x 10801 format From the Input Aspect Ratio list select the aspect ratio of your source video 4 3 or 16 9 Fo
33. display card that supports the Matrox hardware accelerated effects in Adobe Premiere Pro For more information see Enabling and disabling the Matrox hardware accelerated effects in Adobe Premiere Pro on page 169 Matrox RT X2 constantly analyzes your sequence as you work and will identify which segments require rendering with a red indicator bar above the segment For example once playback of the sequence has stopped a red bar will appear over segments of the sequence that have dropped frames Even when your system is idle Matrox RT X2 will analyze segments to determine if they require rendering Certain complex effects or combinations of effects can cause dropped frames when previewing Matrox RT X2 will always provide a preview of your output at the best frame rate possible by analyzing the segments and dropping frames systematically If you find that you have dropped frames when you export your project to tape and those segments were not identified with a red bar you can lower the Realtime Indicator Threshold For more information see Defining your General settings on page 21 The maximum number of layers that can be played back in real time depends on the capabilities of your system your project s video format the compression format of your clips and the number and complexity of the effects you ve applied to your clips Matrox RT X2 realtime guidelines 150 Supported graphics formats All full screen single fr
34. foreground image transparent based on the luminance in that image so that an underlying image can show through In the following example of a luma key effect two video clips are combined to produce the effect of two cowboys riding through fire Our foreground image is a video clip of a ring of fire against a black background and our underlying image is a video clip of two men riding horses Foreground image Underlying image By luma keying on the particular luminance brightness of the black areas in the foreground clip these areas become transparent and the corresponding areas of the underlying image show through in the composite image as follows Result of luma key Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 111 Creating a luma key effect To set up a Matrox luma key effect click the triangle next to Matrox Luma Key to expand the property list e Graphical Allows you to see a graphical representation of your changes when you adjust the property settings You can adjust the luma key properties directly in the graph to select the luminance values on which you want to key For more information see Using the luma key graph on page 112 e Transparency Use this control to set the transparency level of your key effect Higher values indicate higher transparency For example a Transparency value of 100 makes the keyed area in your foreground image completely transparent leaving the underlying imag
35. in that image so that an underlying image can show through In the following example of a chroma key effect our foreground image is a video clip of a woman sitting in front of a green backdrop and our underlying image is a video clip of a sand dune Foreground image Underlying image By chroma keying on the particular shade of green in the backdrop of the foreground image the backdrop area becomes transparent and the corresponding area of the underlying image shows through in the composite image as follows Result of chroma key Important The chroma key shadow effect includes controls for fine tuning shadows in your effect It is best to use the chroma key shadow effect when you are performing a chroma key without any additional effects If you want to apply additional effects to your chroma key you will get more desirable results by using the chroma key effect without shadow controls For example if you want to apply a DVE to your chroma key you should use the chroma key effect and not the chroma key shadow effect Overview of the chroma key effects 92 Creating a chroma key or chroma key shadow effect To set up a Matrox chroma key or chroma key shadow effect click the triangle next to Matrox Chroma Key Matrox Chroma Key Shadow to expand the property list e Graphical Provides a graphical representation of the chroma key controls that you can use to select your key colors and also lets you perform an auto key
36. information about creating nested sequences see your Adobe Premiere Pro documentation gt To set up a Matrox pan amp scan effect Click the triangle beside Matrox Pan amp Scan to expand the property list v e Source Aspect Ratio Use this to select the aspect ratio of your source clip You can click the triangle on the right to expand the list and choose a predefined aspect ratio or use the Source Aspect Ratio slider to select a custom aspect ratio e Destination Aspect Ratio Use this to select the new aspect ratio that you want for your clip You can click the triangle on the right to expand the list and choose a predefined aspect ratio or use the Destination Aspect Ratio slider to select a custom aspect ratio Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 129 Note Ifyou are working in HD your output will always be 16 9 Therefore if you choose 4 3 as your Destination Aspect Ratio your clip will be distorted e Scale Use this to proportionally resize enlarge or reduce your clip e Pan Position Lets you move the area of interest at a specific frame in your clip When used with Global View see below you ll see a visual representation of the selected area Enable Global View Select this to display a rectangle around the area of interest that you re selecting using Pan Position matron Creating a pan amp scan effect 130 Creating a ripple effect The Matrox ripple effect lets yo
37. inputs and outputs In this case choose the audio source with an that matches your audio input make sure that your source is playing back audio and click Advanced Settings In the provided dialog box select an analog audio passthrough If you can hear audio then you ve selected the correct analog audio source and passthrough If you can t hear audio try selecting a different analog audio source and or passthrough The Capture Format bit depth for your captured audio files is set to 16 bit If you don t want the VU meters to be displayed each time you configure your Matrox RT X2 capture settings or open the Capture panel to start a capture clear Show VU meters This option is selected by default For details on using the VU meters see Monitoring audio levels for capture on page 33 Under Capture Files indicate whether you want to capture to stereo or mono audio files and select which channels you want to save to separate wav files From the File Type list select Stereo to save your captured audio to stereo wav files or Mono to save your captured audio to mono wav files If you re capturing an m2v clip the File Type will be set to Stereo From the Filename lists select which stereo pairs or mono channels you want to save to your wav files When capturing from a DV 1394 device you can capture up to two stereo files or up to four mono files Select None if you don t want a particular wav f
38. lightest areas of your clip Highlights Hue Saturation and Luminance Affects the lightest areas of your clip e Luma Mapping Graphical Allows you to see a graphical representation of your changes when you adjust the luma mapping settings You can also modify the Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro luminance of your clip directly within the graph For more information see Using the luma mapping graph on page 72 Numerical Lets you adjust the luma mapping settings numerically by entering values in the text boxes or by dragging the corresponding sliders Input Levels Black and White These controls let you fine tune your clip s brightness and contrast by changing the luminance value that represents black white or gray Doing so expands or compresses the range of luminance levels in your clip which increases or decreases your clip s tonal range For example by increasing the black value you set black in your clip to a higher luminance value which compresses the luminance range and darkens your clip proportionally Output Levels Black and White These controls let you map the values under Input Levels to any level of black and white You can reduce contrast in your clip or reverse the luminosity of your clip by setting black to a higher value than white e Gamma Use this to adjust the midtones in your clip without adjusting black or white e Mask Allows you to apply a mask
39. most other DV formats Video is sampled at 4 2 2 for both NTSC and PAL sources to give enhanced chroma resolution It uses the same type of tape as DVCPRO DVD Digital Versatile Disc or Digital Video Disc A type of compact disc that can hold from 4 7 gigabytes GB to 17 GB of information The greatest advantage that DVD has over CD is that it can store video as well as audio and computer data For video storage DVD uses MPEG 2 compression to provide better quality than standard VHS DVE Digital Video Effect Generally an effect that resizes and repositions a picture on the screen See also move amp scale effect DVI Digital Video Interface A video interface technology that maximizes the quality of flat panel LCD monitors and modern display cards E Edit Decision List EDL A file containing a list of edit decision statements used to create a video production edit master The first generation original of a final edited tape expansion slot Electrical connection slot mounted on a computer s motherboard main circuit board It allows several peripheral devices to be connected inside a computer See also AGP slot PCI slot PCI Express slot and PCI X slot 195 Glossary of terms 196 F fade to black A transition commonly used to signify the end of a scene in which an image or sound smoothly fades to a black screen or silence also called a fade out transition Similarly you could start a new scene with
40. of the light Transform Use these controls to apply or change various transform settings for your sphere effect such as the position scale and rotation of the sphere For more information see Transforming your clip on page 52 Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 Enhance Sharpness Lets you adjust the sharpness of your clip 139 Creating a sphere effect 140 Creating a surface finish effect The Matrox surface finish effect allows you to apply various textures to your clips such as metal brick wood or granite with color spot lighting You can also adjust the transform controls to create a rotating slab with a different look on the front and back face gt To set up a Matrox surface finish effect Click the triangle beside Matrox Surface Finish to expand the property list e Surface Control Apply to Opaque Areas Only Select this option to apply the surface texture to only the opaque areas of a clip that contains an alpha channel Note When this option is enabled you cannot adjust the Scale Z transform property and therefore your clip will be two dimensional Surface Texture Allows you to select your surface texture Click the button on the right to see the list of available textures Front Face Control e Blending Factor Blends the front face of the slab with the surface texture The higher the value the more your clip blen
41. of the motion estimation and speed up the video compression 6 Click OK to save your settings Chapter 3 Defining Your Adobe Premiere Pro Settings 43 Exporting using Matrox Media Encoder You can use Matrox Media Encoder to export clips from a sequence in the Timeline panel to various formats for specific media delivery such as Windows Media or RealMedia streaming media format or MPEG 2 format for DVD or Blu ray Disc For example you can use Matrox Media Encoder to export video from your sequence to an MPEG 2 Elementary m2v file that s suitable for use with Adobe Encore Matrox Media Encoder provides the same export formats as Adobe Media Encoder and benefits from hardware acceleration on Matrox RT X2 To avoid having inverted fields in your exported files when exporting material for DVD or Blu ray Disc you must select the appropriate field order for the export according to your projects s video format as shown in the following table Project video format Field order NTSC Lower PAL Upper 486p 23 98 fps and 29 97 fps None Progressive 576p 25 fps None Progressive 720p 23 98 fps 25 fps 29 97 fps 50 fps None Progressive and 59 94 fps 1440x 10801 25 fps and 29 97 fps Upper 1440x 1080p 23 98 25 and 29 97 fps None Progressive gt To export material using Matrox Media Encoder 1 Start Adobe Premiere Pro and open the project from which you want to export material 2 If you want to export
42. only part of your sequence drag the ends of the work area bar so that it extends over the length of the area you want to export ow Choose File gt Export gt Matrox Media Encoder 4 Select the export format you want from the Format list For example to export material for DVD select MPEG2 DVD 5 Select a preset from the Preset list that matches the type of export you want to perform a summary of the settings will be displayed in the Export Settings dialog box 6 If you selected an MPEG 2 DVD or Blu ray Disc export format click the Video tab and make sure that the appropriate field order is selected as shown in the above table 7 Click OK specify a name location and export range for the export then click Save Exporting using Matrox Media Encoder 44 The export settings are the same as provided for Adobe Media Encoder For details on using these settings see your Adobe Premiere Pro documentation Exporting using Matrox Clip Notes You can use Matrox Clip Notes to perform an accelerated export of your sequence to a PDF file For example you can export your sequence to Windows Media format and have the video embedded in a PDF file that you can send to reviewers for their comments To export material to Matrox Clip Notes select the sequence you want to export and choose File gt Export gt Matrox Clip Notes The export settings are the same as provided for Adobe Clip Notes For details on exporting to a Clip Notes PD
43. option requires additional system resources you may find that when this option is selected some effects that were previously realtime will drop frames and require rendering you ll see a red bar over these segments in your sequence Therefore you should select this option only when you want to export your sequence to DV tape When you perform the export to tape Adobe Premiere Pro will render the segments identified by the red bar 4 From the Output Format list select the format you want for the DV 1394 output For example to record to a standard DV device select Matrox DV DVCAM 5 Click OK to save your settings and return to the Project Settings dialog box Defining your Video Rendering settings When you select a Matrox project preset your Video Rendering settings for editing on Matrox RT X2 are automatically set for you You can specify additional Video Rendering settings as explained in your Adobe Premiere Pro documentation Defining your Video Rendering settings 28 Defining your Capture settings The Matrox Capture Settings dialog box has pages that you can use to specify your settings for capturing video and audio in Adobe Premiere Pro on Matrox RT X2 Remarks e When you specify your capture settings on Matrox RT X2 VU meters will be displayed to let you monitor your audio input levels For more information see Monitoring audio levels for capture on page 33 e Although Matrox RT X2 SD supports only SD projects y
44. page curl effect Click the triangle beside Matrox Page Curl to expand the property list tS gt 4 Page Curl Fold Type You can select Page Peel or Page Roll as your page curl type this setting is active for the duration of your effect Fold Angle Sets the angle of your page curl in degrees Alternately you can set the number of spins for your page curl Curl Radius Determines the tightness of your page curl For example a radius of 0 produces the tightest page curl and the higher the radius the looser the page curl Progression Sets the progression of your page curl pattern at any keyframe In order to see your page curl progress you need to apply at least two keyframes to your clip To create a standard page curl create a keyframe at the first frame of your clip with Progression set to 0 and another keyframe at the last frame of your clip with Progression set to 100 For more information about creating keyframes see your Adobe Premiere Pro documentation Edge Softness_ Creates a soft edge on your page curl Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 127 Curl Softness Creates a soft edge on the section of the page that is curling Note You will not be able to see the Curl Softness on your page curl if you adjust the scale or rotation settings in the transform controls Highlight There is a white illuminated line that highlights each page curl The following s
45. randomization and the flickering Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro follows a rhythmic beat The higher the value the more random the flickering becomes Color Gain and Color Addition Red Green Blue You can use the controls under Color Gain and Color Addition to individually fine tune the colors of your image To proportionally increase or decrease the red green and blue values select Lock Colors The Color Gain controls for Red Green and Blue let you increase or decrease the intensity of a particular color present in your image For example increasing the Red value increases only the red color component of your image without affecting the other colors Color Addition lets you adjust all colors in your image by a given amount of Red Green or Blue For example increasing the Red value increases the amount of red throughout your entire image Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 125 Creating an old movie effect 126 Creating a page curl effect The Matrox page curl effect lets you create page curls that are truly 3D with full motion video on the reverse side and realistic highlights You can control the position rotation scaling and zooming of the page curls in 3D space and apply softness to the edges You can also apply page curls on graphics to create great looking text effects gt To set up a Matrox
46. range of luminance values you want to be partially affected based on the value set by the Low Clip control As you increase the Low Gain setting more luminance values become partially affected by the color correction A Low Gain setting of 100 provides the widest range for maximum color correction Alternately a gain setting of 0 creates a key where the luminance values are either completely affected or left untouched You can think of the Low Gain control as defining an Affected to Untouched range for keying the dark areas of your image High Gain This control is similar to Low Gain except you use it to set the range of luminance values you want to be partially affected based on the value set by the High Clip control You can think of the High Gain control as defining an Untouched to Affected range for keying the lighter areas of your image High Clip This control is similar to Low Clip except you use it to select the higher brighter luminance values to be keyed Note The values you can select using the Low Clip and Low Gain controls are dependent on the High Clip and High Gain controls and vice versa This prevents the low and high controls from keying on the same luminance values Invert Key Select this to invert the key selection giving you the opposite result of what you originally selected Show Key as Output Select this to display the matte used to define your selective key region This enables you to furt
47. scan lines per frame refreshed at a rate of approximately 30 frames per second Broadcast systems in North America and Japan use the NTSC standard O old movie effect A Matrox effect that lets you simulate the look of old film by adding noise dust streaks jitter and flickers to your clip 199 organic wipe A wipe effect that uses a grayscale gradient pattern to switch from one image to another by gradually revealing the second image according to the pattern P page curl A Matrox effect that lets you peel or roll an image off the screen to reveal another image PAL Phase Alternate Line A video standard that uses a composite interlaced display comprised of 625 scan lines per frame refreshed at a rate of 25 frames per second This is the broadcast video standard for most of Europe pan amp scan effect A Matrox effect that lets you convert clips from one aspect ratio to another such as from 16 9 to 4 3 PCI slot Connection slot to a type of expansion bus found in many computers It is smaller in size than older ISA slots and provides connections to the PCI host bus at speeds up to 66 MHz PCle slot See PCI Express slot PCI Express slot A type of PCI slot that uses a different and much faster communications protocol than a 32 bit PCI slot PCI Express can accommodate the higher speeds required for high performance peripherals such as display cards and network controllers PCI Express slots are available in diffe
48. tapes via any device that has an IEEE 1394 interface Digital S See D 9 digital signal A signal representing video or audio information as binary digits that can be easily regenerated with no noise or distortion See also analog signal Digital Video See DV digitize To convert analog information such as a video signal from a VTR or camera into digital information that can be processed and stored by a computer Direct memory access DMA A technique used to rapidly transfer data between an attached device such as a disk drive and the computer s main memory without needing to pass the data through the CPU DirectX A Microsoft developed program that enables interfaces to support advanced hardware features without being written specifically for each hardware model DirectShow formerly called ActiveMovie is part of DirectX display card A card that has its own memory and processor to handle graphics and enhance display capabilities Also called graphics card See also GPU dissolve A transition in which one image smoothly fades to another image It is characterized by the gradual ending of one image occurring simultaneously with the gradual beginning of another Also called crossfade driver Software that controls a device such as a display card and enables it to work with other software drop frame time code For NTSC video time code is normally produced by a generator that counts at 30 frames per second
49. that you don t want audio conform and or pek files to be created for clips imported into your project files may still be created for certain types of clips This provides faster editing of your project immediately after importing clips because resources aren t being used for the file generation However because Premiere Pro needs the pek files to draw the audio waveforms for your clips you won t see the waveforms in the Timeline panel Note Depending on the content of your project choosing not to create audio conform files may cause dropped frames For any change to these options to take effect you ll need to restart Premiere Pro and open your project again Under Sequence Playback clear Postroll after stop if you don t want any postroll when you stop the playback of a sequence When you do this the playback will stop at the current time indicator and you ll see a slight jump in the video output when the playback stops but the correct frame will be displayed Under A V Sync Adjustment drag the slider to adjust the A V synchronization of clips played back in a sequence If your audio starts later than the associated video increase the A V sync value Alternately if your audio starts before the associated video decrease the A V sync value Be aware that if you decrease the value too much you may experience audio crackling Under Memory Usage select Optimize memory usage to reduce the amount of system memory that Matr
50. the additional frame that is then removed from the sequence Matrox RT X2 can perform advanced reverse pulldown on clips that have been recorded to a DV tape that has continuous drop frame or non drop frame time code Appendix A Understanding Standard and Advanced Pulldown Matrox RT X2 Workflows This appendix provides information about working with different types of projects in Adobe Premiere Pro on Matrox RT X2 176 Overview This appendix provides general information about using various Matrox RT X2 project presets and codecs for working with different types of projects in Adobe Premiere Pro Workflow diagrams and descriptions are used to help explain the specific workflow details Working with SD 24P material Matrox RT X2 allows you to choose a Premiere Pro preset to work with SD material originally acquired at 23 98 fps When you select the Matrox 486p 23 98 fps project preset you can edit SD material as 23 98 fps progressive video as long as the source video was originally acquired at 23 98 fps This includes video that was captured to tape by a DV camera capable of shooting 486p 23 98 fps video and Panasonic P2 video shot as 486p 23 98 fps and recorded directly to disk as mxf files You cannot use the 486p 23 98 fps project preset to capture or edit video that was originally acquired as NTSC or PAL Regardless of it s origin SD material that is acquired at 23 98 fps must undergo a format conversion to
51. the three frame types B frames contain only predictive data that is not enough data to make up an entire picture and therefore cannot be edited independently BIOS Basic Input Output System settings for system components peripherals etc This information is stored in a special battery powered memory and is usually accessible for changes at computer start up bitmap A graphics image in which a set of values defines each pixel s relative brightness and color black level The level of brightness at which no light is emitted from the screen reference black The standard black level is 7 5 IRE for NTSC video or 0 IRE for NTSC EIAJ Japan and PAL video Also called setup NTSC video only See also white level super black and super white 193 Blue Book standard See DV blur soft focus effect A Matrox effect that uses various levels of intensity to blur an image or simulate camera defocus bus A shared set of hardware lines that lets different parts of your computer transfer information between one another A card inserted into an expansion slot of your computer makes an electrical connection to the bus and effectively becomes part of your computer system C capture The process of digitizing video or audio material usually from a VTR or camera and storing it in a file on a hard disk chroma key An effect that makes portions of a foreground image fully or partially transparent based on the color of that imag
52. to house the AGP display card alpha key An effect that makes parts of a foreground image fully or partially transparent based on alpha transparency values stored within the image s file so that an underlying image can show through See also chroma key and luma key analog component video See component video analog signal A video or audio signal that varies continuously as opposed to a digital signal which varies only by fixed steps anti aliasing A technique that smooths jagged edges in computer generated text or graphics aspect ratio A width to height ratio For example a 12 by 9 inch image has an aspect ratio of 4 3 four to three Most TV screens have a 4 3 aspect ratio HDTV screens have a 16 9 aspect ratio assemble editing Recording new video and audio material sequentially onto tape Because all the signals are recorded video audio and control track the new material completely replaces any previously recorded material on the tape See also insert editing AVI Audio Video Interleaved A video file format designed for the Microsoft Windows environment See also codec A V drive A hard drive capable of storing high bandwidth audio video data B B frame Bi directional frame A frame created during the MPEG or MPEG 2 IBP compression process A B frame is generated by forwards and backwards referencing of the P frames and I frames respectively which allows it to have the highest compression ratio of
53. to the shadows midtones or highlights of your clip using the color balance graph For more information see Using the color balance graph on page 66 The histogram shows the distribution of pixels in each tonal range of your clip In the following example the histogram represents a clip with a high amount of shadows left a lesser amount of midtones middle and an even lesser amount of highlights right Vv Tonal Range Shadows Midtones Highlights Cy Output Shadows 2 Midtones Highlights Click the Shadows Midtones or Highlights button to select the curve corresponding to the tonal range you want to adjust and then drag the curve as desired to reduce the number of pixels to be included in each tonal range Note You cannot increase the number of pixels in a tonal range For example you can t extend the shadows curve into the highlights range Creating a primary color correction 66 Using the color balance graph The color balance graph allows you to modify the Color Balance settings for each tonal range directly within the color maps You can also perform an auto balance or a color match using the buttons beneath the color maps For more information see Performing an auto balance on page 69 and Matching colors between two clips on page 70 Depending on which color map you use you can adjust your clip globally or only the shadows midtones or highlights Master Shadows 2 Reference
54. ve made Each luminance value present in your image appears as a vertical line in the histogram A longer line indicates a higher amount of pixels in your image of that line s luminance value You can drag the handles in the graph to adjust the Input and Output levels for black and white as well as the Gamma Map Plot Auto Black Auto White Input Input 8 Output Output Gamma Black White Black White Level Level Level Level e Auto Black Click this to define the darkest pixels in your clip as black The intermediate luminance values are proportionally redistributed e Auto White Click this to define the lightest pixels in your clip as white The intermediate luminance values are proportionally redistributed Note Ifyou want to restore the default luminance values at any time click the Restore Default Values button Map Restore Plot Default Values button Auto Black Auto White Creating a primary color correction 74 Creating a secondary color correction Matrox secondary color correction offers all the properties found in Matrox primary color correction with the added capability of limiting the color correction to a specific range of pixels using the selective key properties For example secondary color correction can be used to change the color of a dress deepen the background sky color or to achieve an effect where only one object or person remains in color while the rest of the image becomes black and whit
55. working in HD you will need to render if you clear the Frame Blend option About Adobe Premiere Pro s fixed effects In Adobe Premiere Pro every clip in the Timeline panel has pre applied fixed effects When you select a clip in a sequence the fixed effects appear in the Effect Controls panel All fixed effects can be adjusted in the Effect Controls panel Adobe Premiere Pro s fixed effects include the Motion Opacity and Volume effects Matrox RT X2 provides realtime support for all of Premiere Pro s fixed effects Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 149 Matrox RT X2 realtime guidelines In your Adobe Premiere Pro projects you can use various combinations of realtime Matrox CPU based effects Flex CPU effects hardware accelerated effects Flex GPU effects and Adobe Premiere Pro fixed effects all with transparency Realtime means that the clips don t require rendering and will play back in real time without dropping frames that is there is no red indicator bar above the segment The Matrox CPU based effects are wipes color corrections chroma keys luma keys move amp scale the chroma clamper and Adobe Premiere Pro s crop and speed change The Matrox hardware accelerated effects are all the other Matrox effects such as page curls 3D DVEs surface finish effects Premiere Pro fixed effects and fades etc Note The hardware accelerated effects will be available only if you have a
56. your output video to meet certain requirements When a pulldown is required in your project Matrox RT X2 performs either a standard 2 3 pulldown or an advanced 2 3 3 2 pulldown Standard 2 3 pulldown Standard 2 3 pulldown is often used as part of the telecine process to transfer 24 fps film footage to 29 97 fps interlaced video This pulldown method is also used to convert any 23 98 fps progressive video to 29 97 fps interlaced video such as for converting 486p 23 98 fps video to NTSC In order to convert 24 fps film or 23 98 progressive video to 29 97 fps interlaced video additional video frames and more specifically video fields must be created and added to the video sequence For example to convert a sequence of four film or progressive frames five frames of video are needed for a total of 10 video fields Therefore one additional video frame or two video fields must be created To accomplish this the first and third frames of a four frame film or progressive video sequence are each converted to two video fields The second and fourth frames of the sequence are converted to three video fields to make up a total of five interlaced video frames The following diagram demonstrates the process Film frames 24 fps or progressive frames 23 98 fps Video fields 29 97 fps SEERE EE T a A Frame B eae C a D ee E Standard 2 3 pulldown is accomplished by representing the first frame of film or progressive video fr
57. 2 overview 91 Chroma sampling for fast motion video for rendering to VFW files 155 Clip Notes exporting to PDF 44 Codec Matrox DV DVCAM 29 37 Matrox DVCPRO 29 37 Matrox MPEG 2 IBP 41 Matrox MPEG 2 I frame 30 37 39 Matrox MPEG 2 I frame HD 30 37 39 Matrox VFW codecs 156 Color balance graph using 66 Color correction adjusting tonal range 65 color matching clips 70 performing an auto balance 69 primary 59 secondary 74 using the selective key graph 79 using RGB curves 63 using Split View in the Program Monitor 61 using the color balance graph 66 using the luma mapping graph 72 using the Split View option 61 Color matching clips using color balance graph 70 Color pass effect creating with secondary color correction 84 Color space conversion options for rendering to VFW files 154 Combustion WYSIWYG plug in See Autodesk Combustion WYSIWYG plug in Compression formats supported 187 Compressor selecting for VFW render 156 CPU based effects 149 Cropping your clip 55 using Select Crop 56 Crystallize effect creating 101 Cube effect creating 98 Customer support 190 D Device control in Adobe Premiere Pro setting for DV 1394 devices 44 Display card checking for Matrox validated 169 Dropped frames in realtime effects reporting 22 DV material capturing native 29 DV DVCAM codec See Matrox DV DVCAM codec DV HDV device control setting 44 DV 1394 device as source in Adobe Premiere Pro 29 settings in Adobe Premiere Pro 27
58. 8 720p projects working with 178 180 A A V synchronization adjusting for playback of clips in a sequence 23 Adobe After Effects WYSIWYG plug in about 160 required steps 162 See also Matrox WYSIWYG plug ins Adobe Encore capturing material for 28 exporting material for 43 Adobe Photoshop WYSIWYG plug in about 160 required steps 162 See also Matrox WYSIWYG plug ins Adobe Premiere Pro Capture settings 28 disabling Matrox splash screen 23 displaying warnings in Events panel 19 Export Movie settings 36 exporting material using Matrox Clip Notes 44 exporting material using Matrox Media Encoder 43 exporting sequence to tape 45 fixed effects 148 General settings 21 hardware accelerated effects 169 Index HDV capture on RT X2 SD 35 loading Matrox project presets 18 monitoring memory usage 166 optimizing memory usage 23 setting up Matrox DV 1394 device control 44 setting up scratch disks 19 Video Rendering settings 27 See also Realtime plug in for Adobe Premiere Pro Advanced pulldown description of 173 See also Standard pulldown After Effects WYSIWYG plug in See Adobe After Effects WYSIWYG plug in Allow super black 26 Allow super white 26 Analog output type selecting 26 Anamorphic selecting for exported video 37 selecting for video output 25 Aspect ratio creating SD project in 16 9 format 47 selecting conversion setting for output video 25 selecting for source video 29 Audio capture settings 31 monitoring audio levels 33 se
59. 85 For PAL or 576p video set the pixel aspect ratio to 1 422 If you can t set the pixel aspect ratio create your image at 864x486 for NTSC or 486p video or at 1024x576 for PAL or 576p video After you ve created your image resize only its width to 720 When you resize the image your text or graphic will appear elongated on your computer screen Edit your project as you would a standard 4 3 project Note Beaware that if your video monitor is displaying in 4 3 format certain effects may appear elongated because of the horizontal scaling Setting your monitor to 16 9 will display the effects with the correct proportions Record your finished project onto tape Remember that you ll need a monitor capable of displaying material in 16 9 format to properly view your master tape 47 Creating an SD project in 16 9 format 48 Your notes Chapter 3 Defining Your Adobe Premiere Pro Settings Setting Up Realtime Effects with Adobe Premiere Pro This chapter explains how to set up realtime effects using the Matrox realtime plug in for Adobe Premiere Pro 50 Available effects The Matrox realtime plug in for Adobe Premiere Pro lets you e Set up spectacular realtime Matrox effects and transitions The plug in includes color corrections chroma keys luma keys 3D DVEs page curls shadows and many more effects Note Certain effects will be available only if you have a display card that supports the Matrox hardw
60. Aperture Saturation and Saturation Threshold The luma plot histogram shows each luminance value present in your image as a Creating a chroma key or chroma key shadow effect 96 vertical line A longer line indicates a higher amount of pixels in your image of that line s luminance value Map Plot Show Key Auto Key Indicator Handles Note The Plot graph will contain a luma plot histogram only if you are creating a chroma key shadow effect You can drag the handle in the luma plot histogram to adjust the Luminance Hue Saturation Saturation Aperture Luminance Threshold e Show Key Click this button to display the matte used to create your key effect This enables you to further refine your key For example when you display the matte your key color such as green appears as black and opaque areas appear as white If you notice some white spots that you want to key you can adjust the key controls until the undesired white spots disappear e Auto Key Click this button to automatically key on the most common color at the current frame except gray Selecting Auto Key affects values for Hue Aperture Saturation and Saturation Threshold If your clip consists of a uniform key color that is evenly lighted Auto Key will usually give you a good quality chroma key Alternately you can use the eyedropper to select a color on which you want to key eyedropper Aut y pp You can use the eyedropper in t
61. Balance _ Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 69 Performing an auto balance Before matching colors you can perform an auto balance on your target clip to automatically apply a color shift to your clip to compensate for different lighting conditions To do this click the Auto Balance button under the corresponding color map and use the eyedropper to select the area you want to correct in your clip For example to balance your clip s highlights click the Auto Balance button under the Highlights color map and click or click and drag on the lightest area of your clip The auto balance is performed immediately HighLights i Reference Match Cy Auto Balance Auto Balance button Note To perform an auto white balance click the Auto White Balance button under the Master color map and click or click and drag on a white or light gray area of your clip Creating a primary color correction 70 Matching colors between two clips You can perform a color match to match colors between two clips such as skin tone sky etc The color match lets you select colors from a reference clip to match to your target clip You can affect the colors globally Master or just the Shadows Midtones or Highlights You can select the colors for your reference color and match color by either clicking the Color Picker button or the eyedropper Reference Match Jisai Color Picker button Eyedropper
62. DV and SD material to edit in SD on Matrox RT X2 If you want to deliver in SD but take advantage of the superior image quality offered by your HDV camera you can capture HDV material over the 1394 interface and edit the clips in SD on Matrox RT X2 To do this you create a 1440 x 1080i p project and capture the HDV clips natively over the 1394 interface You then create an SD project and import your HDV clips When working in your SD project you can capture native DV clips over the 1394 interface and capture SD clips using Matrox RT X2 s analog component S Video and composite inputs The SD and HDV clips can be mixed in real time in the same SD project The HDV clips will be downscaled to SD when you scale the clips to your project s frame size for realtime playback as explained in Mixing SD and HD clips in a project on page 20 When your edits are complete you can export your project to tape as SD video for broadcast If you want to deliver in HD format you import your SD project to a 1440x 1080i p project You can then export to HD format without having to recapture your clips the SD clips can be upscaled to 1440x 10801 p format for realtime playback This workflow scenario is represented in the following diagram HDV 1080i p clips Matrox project using a captured natively F over the 1394 aae piclect interface DV clips captured Matrox project using flatively over the HDV 1080i p an SD project preset clips im
63. Defining Your Adobe Premiere Pro Settings 21 Defining your General settings The Matrox Playback Settings dialog box has several pages that you can use to specify various settings for editing in Adobe Premiere Pro on Matrox RT X2 When you select a Matrox project preset such as DV Standard a Matrox editing mode is automatically set for your project and many settings are optimized for editing on Matrox RT X2 gt To specify your General settings on Matrox RT X2 1 Choose Project gt Project Settings gt General and click the Playback Settings button 2 Click the General tab r Frame v Broadcast C JL S i 3 Under Scrubbing Mode select Frame 1st Field or 2nd Field to indicate whether you want to display frames or only one field when you scrub a sequence in the Timeline panel For example you may want to scrub the first or second field to eliminate the flickering that can be seen in your picture when you pause while scrubbing interlaced video Scrubbing fields can also be used to check for any dropped fields that may have occurred in your video during a telecine process Note If you choose to scrub fields when working with progressive scan video you won t normally see a difference between scrubbing the first or second field Defining your General settings 22 4 Under Video Luma Level select the type of processing that you want to be applied to luminance levels in your video when rendering
64. Defining Your Adobe Premiere Pro Settings 25 to the Matrox move amp scale effect You can map to the Matrox 3D DVE effect only if you have a display card that supports the Matrox hardware accelerated effects For more information see Enabling and disabling the Matrox hardware accelerated effects in Adobe Premiere Pro on page 169 4 Click OK to save your settings and return to the Project Settings dialog box Specifying your video output settings You can specify various settings to configure your video output signals from the RT X2 breakout box gt To specify your video output settings 1 Choose Project gt Project Settings gt General and click the Playback Settings button 2 Click the Video Output tab C ved Component 3 Under Master Output Format select the video format you want for all video outputs from the RT X2 breakout box Depending on your project s video format you may not be able to change the master output format 4 If the Aspect Ratio Conversion list is available such as when the video output for an HD project is downconverted to NTSC or PAL select one of the following settings for the video output 16x9 Letterbox Outputs the widescreen 16 9 picture in letterbox mode by adding black bars at the top and bottom of the picture for display on a standard 4 3 television screen Anamorphic Outputs the widescreen 16 9 picture as horizontally compressed 4 3 video whic
65. Each curve is displayed on a grid with the horizontal axis representing the input or current pixel value and the vertical axis representing the output value of the pixel after the curve adjustment is applied By default a curve starts as a straight line with two end points one at the bottom left of the grid shadows and the other at the top right of the grid highlights Before any adjustments are made each point on the curve has the same input and output value Vv RGB Curves Master MEO O O Enake Output Input Default end point 2 Default end point shadows highlights 63 Creating a primary color correction 64 Click the R G or B button to select the curve corresponding to the color channel you want to adjust or click the Master button for the master curve and then drag the curve to obtain your desired effect For example click the R button and drag the top right end point towards the top left of the grid to increase the slope of the curve and add red to the clip Drag that same point towards the bottom right of the grid to decrease the slope of the curve and remove red from the clip Clicking the Enable button will show hide any adjustments you have made to the RGB channels at any time you do not need to click Enable to start adjusting the curves Tip For increased precision hold down the ALT key while you drag the curve or the CRTL key to change your cursor into a crosshair that will help you align your c
66. F see your Adobe Premiere Pro documentation Setting up Matrox DV HDV device control Matrox DV HDV device control lets you control DV 1394 devices when capturing or exporting material to tape in Adobe Premiere Pro Note To capture HDV material on Matrox RT X2 SD you must use Adobe Premiere Pro s DV HDV device control as explained in Capturing HDV material on Matrox RT X2 SD on page 35 To set up Matrox DV HDV device control 1 Choose Edit gt Preferences gt Device Control 2 From the Devices list select Matrox DV HDV Device Control 3 Click Options and make sure that your device control options are correctly set as explained in your Adobe Premiere Pro documentation the options are the same as those provided for Adobe Premiere Pro s DV HDV device control 4 Click OK to save your settings You can now use device control when capturing or exporting material over the 1394 interface make sure that your device is set to Remote or VTR mode For details on how to capture material in Adobe Premiere Pro see your Adobe Premiere Pro documentation For information about exporting material to tape using device control see the next section Chapter 3 Defining Your Adobe Premiere Pro Settings Exporting your sequence to tape Your Matrox RT X2 system lets you export your Adobe Premiere Pro sequence to tape using DV 1394 or RS 422 device control You can use Matrox DV HDV device control to control DV 1394 devices For RS 422 de
67. IDEO C voice Chapter 2 Working with mxf mp4 and avi Files 11 When you select an mxf file in the VIDEO folder Matrox EZ MXF looks for any associated audio mxf files in the AUDIO folder and creates the reference avi and associated wav files in the VIDEO folder For example if you select the file 00001A mxf from the VIDEO folder the reference avi file 00001A avi and all associated audio files such as 00001A00 Mono wav and 00001A01 Mono wav will be created in the VIDEO folder For more information on the P2 naming convention and folder structure see your Panasonic P2 documentation Note Ifyou select an audio mxf file from the AUDIO folder only the mono wav file will be created and it will be in the AUDIO folder Creating Matrox EZ HDV AVI files for playback of large HDV clips with VFW applications The file size limit for playing back HDV avi files in VFW applications is 2 GB For example when you play back a large HDV avi file in Adobe After Effects the clip stops playing at the 2 GB point To overcome this limitation you can use the Matrox EZ HDV AVI utility to create small avi files and the associated mono wav files that reference your large HDV clips These reference HDV avi and wav files will play back completely in your VFW application Note For HDV clips that have a frame size of 1440x1080 the created reference HDV avi files will have a frame size of 1920x1080 and a 1 333 pixel aspect ratio To displa
68. K to save your settings Chapter 3 Defining Your Adobe Premiere Pro Settings 41 Selecting your MPEG 2 IBP settings When capturing video to a Matrox m2v file using Adobe Premiere Pro the capture format is set to Matrox MPEG 2 IBP You can specify various settings for the MPEG 2 IBP compression gt To select your MPEG 2 IBP settings 1 Click the Configure button This displays a dialog box similar to the following Matrox MPEG 2 Settings MPEG 2 IBP v i 7 D ee D lt m i D oa L ok 2 Under Data Rate Mb sec you can select the encoding type and data rate for the MPEG 2 IBP compression Encoding type From this list select one of the following e Constant bit rate CBR Video is compressed at your selected target data rate which is useful when you need to limit or predict the size of your mxf file However if your video is very complex such as scenes with many colors or sharp edges you ll need to select a high data rate to avoid having frames of very blocky video in your file Selecting your MPEG 2 IBP settings 42 e Variable bit rate VBR Video is compressed at varying data rates based on the complexity of the video The target data rate you select is used as the average data rate for the compression Min Target and Maxsliders Use these sliders to select your desired data rate The higher the target data rate you select the better the video quality will be Onl
69. Key as Output Select this to display the matte used to create your key effect This enables you to further refine your key For example when you display the matte your key color such as green appears as black and opaque areas appear as white If you notice some white spots that you want to key you can adjust the key controls until the undesired white spots disappear Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 95 Using the chroma key graph to modify key colors and perform an auto key To modify your key colors directly within the chroma key graph or perform an auto key click the triangle next to the Graphical property to expand it e Map This is the default view when you first expand the Graphical property You can drag the handles in the color spectrum to move the indicator to different regions in the cube to adjust the Hue Aperture Saturation and Saturation Threshold Map Plot Show Key Auto Key mm Indicator Handles Hue Saturation Saturation Aperture G Luminance Threshold Note This graph will contain a luminance spectrum only if you are creating a chroma key shadow effect You can drag the handle in the luminance spectrum to adjust the Luminance e Plot Click this button to plot the colors and luminance values that are present in the current frame of your clip You can drag the handles in the chroma plot graph to move the indicator to different regions in the graph to adjust the Hue
70. Matrox RT X2 User Guide May 27 2008 Digital Video Solutions j Y10979 301 0360 Trademarks Matrox Electronic Systems Ltd cccccccccssssseseseeeecseeees Matrox Axio DigiSuite EZ MXF Flex CPU Flex GPU Mx tools RT X2 Adobe Systems INC scsccssssccssescessescssseecssneecssneesssneessees Adobe After Effects Encore Flash Photoshop Premiere Clip Notes Soundbooth Apple Computer INC cccccccccscsssesesssecscecsessssesesseeeeeees Apple FireWire Autodesk Inc ey Autodesk 3ds Max Combustion eyeon Software INC cccceeeeeseeeeeeeeeeeeees Fusion International Business Machines Corporation IBM VGA Microsoft Corporation cccccccessccsssesssssssesssssssssees Microsoft ActiveMovie DirectShow DirectX Windows Windows Media Windows Vista NewTek INC scecssccsccssesccsseecesseesssneesssnessreneeess LightWave 3D Panasonic Matsushita Electric Industrial Co zh Panasonic DVCPRO DVCPRO50 DVCPRO HD PCRSIG sA ape been es eae lero ead PCI SIG PCI Express PCle PCI X PCI RealNetworks INC cccccecsscescsecsessecsseeesseseresseseneneees RealNetworks RealMedia Sony Corporation cccccccccccccscsscssssescsesesececssseseseneeees Sony XDCAM Blu Ray Disc DVCAM HDV XDCAM EX Victor Company of Japan Limite
71. Midtones or Highlights Reference Match H O Bz R Reference Color eyedropper For example to match a very dark color in your reference clip to your target clip click the Reference Color eyedropper under the Shadows color map and click or click and drag on the desired color in your reference clip Select a match color from your target clip in the Source Monitor window by using the Match Color eyedropper under the corresponding color map Master Shadows Midtones or Highlights Reference Match mc Bz o Bs Match Color eyedropper Creating a primary color correction 72 Using the luma mapping graph To modify your luma mapping values directly in the graph click the triangle next to the Luma Mapping Graphical property to expand it e Map This is the default view when you first expand the Graphical property You can drag the handles in the graph to adjust the Input and Output levels for black and white as well as the Gamma O eae aes Map Plot See ae a Auto Black Auto White een ee e amp EG Rind A ad Ine ed ween eng ee eee 1 1 1 1 1 1 1 nputs 2 Input Input 8 Output Output G Gamma Black White Black White Level Level Level Level Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 73 e Plot Click this button to plot the luminance values in the current frame of your clip to the histogram the plot will reflect any color correction changes you
72. NTSC 486i 29 97 fps when it is recorded to tape or recorded to disk in the case of mxf files This means that the output from your source device and input to Matrox RT X2 is always NTSC Your source device outputs the 23 98 fps material as NTSC by applying a pulldown method when it records the material to tape or disk Some DV cameras that are capable of shooting 23 98 fps progressive video have the option of performing either a standard or advanced pulldown for recording material to tape or disk In order to use the video with Matrox RT X2 we recommend that you set your DV 1394 device to use advanced pulldown called 24PA or 24P Advanced mode on some devices to convert the footage to 29 97 fps interlaced video Matrox RT X2 will then apply an advanced reverse pulldown method to convert the source video to 486p 23 98 fps for editing clips in Adobe Premiere Pro Important When using a Panasonic P2 camera to shoot 486p 23 98 fps material for use with Matrox RT X2 you must set the camera to Advanced mode 486 24pA The output from your 486p 23 98 fps project on Matrox RT X2 is always NTSC Matrox RT X2 provides the option to apply either an advanced pulldown or standard pulldown In most cases you would want to perform an advanced 2 3 3 2 pulldown only if your DV video requires further processing or if it is to be archived Otherwise a standard 2 3 pulldown should be used when you export your 486p 23 98 fps project to tape For mor
73. NTSC color signals however actually have a display frequency rate close to 29 97 frames per second Drop frame time code compensates for this time difference by dropping two frames from the count every minute except for every tenth minute so that the time code matches clock time DV Digital Video A standard digital bit stream and compression format known as the Blue Book standard used to record video and audio onto a digital tape DV is intra frame based saving each frame separately and uses a fixed 5 1 compression ratio to reduce the size of video files DV s data rate is fixed at 25 Mb sec 2 98 MB sec Video is sampled at 4 1 1 for NTSC sources or 4 2 0 for PAL sources See also DVCAM DVCPRO DVCPROSO and D 9 DVCAM A variant of the DV format developed by Sony that records a 15 micron track on a metal evaporated ME tape at a data rate of 25 Mb sec 2 98 MB sec Video is sampled at 4 1 1 for NTSC sources or 4 2 0 for PAL sources DVCPRO A variant of the DV format developed by Panasonic that records an 18 micron track on metal particle tape at a data rate of 25 Mb sec 2 98 MB sec Video is sampled at 4 1 1 for both NTSC and PAL sources See also DVCPRO HD DVCPRO HD A high definition variant of the DVCPRO format developed by Panasonic that uses a data rate of 100 Mb sec DVCPROS50 A variant of the DV format developed by Panasonic that uses a data rate of 50 Mb sec 5 96 MB sec which is double the data rate of
74. PU to allow it to perform more efficiently A high performance display card is sometimes referred to as a GPU graphics card See display card graphics overlay Text or a graphics image that s superimposed on video Also called super H hardware accelerated effect An effect that requires the assistance of dedicated hardware to play back in real time Matrox Flex GPU effects such as 3D DVEs and page curls are hardware accelerated effects Compare with CPU based effect HD Short for HDTV HDTV High Definition Television A digital television format with image resolutions up to 1080 vertical scan lines HDTV has a 16 9 aspect ratio Also called HD See also SDTV HDV A high definition video format that uses MPEG 2 video compression at a data rate of about 19 Mb sec for HDV 1 or 25 Mb sec for HDV 2 and records to standard DV format digital video cassettes hue The tint or tone of a color For example the difference between the color green and red is its hue l IBP compression See MPEG 2 IBP IEEE 1394 An international standard data transfer protocol created by Apple Computer under the FireWire trademark and standardized by the Institute of Electrical and Electronics Engineers IEEE It enables simple low cost realtime data transfer between computers and consumer and prosumer electronics products such as DV camcorders and DV decks Commonly referred to as 1394 l frame compression See MPEG 2 I frame I f
75. Premiere Pro 121 Nonlinear Softness Select this option to make the boundaries of the softness region less obvious Enabling this option makes your edge softness controls produce results similar to the border softness controls in the Matrox 3D DVE effect Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 Enhance Sharpness Lets you adjust the sharpness of your clip Creating a move amp scale effect 122 Creating an old movie effect The Matrox old movie effect lets you create an old film look on your clips by adding noise dust streaks jitter and flickers gt To set up a Matrox old movie effect Click the triangle beside Matrox Old Movie to expand the property list Random Artifact Generator Adjust this setting to change the placement of artifacts in your clip The artifacts are randomly distributed based on the value you select For example if you notice the streaks in your clip are always in the same place you can use this setting to move them Border Settings Round Corner Size Allows you to round the corners on the edges of your clip Softness Lets you adjust the amount of softness on the edge of your clip by dragging the slider or entering a percentage in the text box The higher the value the less sharp the edge will become Preprocessing These controls allow you to isolate a channel to process black and white values for your effect For
76. a color pass effect to convert your clip to black and white with the exception of one specified color This can be useful if you want to isolate a single color to make it prominent In the following example the pink color of the girl s shirt has been retained while the rest of the clip has been converted to black and white Pink shirt is isolated while the rest of clip is grayscale To perform a color pass effect 1 Click the Auto Key eyedropper in the selective key graph and click and drag anywhere on your clip to create a rectangular area containing the color you want to isolate 2 Under Proc Amps set the Saturation to 0 3 Select Invert Key If you have more than one object of the same color but you want to isolate only one of those objects you can apply a mask and use the Expand Outside Mask option to isolate the area that contains the color you want to remain intact For example if you have a clip that has two roses that are the same red and you would like only one of them to remain red you can do the following gt To perform a color pass effect using the Expand Outside Mask option 1 Click the auto key eyedropper in the selective key graph and click and drag anywhere on your clip to create a rectangular area containing the color you want to isolate 2 Under Proc Amps set the Saturation to 0 3 Select Invert Key 4 Apply a mask surrounding the colored object you want to remain intact see Applying a mask to
77. a fade up from black or fade in transition field One half of the horizontal lines needed to make a complete scan of an interlaced video frame In the NTSC system two consecutive fields of 262 5 lines each create a frame of 525 scan lines In the PAL system two consecutive fields of 312 5 lines each create a frame of 625 scan lines FireWire Apple Computer s original implementation of the technology that would be standardized as IEEE 1394 in 1995 Flex CPU effect See CPU based effect Flex GPU effect See hardware accelerated effect frame A single video image An interlaced video frame is comprised of two consecutive fields the odd and even fields G garbage matte effect An effect often used to crop unwanted objects from a foreground image in a chroma or luminance key effect You define the shape of the garbage matte and only the underlying image is shown outside the matte GOP Group of Pictures The sequence of I B and or P frames produced during MPEG or MPEG 2 compression This sequence of frames contains all of the information required to reproduce a complete video segment The longer the GOP the less editable it is GPU Graphics processing unit A processor that is used primarily for computing 3D functions such as processing 3D DVEs and Appendix D Matrox RT X2 Glossary lighting effects Because the calculations required to process these effects are CPU intensive the GPU lifts this burden from the C
78. allation Manual e Menus and commands that you need to choose are displayed in the form Menu gt Command For example File gt Save means click File in the menu bar then click Save in the menu that appears e The names of keys are displayed in small capital bold letters such as the CTRL key About this manual e A plus sign is used to indicate combinations of keys and or mouse operations For example CTRL C means to hold down the CTRL key while pressing the C key SHIFT click means to hold down the SHIFT key while you click an item with the mouse How video formats are expressed With the exception of NTSC and PAL all SD and HD video formats are expressed in the Matrox RT X2 documentation and dialog boxes as follows VRp ori n fps Where e VR is the vertical resolution For 1440x1080 video however both the horizontal and vertical resolutions are specified e porirepresents either progressive or interlaced video e n fps is the frame rate in frames per second Here are some examples 486p 23 98 fps Represents 720x486 progressive video at 23 98 frames per second e 720p 59 94 fps Represents 1280x720 progressive video at 59 94 frames per second e 1440x1080i 29 97 fps Represents 1440x 1080 interlaced video at 29 97 frames per second This format is used for HDV 1080i material e 1080i 29 97 fps Represents full size 1920x1080 interlaced video at 29 97 frames per second Other documentation In addi
79. ame A as two fields of video fields a1 and a2 the second frame frame B as three fields of video fields b1 b2 and b3 the third frame frame C as two fields fields c1 and 2 and the fourth frame frame D as three fields fields d1 d2 and d3 This sequence repeats six times each second Appendix A Understanding Standard and Advanced Pulldown 173 Performing a standard reverse pulldown 2 3 cadence reverses the process by converting 29 97 fps interlaced video to 23 98 fps progressive video This is achieved by discarding a video frame two video fields from the sequence From the diagram above a typical standard reverse pulldown would discard fields b3 and d1 This means that video frames C and D must be read by the application to remove the additional fields For standard reverse pulldown that is performed on compressed video the application must decompress frames in order to remove the additional fields and then it must recompress frames to complete the conversion Matrox RT X2 implementation of standard reverse pulldown In order for Matrox RT X2 to properly perform a standard reverse pulldown the material that is to be converted from 29 97 fps interlaced video to 23 98 fps progressive video must have been originally acquired at 23 98 fps When Matrox RT X2 performs a standard reverse 2 3 pulldown the process identifies the A frames of a sequence as those frames that have time code ending in 0 or 5 For example a frame
80. ame graphics supported by Adobe Premiere Pro are supported in real time on Matrox RT X2 This includes all titling formats that Premiere Pro supports such as Adobe Title Designer prtl files For details on the supported formats see your Adobe Premiere Pro documentation Note Graphics rolls crawls and animations are not supported in real time Limitations You will need to render your effects if you do any of the following e Apply any Field Options to a clip such as Always Deinterlace or Flicker Removal e Apply a freeze frame effect to a clip using the Frame Hold command Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro Using Matrox RT X2 with Video for Windows Programs This chapter provides information you need to know when using Video for Windows programs to render material on your Matrox RT X2 system 152 Overview When using Video for Windows VFW programs to render material to an avi file such as in the case of a completed video production or an animation you can use a Matrox codec to create a Matrox avi file For example you may want to render an animation to Matrox DV DVCAM format so that you can record it onto DV tape You could also use your VFW program to render video to a Matrox avi file so that you can import the file as a realtime clip into your Adobe Premiere Pro projects on Matrox RT X2 When rendering compositions or animations that have an alpha channel you can select a Alpha
81. and previewing video in a sequence Broadcast Processes video using the standard legal range of luminance levels for broadcast video Any super black or super white luminance levels that is levels that fall below the standard black level or exceed the standard white level are clipped Post Production Processes video for post production Any super black or super white luminance levels in your video are retained 5 Under Error Reporting select Report dropped frames on playback if you want to be warned each time frames are dropped when you play back video from the Timeline panel Otherwise clear this option Note Once playback of the sequence has stopped a red bar will appear over segments of the sequence that have dropped frames even if you don t choose to report dropped frames Under Frame Hold select Enable Frame Hold if you want to use Adobe Premiere Pro s Frame Hold to freeze on a particular frame of a clip in a sequence When you do this any Frame Hold effects applied to your clips will require rendering If you ve selected Enable Frame Hold and encounter repeated frames when playing back nested sequences or clips with negative speed changes or you find that segments are identified with a red bar that don t actually require rendering you can clear this option When you do this however any Frame Hold effects you ve applied will be ignored Under Premiere Pro Accelerated Effects you can select various optio
82. are accelerated effects For more information see Enabling and disabling the Matrox hardware accelerated effects in Adobe Premiere Pro on page 169 e Change various effect settings and add or modify keyframes to customize your effects Transform and crop your realtime effects e Create realtime graphics overlays using single frame graphics files with an alpha key channel e Set up certain Adobe Premiere Pro effects in real time including fades Video Opacity DVEs Motion Black amp White Timecode and Garbage Matte effects e Apply realtime speed changes to video clips e Set up many Adobe Premiere Pro transitions in real time when using SD video or accelerate many Adobe Premiere Pro transitions when using HD video e Use and modify clips that have Matrox Flex CPU effects applied to them interchangeably between Adobe Premiere Pro and Adobe After Effects For example you can apply a Matrox color correction to your clip in Adobe Premiere Pro and import that clip into Adobe After Effects and vice versa The effect will remain intact and can be modified in both applications Realtime means that you can play back and record your effects onto tape without having to render them This gives you creative freedom to experiment with different effects and change your mind as often as you want You ll instantly see the changes you make on your video monitor Effects in Adobe Premiere Pro other than those listed above are not r
83. are not automatically imported to the Project panel When performing a batch capture of m2v clips the captured video and audio clips won t be automatically imported to the Project panel If you recapture clips using batch capture the captured clips will be imported automatically only if you choose to delete the original media files from disk It s recommended that you don t add handles extra frames to your captured m2y clips If you do the handles will be appropriately trimmed from the video when you add the clip to your sequence but the handles won t be trimmed from the associated audio An associated xmp metadata file is created for all captured and logged offline m2v clips These files are created in your specified video capture folder and contain time code and other information that you provided for your m2v clips such as tape name description and scene You can open the xmp files in Adobe Bridge Take care not to delete the xmp files and always keep them with their associated m2v files Otherwise you won t be able to batch capture logged m2yv clips and the time code information won t appear for your m2v clips in the Project panel Chapter 3 Defining Your Adobe Premiere Pro Settings 35 Capturing HDV material on Matrox RT X2 SD On Matrox RT X2 SD you can capture native HDV 1080i p 1440x 1080i p material over the 1394 interface in an SD project using Adobe Premiere Pro s HDV capture feature Depe
84. area Outside Transparency Sets the transparency level of the area outside your mask Note The Outside Transparency setting is applicable only if you ve scaled down moved or rotated your mask using the transform controls so that the mask doesn t cover the entire screen Softness Lets you apply blurring to the edges of your mask Invert Mask Select this option if you want to invert the opaque and transparent areas of your mask Apply Crop to Video Only Select this if you want the mask to be squeezed to fit your cropped clip If you don t select this option the mask will be cropped by the same amount that you crop your clip Transform Use these controls to apply or change various transform settings for your mask blur effect such as the position scale and rotation of the mask For more information see Transforming your clip on page 52 Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 Note Ifyou are working in HD the mask blur effect may require rendering depending on your project s video format 117 Creating a mask blur effect 118 Creating a mask mosaic effect The Matrox mask mosaic effect lets you create a region of interest by adding a mask to your clip and applying a mosaic effect to it You can choose from many different mask patterns gt To set up a Matrox mask mosaic effect Click the triangle beside Matrox
85. arency level of the area outside your mask Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro Note The Outside Transparency setting is applicable only if you ve scaled down moved or rotated your mask using the transform controls so that the mask doesn t cover the entire screen Softness Lets you apply the mosaic effect to the edges of your mask Invert Mask Select this option if you want to invert the opaque and transparent areas of your mask Apply Crop to Video Only Select this if you want the mask to be squeezed to fit your cropped clip If you don t select this option the mask will be cropped by the same amount that you crop your clip Transform Use these controls to apply or change various transform settings for your mask mosaic effect such as the position scale and rotation of the mask For more information see Transforming your clip on page 52 Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 119 Creating a mask mosaic effect 120 Creating a move amp scale effect The Matrox move amp scale effect lets you position and scale your clips anywhere in 2D space while adding soft edges in real time Note The move amp scale effect provides the sharpest picture when creating a picture in picture effect However if you want to apply rotation to your effect you must use the 3D DVE effect as explained in Creating
86. ating 132 shine effect creating 134 sphere effect creating 138 surface finish effect creating 140 track matte effect creating 143 transforming a clip using the Program Monitor 54 using the transform controls 52 twirl effect creating 145 211 wipe transitions creating 146 Realtime threshold adjusting 22 Registering your Matrox RT X2 190 Rendering using Adobe Premiere Pro limitations to realtime effects 150 Rendering using VFW programs 152 before you start 153 selecting color space conversion options 154 selecting compressor 156 selecting video quality 157 Reporting dropped frames during video playback 22 RGB curves using 63 Ripple effect creating 130 S Scale to Frame Size applying in real time 20 disabling realtime 24 Scratch disks specifying 19 Scrubbing mode selecting 21 SD clips scaling for use in an HD project 20 SD projects scaling HD clips in 20 supported compression formats 187 using HDV clips in 181 182 Secondary color correction creating a color pass effect 84 Select Crop using 56 Select Mask using 58 Selective key graph using 79 Index 212 Setup level selecting for NTSC analog video 26 Shadow effect creating 132 Shine effect creating 134 Sony XDCAM EX files using in projects 7 178 Sound card recording and playback volume controls 16 Source Identifier used in cube effect 98 used in track matte effect 143 Speed changes selecting speed control method 148 Speed control method
87. between the lightest and darkest areas of an image on the screen CPU Central processing unit The central processor of a computer that performs calculations and interprets and executes commands CPU based effect An effect that takes advantage of your computer s CPU to play back in real time Matrox Flex CPU effects such as the Matrox color correction effects are CPU based effects Compare with hardware accelerated effect crawl Sideways movement of text across a screen See also roll 1 crossfade See dissolve crystallize effect A Matrox effect that lets you choose from many different patterns to make your image or text appear as if it is made of crystals cube effect A Matrox effect that lets you map video or graphics to the faces of 3D cubes These cubes can then be rotated in 3D space to create transition effects such as those seen during sports broadcasts Appendix D Matrox RT X2 Glossary cut A direct switch from one video and or audio source to another D D 9 Originally known as Digital S A variant of the DV format developed by JVC that uses a data rate of 50 Mb sec 5 96 MB sec which is double the data rate of most other DV formats Video is sampled at 4 2 2 for both NTSC and PAL sources to give enhanced chroma resolution It uses a 1 2 metal particle tape Digital8 A camcorder video format developed by Sony Digital8 camcorders use the DV format to record digital video and audio onto 8mm and Hi 8
88. blur glow soft focus shine and many more Native DV DVCAM DVCPRO and MPEG 2 4 2 2 I frame SD editing Realtime downscaling of HDV 1080i p clips in an SD project Realtime mixed format multi camera editing in an SD project Realtime playback of 32 bit MPEG 2 I frame SD avi files with alpha Accelerated media encoding including export to DVD Flash Video and Adobe Clip Notes WYSIWYG plug ins for many popular compositing and animation programs such as Adobe After Effects Adobe Photoshop and Autodesk Combustion DV 1394 composite S Video and SD analog component video input and output Matrox RT X2 and RT X2 LE key features The following are key features of Matrox RT X2 and RT X2 LE Realtime mixed format multi layer workflows that combine HD and SD material from analog and digital sources Realtime Matrox Flex CPU effects including color correction speed changes chroma luma keying and many more Realtime and accelerated Matrox Flex GPU effects including 3D DVEs blur glow soft focus shine and many more Native HDV and MPEG 4 2 2 I frame HD editing Native DV DVCAM DVCPRO and MPEG 2 4 2 2 I frame SD editing Realtime playback of 32 bit MPEG 2 I frame avi files with alpha Chapter 1 Introducing Matrox RT X2 e Native mxf file support for Panasonic P2 SD and 720p formats in Adobe Premiere Pro and After Effects e Matrox EZ MXF utility for native mxf file support in Video for Windows avi file appl
89. color space conversion options you want 1 Right click My Computer then choose Manage and click Device Manager 2 Under Sound video and game controllers double click Video Codecs 3 Click Properties then select one of the Matrox VFW codecs Note All the available Matrox VFW codecs will be listed You can select Matrox VFW Software Codecs to configure all the Matrox DV MPEG 2 I frame SD and legacy M JPEG codecs 4 Click Properties and then Settings 5 In the provided dialog box under Color Space Conversion select the options you want Note Ifan option isn t supported by the particular codec s you are configuring that option will not be available Most options however are common to all the Matrox VFW codecs When these options are set for a Chapter 5 Using Matrox RT X2 with Video for Windows Programs 155 particular codec they are also set for the other codecs that support those options Standard Renders video using standard broadcast luminance levels Super black and super white luminance levels are clipped DV compliant Renders video using luminance levels appropriate for DV material This ensures that the super white luminance levels of your video are retained Expanded Renders video using the full range of luminance levels Super black and super white luminance levels are retained You may want to use this setting for example to render material on which you ll be applying luminance key effec
90. cts and software updates Be sure to place our site in your favorites or bookmarks www matrox com video support Contacting us Matrox is proud to offer worldwide customer support Please use the Matrox RT X2 contact information for your area as provided on our web site at www matrox com video support Appendix C Matrox RT X2 Customer Support Matrox RT X2 Glossary This glossary defines many of the terms used in this manual and related documentation 192 Glossary of terms Use this glossary as a reference for many of the basic terms used in this manual and related documentation Numerics 1394 See IEEE 1394 2 3 pulldown A method used to create additional video frames when 24 fps film footage or 23 98 fps progressive video is converted to 29 97 fps interlaced video such as NTSC To convert a four frame sequence of film or progressive video five frames of video are required The 2 3 pulldown sequence accomplishes this by representing the first frame of film or progressive video as two fields 1 frame the second frame as three fields 1 5 frames the third frame as two fields 1 frame and the fourth frame as three fields 1 5 frames See also advanced 2 3 3 2 pulldown 2D Short for two dimensional An image that has height and width only 3D Short for three dimensional An object in three dimensions has height width and depth Various techniques are used to show 3D images on 2D surfaces like your computer scre
91. d UVC ccceeeee JVC D 9 HDV All other nationally and internationally recognized trademarks and tradenames are hereby acknowledged Copyright 2008 Matrox Electronic Systems Ltd All rights reserved Disclaimer Matrox Electronic Systems Ltd reserves the right to make changes in specifications at any time and without notice The in formation provided by this document is believed to be accurate and reliable However no responsibility is assumed by Matrox Electronic Systems Ltd for its use nor for any infringements of patents or other rights of third parties resulting from its use No license is granted under any patents or patent rights of Matrox Electronic Systems Ltd Unauthorized recording or use of broadcast television programming video tape or other copyrighted material may violate copyright laws Matrox Electronic Systems Ltd assumes no responsibility for the illegal duplication use or other acts that infringe on the rights of copyright owners Matrox Electronic Systems Ltd 1055 St Regis Blvd Dorval Quebec Canada H9P 2T4 Tel 514 685 2630 Fax 514 685 2853 World Wide Web www matrox com Contents Chapter 1 Introducing Matrox RT X2 Welcome tO Matrox AT Ae o onidscecesciciencscrceeccccedecseessenceiecaersescestesaaners 2 Matrox RT X2 SD Key feat eS zoprna aaan Ear arnari 2 Matrox RT X2 and RT X2 LE key TOSture scsicivscacacicenccideaxaereaneceinatidenncences 2 About THIS MANUAL iscsi cccicciacicet
92. deo to MPEG 2 intra frame format with alpha using the 4 2 2 Profile High Level at a selected data rate This codec is available only on a system that has the Matrox RT X2 hardware Note Additional Matrox codecs will be available such as the Matrox M JPEG DVCPRO HD and uncompressed HD codecs You can use these codecs to create clips for use on other Matrox systems such as Matrox DigiSuite or Matrox Axio For information about creating VFW clips for other Matrox systems see the documentation for those systems 2 If you selected a Matrox MPEG 2 I frame codec click the Configure button to configure your MPEG 2 I frame settings For details see the following section Chapter 5 Using Matrox RT X2 with Video for Windows Programs 157 Configuring the Matrox MPEG 2 I frame codecs When you click your program s Configure button to configure a Matrox MPEG 2 I frame codec SD or HD resolution with or without alpha a dialog box similar to the following appears Matrox MPEG 2 I frame HD Settings _ 50 Mb sec Frame Rate 29 97 v Cancel z E Advanced gt gt Important Unless you have the Matrox RT X2 hardware you can use the Matrox MPEG 2 I frame HD codec to render to a 1440x 1080i p file only The Alpha Matrox MPEG 2 I frame codecs are available only on a system that has RT X2 hardware 1 Drag the Data Rate slider until your desired data rate is displayed The higher the data rate you select the better the video quality
93. dobe Premiere Pro 89 e Preview Settings You can select the following options for previewing your effect Show Cursors Displays a diamond shaped cursor at each corner of your clip on your video monitor only These cursors can help you precisely determine where each corner is located Each corner has a different colored cursor as follows e Top Left Red e Top Right Green e Bottom Left Blue e Bottom Right Orange Show Color Frame Only Displays a semi transparent shape that represents the clip to which you are applying the 4 corner pin effect This is useful if you re positioning an alpha keyed title for example and you need to see the edges of the clip Color To select a different color for the color frame use the color picker button or the eyedropper Tip The Show Color Frame Only option is provided as a viewing aid while setting up your 4 corner pin effect However you can choose to leave it selected to create a unique lighting effect such as to create a flashlight beam e Enhance Sharpness Lets you adjust the sharpness of your clip Creating a 4 corner pin effect 90 Creating a blur soft focus effect The Matrox blur soft focus effect lets you create unique effects and simulate camera defocus gt To set up a Matrox blur soft focus effect Click the triangle next to Matrox Blur Soft Focus to expand the property list vy Matrox Blur Soft Focus gt Blur Amount D Source Blend Factor
94. ds in A value of zero will display only the surface texture e Invert Video Orientation Select this to invert your clip on the front face of your slab e Crop Sets the crop region used on the front face of the slab For more information see Cropping your clip on page 55 Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 141 Back Face Control Blending Factor Blends the back face of the slab with the surface texture The higher the value the more your clip blends in A value of zero will display only the surface texture Invert Video Orientation Select this to invert your clip on the back face of your slab e Crop Sets the crop region used on the back face of the slab For more information see Cropping your clip on page 55 e Light Control Ambient Light Color Use the color picker button or eyedropper to select the ambient color of light for your entire clip Show Light Cursors Select this option to see the reference point of the two light sources to help you set up your lights Remember to clear this option when you re finished setting up your effect First Light e Enable Select this to enable the first light e Color Use the color picker button or the eyedropper to select the color of your first light e First Light Pattern Allows you to select the first light pattern Click the button on the right to see the list of available patterns e X Position Sets the position of t
95. e Saturation Adjusts the saturation vividness of the image s colors Contrast Adjusts the difference in luminance between the lightest and darkest areas of the image Brightness Adjusts the level of black in the image RGB Curves Lets you use curves to adjust the red green and blue color channels of your clip individually or use a master curve to adjust all color channels simultaneously For more information see Using RGB curves on page 63 Color Balance These controls let you adjust the mixture of colors in your clip Tonal Range Allows you to fine tune the tonal ranges of your clip by reducing the range of pixels included for shadows midtones or highlights For more information see Adjusting tonal range on page 65 Graphical Allows you to see a graphical representation of your changes when you adjust the color balance settings You can also adjust and modify most of the color balance settings directly within the graph For more information see Using the color balance graph on page 66 Numerical Lets you adjust your color balance settings numerically by entering values in the text boxes or by dragging the corresponding sliders You can adjust the Hue Saturation and Luminance for each tonal range Master Hue Saturation and Luminance Affects all areas of your clip from the lightest white to the darkest black e Shadows Hue Saturation and Luminance Affects the darkes
96. e so that an underlying image can show through See also alpha key and luma key chrominance The color portion of a video signal that carries the hue and saturation information See also luminance codec Compressor decompressor A processor that compresses video to reduce its file size by eliminating redundancies in information It also decompresses files to play them back color bars A standard test signal that appears as a series of vertical rows of color by which the chrominance and video levels of a camera s output or a recorded signal can be checked color correction effect A Matrox effect that allows various color properties of an image to be adjusted There are controls for adjusting the intensity level for hue saturation contrast and brightness The color correction effect can correct improper color levels of an image that are due to varying Glossary of terms 194 lighting conditions or incorrect camera settings See also white balancing compile See render component video A video signal having separate channels for the video information as opposed to a combined composite signal Y R Y B Y video is a component video signal composite video A video signal containing luminance and chrominance information that has been combined using a video standard such as NTSC or PAL Composite video often uses a single RCA or BNC cable connection See also component video contrast The difference in brightness
97. e For details on how to isolate a color and make the rest of the clip black and white see Creating a color pass effect on page 84 L Tip Adobe Premiere Pro includes a workspace setup that is optimized for working with clips and effects to facilitate color correction To prepare your workspace for color correction choose Window gt Workspace gt Color Correction gt To set up a Matrox secondary color correction Click the triangle next to Matrox Color Correction Secondary or Matrox Color Correction Secondary Advanced to expand the property list v LJ gt gt Note The RGB Curves and Tonal Range settings are available only with the advanced versions of the Matrox primary and secondary color correction effects Because the advanced versions of these effects require additional system resources you should apply them only if you want to use the RGB Curves or Tonal Range settings Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro Enable Split View Select this option to split your clip into two sections in the Program Monitor and on your video monitor One section will display your clip as you adjust the color correction controls and the other section of the clip will remain unchanged For more information see Using Split View on page 61 Proc Amps The processing amplifier proc amp controls allow you to adjust different aspects of your clip Hue Adjusts the tint of the colors in the imag
98. e saturation and contrast progressive scanning A method of creating a video image by drawing all the lines of a screen sequentially so that the complete image is displayed in one pass VGA displays and some HDTV formats use progressive scanning Progressive scanning produces smoother pictures than interlaced scanning but uses more bandwidth pulldown detection A method of identifying the extra video frames that are added when 24 fps film footage or 23 98 fps progressive video is converted to 29 97 fps interlaced video See also 2 3 pulldown and advanced 2 3 3 2 pulldown Appendix D Matrox RT X2 Glossary R realtime effect An effect that is played back instantly without having to be rendered by an editing program render To compute an image or effect using a nonlinear editing compositing or animation program The result is generally saved in a file on the computer Also called compile RGB parade A specialized scope that displays the red green and blue components of a video signal RGB video A component video signal that uses three signals to carry the separate Red Green and Blue channels of colored images ripple effect A Matrox effect that lets you create 3D ripple patterns that simulate a flag waving ripples in a pond or a dream sequence roll 1 Vertical movement of text across the screen Also called scroll See also crawl 2 Unwanted vertical roll of a video image indicating unstable sync RS 232
99. e 29 selecting for export to disk 37 selecting for VFW render 156 Matrox EZ HDV AVI creating reference files for large HDV clips 11 Matrox EZ MXF creating reference AVI files 9 Matrox hardware accelerated effects 149 enabling disabling 169 Matrox Media Encoder 43 Matrox MPEG 2 IBP codec configuring in Adobe Premiere Pro 41 Matrox MPEG 2 I frame Alpha codec configuring for VFW render 157 selecting for VFW render 156 Matrox MPEG 2 I frame codec configuring for VFW render 157 configuring in Adobe Premiere Pro 39 selecting for capture 30 selecting for export to disk 37 selecting for VFW render 156 Matrox MPEG 2 I frame HD Alpha codec configuring for VFW render 157 selecting for VFW render 156 Matrox MPEG 2 I frame HD codec configuring for VFW render 157 configuring in Adobe Premiere Pro 39 selecting for capture 30 selecting for export to disk 37 selecting for VFW render 156 using 183 workflow example for offline editing 183 workflow example for online editing 185 Matrox RT X2 checking for Matrox validated display card 169 customer support 190 documentation 4 enabling disabling hardware accelerated effects 169 209 glossary 192 key features 2 monitoring using X info 166 realtime guidelines 149 registration 190 supported compression formats 187 supported master output formats 188 using to edit Axio offline HD projects 186 workflows 176 Matrox RT X2 LE See Matrox RT X2 Matrox RT X2 SD capturing HDV material in an SD
100. e Allows you to select the type of border you want None Flat Gradient or Alpha Edge Click the triangle on the right to expand the list of border types Click here to gt select your Border Type Gradient border type Note The Alpha Edge border type is for use with alpha keyed graphics only Border Width Use this control to adjust the border along the X and Y axes simultaneously The higher the value the wider your border becomes If you clear Fixed Aspect Ratio you can adjust each axis individually X Border Width Use this control to adjust the border along the X axis The higher the value the wider your border becomes Y Border Width Use this control to adjust the border along the Y axis The higher the value the wider your border becomes Border Inside Softness Sets the border softness on the inside edge of your border The higher the softness value the less sharp the edge or border becomes Border Outside Color Use the color picker or eyedropper to select the color you want for your border or the outside edge of your border if you selected Gradient as your border type Border Outside Transparency Sets the transparency of your border or outside edge of your border if you selected Gradient as your border type Levels range from opaque 0 to fully transparent 100 Note The next two properties Border Inside Color and Border Inside Transparency are available only if you selected Gradient as your b
101. e a group of I B and P frames Used for broadcast transmissions and distribution on DVD See also GOP MPEG 2 I frame An MPEG 2 compression type that uses only intra frame compression that is only I frames are created Used for high quality distribution and for archiving mV Abbreviation for millivolt one thousandth of a volt Unit of measurement sometimes used to define the amplitude of a video signal See also IRE unit MXF Material eXchange Format A file exchange format standardized by SMPTE that assures interoperability among devices and systems Panasonic P2 Professional Plug in as well as Sony XDCAM and XDCAM HD use mxf files rather than mov avi or mpg files for example MXF is designed for today s file based workflows and provides a common way of packaging video and audio along with metadata so that information about the content is maintained as it flows through the production process N nonlinear editing Random access editing that generally uses video and audio clips stored on disks Nonlinear editing programs let you rearrange and edit clips without having to redo the entire production and provide instant cueing to any frame in a clip without waiting for tapes to rewind NTSC National Television Systems Committee The NTSC RS 170A standard defines a method of broadcasting a color signal that can be received by both monochrome and color TVs It uses a composite interlaced display comprised of 525
102. e information about standard 2 3 pulldown and advanced 2 3 3 2 pulldown see Appendix A Understanding Standard and Advanced Pulldown Appendix B Matrox RT X2 Workflows 177 486p 23 98 fps workflow example The following diagram illustrates a typical 486p 23 98 fps workflow using Matrox RT X2 DV 1394 input output and P2 mxf source files on disk SD video footage acquired at 23 98 fps progressive scan DV camera performs either standard or advanced pulldown depending on mode lt a selection when the acquired footage is recorded i tape or disk NTSC video on tape or P2 mxf files on disk Matrox RT X2 detects original pulldown wai method then performs either an advanced or standard reverse pulldown during capture or playback for mxf files Matrox RT X2 using a 486p 23 98 fps project preset Depending on the user s selection of pulldown method Matrox RT X2 performs 4m either advanced 2 3 3 2 pulldown or standard 2 3 pulldown Exported to disk as MPEG 2 IBP for DVD authoring or Exported to DV tape as exported to disk to streaming NTSC video video format for web Note For all Matrox RT X2 projects you can choose to export to an MPEG 2 file for DVD authoring or export to a web format using Matrox Media Encoder as explained in Exporting using Matrox Media Encoder on page 43 For details on other export formats see Exporting to a Matrox avi file on page 36 When w
103. e that a brush stroke will rotate in relation to the Mean Rotation value For example if you set the Rotation Variation value to 5 the brush strokes will randomly rotate between 5 and 5 of the Mean Rotation value Some brush strokes will rotate clockwise and some will rotate counterclockwise Size X Mean Size Specifies the size of the brush stroke along the x axis X Size Variation Use this to set the maximum percentage that a brush stroke will grow in relation to the X Mean Size value For example if you Creating an impressionist effect 106 set the X Size Variation value to 5 the brush strokes will randomly grow between 0 and 5 of the X Mean Size value Y Mean Size Specifies the size of the brush stroke along the y axis Y Size Variation Use this to set the maximum percentage that a brush stroke will grow in relation to the Y Mean Size value For example if you set the Y Size Variation value to 5 each brush stroke will randomly grow between 0 and 5 of the Y Mean Size value Link X amp Y If you select this option you only need to adjust the x size values and the y size values will be identical Preserve Aspect Ratio Select this option to keep the shape of your brush strokes similar For example if your brush strokes are rectangular adjusting the variation controls may alter their shape Selecting this option will preserve it Position X Mean Position Sets the position of the brush stro
104. e visible e Low Clip Use this to select the lower darker luminance values to be keyed A Low Clip setting of 0 represents black and a setting of 255 represents white Intermediate settings represent different shades of gray from very dark to very light gray e Low Gain Use this to set the range of luminance values you want to be partially transparent based on the value set by the Low Clip control As you increase the Low Gain setting more luminance values become partially transparent to give you a softer edged key A Low Gain setting of 100 provides the widest range for maximum softness Alternately a gain setting of 0 creates a hard key where the luminance values are either completely transparent or opaque You can think of the Low Gain Creating a luma key effect 112 control as defining a Transparent to Opaque range for keying the dark areas of your foreground image e High Clip This control is similar to Low Clip except you use it to select the higher brighter luminance values to be keyed e High Gain This control is similar to Low Gain except you use it to set the range of luminance values you want to be partially transparent based on the value set by the High Clip control You can think of the High Gain control as defining an Opaque to Transparent range for keying the lighter areas of your foreground image Note The values you can select using the Low Clip and Low Gain controls are dependent on the High Clip
105. ealtime and therefore require rendering For guidelines on setting up your realtime effects see Matrox RT X2 realtime guidelines on page 149 When you install Matrox Mx tools all the Matrox effects are added to Adobe Premiere Pro and the Matrox Flex CPU effects are added to Adobe After Effects You set up Matrox effects in your productions the same way as other effects included with your Adobe software For example you apply a Matrox transition to your clips in Adobe Premiere Pro just as you would any other type of Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 51 transition except that the controls provided let you create a Matrox transition as is explained in this chapter For instructions on how to apply effects to your productions in Adobe Premiere Pro or Adobe After Effects refer to your Adobe documentation Important To use the Matrox realtime plug in for Adobe Premiere Pro you must have defined your Adobe Premiere Pro settings for use with your Matrox RT X2 system as explained in Chapter 3 Defining Your Adobe Premiere Pro Settings How to apply a Matrox video effect in Adobe Premiere Pro The Matrox realtime plug in for Adobe Premiere Pro allows you to apply many realtime video effects to your clips To apply a Matrox video effect to a clip drag the desired effect from the Effects panel onto the clip in the Timeline panel By default the Matrox video effects are found in the Matrox bin
106. ecreeneeieetannennatnenneiwetnennennannenrenrenrenneniien 3 SEY Conve MUONS aes ie ts cee E DA 3 How video formats are expressed ceceeeeeeeee ec eee cece ee eee cesses eeeeeeeees 4 Other documen atO erer 4 Chapter 2 Working with mxf mp4 and avi Files Working with native mxf files in Adobe Premiere Pro and Anter ENEI Seno erener e a aeaa 6 Steps for using mxf files in your projects sssssseesssesssssrrenrrrrenrnn rne 6 Working with native XDCAM EX mp4 files in Adobe Premiere Pro issscc sis seasactesvansna sat dentist vasitdneeiadiaciuansansassatansieeen 7 Displaying information for clips in Windows Explorer 0 8 TAM BMallS HPS WIGW a sciseiasccicanmieqsevrenncscacananmeneiesnivedeencacnnandiaiapeerwenccanauee 8 Additional file details in Windows XP cccceecneeeeeeeeeeeeeeeeaeeeeeaeeeeseeeres 8 Creating Matrox EZ MXF files for playback with VFW Sea PS SA IS cens ta seinem gnuaniedanie gn cam pensaceemenn ooacaduemeaneaneeanendes 9 Panasonic P2 folder Structure ize g ccc sccaececcivengicineeeeteecasticcidinedegaeneeteeeeed 10 Creating Matrox EZ HDV AVI files for playback of large HDV clips with VFW applications 2 ccceeee eee eeeeeee eee eeeeee 11 Converting a 32 bit tga sequence to an avi file with alpha 12 Chapter 3 Defining Your Adobe Premiere Pro Settings A note about running other programs with Adobe Premiere Pro 16 Setting your system s volume levels
107. ect name in the Effects Controls panel v k Matrox 3D DYE Transform gt Border Settings D Crop Transform icon Note When working with some effects the Transform icon lets you manipulate your clip directly in the Program Monitor to set up your effect instead of adjusting transform settings as explained in this section To activate the transform controls in the Program Monitor click the Transform icon or the name of the Matrox effect in the Effect Controls panel The direct manipulation mode buttons will appear in the upper left corner of the Program Monitor Precision Mode Position Scale Rotation Rotation Center Offset Select the transform setting you want to adjust by clicking the appropriate button Position Scale Rotation or Rotation Center Offset Precision Mode is available only in the Program Monitor and allows you to make precise adjustments with the currently selected transform setting The following table shows the available mouse controls for working in the Program Monitor Action Result Left mouse button Adjusts x and y axes SHIFT left mouse button drag left or right Adjusts x axis only SHIFT left mouse button drag up or down Adjusts y axis only CTRL left mouse button drag up or down Adjusts z axis only For example if you want to alter the position of your clip on the y axis only first click the Position button then press and hold SHIFT while dragging the mouse up or down in the Program Monito
108. ecting 29 Input device selecting 29 Input source selecting for audio capture 31 selecting for video capture 29 Interlaced clips mixing with progressive clips 19 20 Internet Matrox WWW site 190 Isolating colors in a clip using secondary color correction 84 K Key colors modifying using the chroma key graph 95 L Lens flare effect creating 108 Letterbox selecting for exported video 37 selecting for video output 25 LightWave 3D WYSIWYG plug in See NewTek LightWave 3D WYSIWYG plug in Luma key effect creating 111 overview 110 Index using the luma key graph 112 Luma key graph using 112 Luma mapping graph using 72 Luminance range settings for rendering to VFW files 155 M M2V files capturing using Adobe Premiere Pro 28 34 exporting using Matrox Media Encoder 43 Mask applying to effect 57 applying using Select Mask 58 Mask blur effect creating 116 Mask effect creating 114 Mask mosaic effect creating 118 Master output format selecting 25 supported formats based on project format 188 Matrox contacting us 190 WWW site 190 Matrox Axio offline HD projects editing on RT X2 186 Matrox Clip Notes exporting to PDF 44 Matrox CPU based effects 149 using with Adobe After Effects 50 Matrox DV DVCAM codec selecting for capture 29 selecting for export to disk 37 selecting for VFW render 156 Matrox DV HDV device control exporting to tape with 46 setting 44 Matrox DVCPRO codec selecting for captur
109. ector in the Luma Plot 113 Creating a luma key effect 114 Creating a mask effect The Matrox mask effect lets you choose from dozens of soft edged cutout shapes that you can apply to a clip to superimpose it onto another clip gt To set up a Matrox mask effect Click the triangle beside Matrox Mask to expand the property list Select Shape Click the button to the right of the current pattern to see the list of available mask patterns J Click here to selecta new pattern Shape Transparency Sets the transparency of the shape and the area around the shape At the default setting 0 the shape is completely opaque and the area around the shape is transparent Dragging the slider to the left increases the transparency of the shape Dragging the slider to the right decreases the transparency of the area around the shape Outside Transparency Sets the transparency level of the area outside your mask Note The Outside Transparency setting is applicable only if you ve scaled down moved or rotated your mask using the transform controls so that the mask doesn t cover the entire screen When Outside Transparency is applied the Shape Transparency sets the overall transparency of the entire clip Softness Applies softness to the edges of your mask Invert Mask Select this option if you want to invert the opaque and transparent areas of your mask Apply Crop to Video Only Select this if you want the mask to be sque
110. ed area is automatically stretched to the original size of your clip As a result the output may exceed the cropped area Color Source Options The color source options are available only when the corresponding face is set to display a color as specified using Cube Face Source e Color Sets the color to apply to the corresponding face e Alpha Sets the opacity of the color Transform Use these controls to apply or change various transform settings for your cube effect such as the position scale and rotation of the cube For more information see Transforming your clip on page 52 e Enhance Sharpness Lets you adjust the sharpness of your clip Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 101 Creating a crystallize effect The Matrox crystallize effect lets you choose from many different patterns that you can use to make your image or text appear as if it is made of crystals gt To set up a Matrox crystallize effect Click the triangle beside Matrox Crystallize to expand the property list vy tk Matrox Crystallize D Select Shape D Smoothness 0 0 D Crystal Opacity 0 0 Crystallize Alpha Channel D Mask Settings D Crop e Select Shape Click the button to the right of the current pattern to see the list of available crystal patterns Click here to x7 Select Shape select a new pattern e Smoothness Sets the smoothness applied to the colors in the crystal pattern The higher t
111. edsetneldwaiedenenbienaicdneeneadend 126 Creating a pan amp SCAM SHOCE miss cccccncccseieadieewcdaiveieveveinctalvcierdeemeiaeneee 128 Creating a ripple CO CE sisirin aaa 130 Creating a shadow effoCGt iissisiissrsiisssciicsnskocsasinssisidsandiipni sianar 132 Creating a Shine SWS CE iss cscccscaccdececnswexeascecusiceeedecmcnawectrdweeseameestarees 134 Creating a sphere SWC cee scesesncctesivedennecceieedenneeiecieedenierieneeieeiecies 138 Creating a surface finish effect 2 ccceeeee eee eee cence eee eeeeeeeeeeeeeeeeee 140 Creating a track matte CHECK xi ciciscsrceccsececnesccsnesecesveeesereieeeveretegeees 143 Orcatng a wiri CECE siinne aa 145 Creating a Wipe transition ccecceeeeeeeeee eee cee eee ee eee eeeeeeeeeeeeeeeeeeees 146 Using the Matrox chroma clamper effect 2 c eeeeeeeeee eee eeeees 148 Selecting your speed control Method 20 cceece eee eee eee eee eee eee e eee 148 About Adobe Premiere Pro s fixed effects c ceeeeeeeeeeeeeeeeees 148 Matrox RT X2 realtime guidelines ccceceeeeeeeeeeeeeeeeeeeeeeeeeeeeeeees 149 Supported Graphics TONnNIAtS sssi sirinin aa saaana 150 Epaien e ra E E E E A E E E AE E ET 150 Chapter 5 Using Matrox RT X2 with Video for Windows Programs OVER VIG WG siisii neni ENE EEN Ea 152 Using VFW programs without the RT X2 hardware s ssssssssssssu 152 Before you Start rendering sscscsisersicindisiiesirekinries ieor enar 153 Selecting color space convers
112. ee eee eee eee eee eee 88 Creating a blur soft focus CffECt 20 cece eee eee eee eee eee eee eens 90 Overview of the chroma key effects 2 0 ccceceeee eee eee ee eee eeeeeeeee 91 Creating a chroma key or chroma key shadow effect 92 Using the chroma key graph to modify key colors and peri rm an auto Key iseyin E A aAa 95 Creating amp CUBS ffet inosia aaa aia 98 Creating a crystallize CffeCt 200 ce cece eee eee eee eee aa 101 Creating a garbage matte effect 20 cece cece cece eee eee eee e eee eeeeeeeeee 103 Creating an impressionist CffECt 2 2 cece cece cece eee eee eee ee eee e enone 105 Creating a lens flare effect cc cceeeeeeeee sence eneeeeeeneeseeseeenonanees 108 Overview of the luma Key effect 0 2 ccce cece eee eee eee eee ee eee e enone 110 Creating a luma key eCffeCt 20 20 cece cece eee eee eee ee eee neces eeeeeeeeeeeee 111 Using the luma key graphene noinine a a E EEA 112 Creating a mask effei sssiciisieitaaresiwsiwassanastasdcuresvenkeaecosaanentasnenraanes 114 Creating a mask blur CHOC smiir a NRA 116 Contents Creating a mask MOSAIC effect 2 eee e ee ee cree eee eee eee eee eee eeeeeeeeeeeee 118 Creating a move amp scale CffECt 0 cceceee cece eee eee eee e eee eeeeeeeeeeeeeeee 120 Creating an Old movie effect cccceecee cee ee eee eee ee eee eeeeeeeeeeeeeeseeeees 122 Creating a PAGS curi effet ciccicsccsidisctrsdec
113. ee eee neers 34 Capturing HDV material on Matrox RT X2 SD ccceceeeeeeeee eee eeeeeeeee 35 Exporting to a Matrox AVi TG iiscsccsccescteteascereneceseeieeeteeseesecsdeansieainss 36 Selecting your MPEG 2 l frame settings cccceeeeeeeeeeeeeeeeeeeeeeee 39 Selecting your MPEG 2 IBP settings 2 cceeceeeeecee eee eeeeeeeeeeeeeeeeees 41 Exporting using Matrox Media Encoder 20 2cceeeeeeeeeeeeeeeeeeeeeees 43 Exporting using Matrox Clip NOtes cccceeeeeeeeee eee eeeeeeeeeeeeeeeeeeees 44 Setting up Matrox DV HDV device Control 2 cceeeeeeeeeeeee eee eeee 44 Exporting your sequence tO tape 1 cece cece eee e eee eee eee eee eee eeeeee 45 Preparing your tapes for FECONING s ciicsicsisserncesidsdensaisatcnaandeedendenteasareen 45 Avoiding missing frames when exporting to DV tape cee eee 45 Exporting to DV tape using DV 1394 device control cece eee 46 Creating an SD project in 16 9 format 0 2 cccec eee eee eee eee eee eee eee 47 Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro Available Cte Ces a iccissdensancas tendas sauces aia N 50 How to apply a Matrox video effect in Adobe Premiere Pro 51 How to apply a Matrox video transition in Adobe Premiere Pro 51 Transforming your CUP sc iesiccicascadtanteiteatadeeastedatvaiaa tacdadsdedeusdespavancaes 52 Using the transformi ConmtTrolS ae adn atta tem neinenancntcactaabanddurenpenndeesecsnoxte 52 Trans
114. effects and Adobe Premiere Pro native effects perform color space conversions YUV to RGB that will clip RGB values to the acceptable range of 0 255 per color component The clipping however is usually only required on clips that have very bright or highly saturated colors For example if you split a clip that contains very bright or highly saturated colors and apply a Matrox 3D DVE to one portion of the clip you may notice minor color differences between the two halves on your video monitor Applying the Matrox chroma clamper effect to the portion of the clip that does not have the 3D DVE effect ensures that colors remain constant throughout the clip Selecting your speed control method You can choose the type of speed control that s best suited for individual clips in your Premiere Pro projects By default the speed control method of each clip in the Timeline panel is set to Frame Blend which interpolates between the video fields or frames and typically works well on standard or slow paced video and camera pans For fast action video you may get better results by clearing this option To change the speed control method for a clip in the Timeline panel right click the clip and select Frame Blend to use the speed control method that s recommended for standard or slow paced video and camera pans or clear this option for fast action video Remarks e The Frame Blend option is not supported for speed changes over 200 e If you are
115. em Matrox MPEG 2 I frame Alpha Renders video to MPEG 2 intra frame format with alpha using the 4 2 2 Profile Main Level at a selected data rate SD resolution only Matrox MPEG 2 I frame HD Alpha Renders video to MPEG 2 intra frame format with alpha using the 4 2 2 Profile High Level at a selected data rate HD resolution only Converting a 32 bit tga sequence to an avi file with alpha 14 4 Click the Configure button to specify various options for the MPEG 2 I frame compression The configuration options are the same as when you capture or export video using Adobe Premiere Pro see Selecting your MPEG 2 I frame settings on page 39 5 Under Destination Folder either select Same folder as TGA or click Browse to specify where the avi file will be created Select Overwrite existing file if you want to overwrite any avi file with the same name in the specified folder 6 Right click the selected tga file s and choose Matrox AVI Alpha gt Convert to AVI Chapter 2 Working with mxf mp4 and avi Files Defining Your Adobe Premiere Pro Settings This chapter explains how to define various settings for using Matrox RT X2 with Adobe Premiere Pro This includes specifying your project and export settings 16 A note about running other programs with Adobe Premiere Pro For the best performance you shouldn t run any other programs at the same time as Adobe Premiere Pro If you choose to do s
116. en 4 2 2P ML 4 2 2 Profile Main Level An international standard video compression profile introduced by MPEG 2 It supports 4 2 2 luminance chrominance sampling at up to 720 x 608 pixel resolution and data transfer rates up to 50 Mb sec 5 96 MB sec This profile is used for high quality distribution and for archiving See also MP ML 4 corner pin A Matrox effect that lets you anchor each corner of a video or graphics clip onto points in an underlying clip even if the underlying clip is angled or skewed Appendix D Matrox RT X2 Glossary A A B roll Typically A B roll is an editing technique where scenes or sounds on two source reels called roll A and roll B are played simultaneously to create dissolves wipes and other effects On nonlinear editing systems A B roll refers to using two source streams avi wav tga and so on to create an effect advanced 2 3 3 2 pulldown A method that is often used to convert 23 98 fps progressive video to NTSC when the video is acquired by a camera shooting at 23 98 fps and recorded to DV tape Advanced 2 3 3 2 pulldown differs from standard 2 3 pulldown in that the two middle frames of a four frame sequence are each converted to three video fields This results in less image degradation when a reverse pulldown is performed to convert the video back to 23 98 fps progressive video AGP slot Connection slot to a type of expansion bus found in many computers The AGP slot is used
117. ere to select a new pattern Shape Transparency Sets the transparency of the shape and the area around the shape At the default setting 0 the shape is completely opaque and the area around the shape is transparent Dragging the slider to the left increases the transparency of the shape which makes the crystallize effect less apparent Dragging the slider to the right decreases the transparency of the area around the shape which increases the amount of crystals outside the mask area Outside Transparency Sets the transparency level of the area outside your mask Note The Outside Transparency setting is applicable only if you ve scaled down moved or rotated your mask using the transform controls so that the mask doesn t cover the entire screen Softness Lets you apply the crystallize effect to the edges of your mask Invert Mask Select this option if you want to invert the opaque and transparent areas of your mask Apply Crop to Video Only Select this if you want the mask to be squeezed to fit your cropped clip If you don t select this option the mask will be cropped by the same amount that you crop your clip Transform Use these properties to apply or change various transform settings such as the position scale and rotation settings of your mask For more information see Transforming your clip on page 52 Crop Allows you to crop the edges of your clip For more information see Croppi
118. erstanding Standard and Advanced Pulldown OVGIVIG W sce iss dices aasees miea a deeeseterssddeessadadescteuseeteceredan 172 Standard 2 3 PUNLGOWMN ivsiviec scasecsaaiccieatsanaavecwassanianvacbaswanranwacbestananxe 172 Matrox RT X2 implementation of standard reverse pulldown 173 Advanced 2 3 3 2 DUIOVWIA sissies necincicskanbeciacnantesestarteinasnaakarresteanas 173 Matrox RT X2 implementation of advanced reverse pulldown 174 Appendix B Matrox RT X2 Workflows MST WV ans sa han ccs wa sw rsa Ss cs ew ete ete een GG Oe ea RR ERE 176 Working with SD 24P material sisrisssississirsisssssinsisrsnsireasni scares 176 486p 23 98 fps workflow example 2 ceceeee eee ee cents eeeeeeeeaeaeeee 177 Working with HD ProjeGtS icaiis ites ctinsiecitea santas tides ta dtearaitedtadeesranceatad 178 1440x1080i p workflow example cccceeee cece cece ee eee cece eeeeeeeaeeeaees 179 T20p WOrKMOW example eena E 180 Capturing HDV and SD material to edit in SD on Matrox RT X2 181 Contents vi Capturing HDV and SD material on Matrox RT X2 SD 182 Using the Matrox MPEG 2 I frame HD Codec cccceeeeee eee eeeeeeees 183 MPEG 2 I frame HD codec workflow example for offline editing 183 MPEG 2 l frame HD codec workflow example for online editing 185 Using Matrox RT X2 to edit Matrox Axio offline HD projects 186 Supported video compression FOrmMalS
119. ettings allow you to manipulate this highlight Position Sets the location in the page curl where the highlight appears Intensity Sets the brightness of the highlight as a percentage Shadow Intensity Sets the darkness of the page curl shadow as a percentage Transform Allows you to apply or change various transform settings such as to change your clip s size position and rotation For more information see Transforming your clip on page 52 Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 Enhance Sharpness Lets you adjust the sharpness of your clip Creating a page curl effect 128 Creating a pan amp scan effect The Matrox pan amp scan effect lets you easily convert footage from one aspect ratio to another Tracking on screen action to make accurate judgements is easy because you see the entire source clip and the section of it that will become the final result You can use the Matrox pan amp scan effect to convert your entire production to another aspect ratio To do this you should apply the pan amp scan effect to a nested sequence 1 Choose File gt New gt Sequence 2 Give your new sequence a name and click OK 3 Drag your original sequence from the Project panel into the new sequence 4 Apply the Matrox pan amp scan effect to the new sequence 5 Adjust the pan amp scan settings as desired for your entire production For more
120. example to adjust black and white values on the red channel only select Red Only as your mode Enable Preprocessing Select this option to enable preprocessing Enabling this option will turn your clip black and white Note Adjusting the Color Gain and Color Addition controls will change the color of your clip If you would like your clip to remain black and white select Lock Colors for both the Color Gain and Color Addition Mode Lets you select the channel you want to use for the processing Click the triangle on the right to expand the list e Red Only Uses the red channel Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 123 e Green Only Uses the green channel e Blue Only Uses the blue channel Alpha Only Uses the alpha channel e Luma Uses the luminance values e Oversaturated Luma Uses the oversaturated luminance values only e Noise Noise Pattern Allows you to select a noise pattern Click the button on the right to see the list of available patterns Click here to i select a noise ee pattern Lifetime Sets the maximum number of frames that the noise pattern will remain immobile before moving to another random position Opacity Sets the opacity of the noise pattern Levels range from completely transparent 0 to opaque 100 Color Use this to set the noise color e Dust Dust Pattern Allows you to select a dust pattern Click the button on the right to see the li
121. export settings Note Exported audio will be embedded in your avi file and also saved as one or more separate wav files in the same folder as your avi file Matrox RT X2 does not support audio only exports to an avi file Chapter 3 Defining Your Adobe Premiere Pro Settings 39 Selecting your MPEG 2 I frame settings When you select the Matrox MPEG 2 I frame or Matrox MPEG 2 I frame HD format to capture or export your video using Adobe Premiere Pro you can specify various settings for the MPEG 2 I frame compression gt To select your MPEG 2 I frame settings 1 Click the Configure button This displays a dialog box similar to the following Matrox MPEG 2 I frame HD Settings x l OO ox p ou n Advanced gt gt 2 Drag the Data Rate slider until your desired data rate is displayed The higher the data rate you select the better the video quality will be The range of available data rates depends on whether you re using the Matrox MPEG 2 I frame HD or SD format O Important Depending on the capabilities of your system you may drop frames if you select a data rate higher than about 90 Mb sec 3 To apply advanced settings to your MPEG 2 I frame file click the Advanced button Note The default advanced settings should provide good results for most applications We recommend that you change these settings only when needed for special purposes 4 Under Rounding Type select one of the following MPEG 2 R
122. eyedropper to select a color on which you want to key Auto Key REE N Gaw key eyedropper The auto key eyedropper can be used in two ways Click the eyedropper button and click on a color on which you want to key Click the eyedropper button and click and drag anywhere on your clip to create a rectangular area containing the color on which you want to key The selected color will be an average of the pixel information contained within the rectangle You can further refine your auto key color by using the plus and minus eye droppers Auto Key BEEE Plus and minus eyedroppers For example if you selected light red as your auto key color and would like a dark red color in your clip to be included in the auto key you can use the plus eyedropper to select that dark red in your clip To remove colors from your auto key use the minus eyedropper Note The Show Key mode and any color correction applied will be temporarily deactivated in the Program Monitor when using an eyedropper Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 83 This allows you to see the original colors of your clip before any modifications were made Indicator Click this button to turn the indicator lines on or off Handles Click this button to turn the handles for the indicator lines on or off Creating a secondary color correction 84 Creating a color pass effect You can use the Matrox secondary color correction to create
123. ezed to fit your cropped clip If you don t select this option the mask will be cropped by the same amount that you crop your clip Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 115 e Transform Use these controls to apply or change various transform settings for your mask effect such as the position scale and rotation of the mask For more information see Transforming your clip on page 52 e Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 Creating a mask effect 116 Creating a mask blur effect The Matrox mask blur effect lets you create a region of interest by adding a mask to your clip and applying blurring to it You can choose from many different mask patterns gt To set up a Matrox mask blur effect Click the triangle beside Matrox Mask Blur to expand the property list 3z Te Matrox Mask Blur i Blur Settings D Color Gain Settings Mask Settings D Crop Blur Settings Let you adjust the amount of blurring in your clip Red Green Blue and Alpha Blur Amount Use these controls to adjust the amount of blurring to be applied to each of the color and alpha channels in your clip For example you can choose to apply blurring to only the red color component of your clip The Alpha Blur Amount is applicable only to graphics clips that have an alpha channel Lock Channels Select this to apply the same blur
124. face finish include a Z Scale property that allows you to adjust the depth of the effect X Y Z Rotation Use these controls to set the number of times the clip spins Each rotation of 360 produces one spin on the selected axis You can have positive or negative rotation from 360 to 360 X Y Z Rotation Center Offset Use the Rotation Center Offset controls to set the pivot point or center of rotation of your clip on the x horizontal y vertical and z depth axes When Rotation settings are applied your clip spins around this point You can use positive or negative pixel values to offset your clip on each axis In the illustrations below notice how different Offset values can affect the rotation of the cube Z Z z X X Y Y Figure 1 Offset at 0 0 0 Figure 2 Offset at 100 0 0 In Figure 1 the Offset values are 0 0 0 so the center of rotation for the cube is where the x y and z axes meet In Figure 2 the Offset value for the x axis is set to 100 thus moving the cube and the pivot point to the right so when the cube is rotated it has a wider arc when spinning around the axes Transforming your clip 54 Transforming a clip in the Program Monitor You can use your left mouse button to resize position and rotate your clip directly in the Program Monitor Effects that support transforming a clip in the Program Monitor have the Transform icon to left of the eff
125. ffect may require rendering when combined with other effects To set up a Matrox shadow effect Click the triangle beside Matrox Shadow to expand the property list v e Important Either your source clip or an effect applied to your source clip must contain alpha key information in order to create a shadow effect For example if you apply a shadow effect to a clip with no alpha key information and scale it down using Adobe s Motion effect you won t see any shadow because the Motion effect is the last effect applied and there is no alpha key information to create the shadow effect Whereas if you apply a Matrox 3D DVE to the same clip and then apply the shadow effect you will be able to see the shadow because the Matrox 3D DVE effect contains alpha information e Lock Colors Select this option to lock the colors and opacity values for the top and bottom corners of your shadow For example the color and opacity value you select for the top right corner will be used for all four corners of the shadow e Top Right Corner Color Use this to set the top right corner color Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 133 Top Right Corner Opacity Sets the opacity of the top right corner Levels range from completely transparent 0 to opaque 100 Top Left Corner Color Use this to set the top left corner color Top Left Corner Opacity Sets the opacity of the top left corner Levels range from completely trans
126. for keying the pale colors in your image High Gain This control is similar to the Low Gain setting except you use it to set the range of higher saturation values you want to be partially affected based on the value set by the High Clip control As you increase the High Gain setting less pixels are partially affected by the color correction If you decrease the High Gain setting more pixels are partially affected You can think of the High Gain control as defining an Untouched to Affected range for keying the vivid colors of your image High Clip This control is similar to Low Gain except you use it to select the higher saturation values to be keyed Note The values you can select using the Low Clip and Low Gain controls are dependent on the High Clip and High Gain controls and vice versa This prevents the low and high controls from keying on the same values e Luma Key This type of key lets you select areas to be keyed affected by the color correction based on their luminance value Enable Select this to enable the Luma Key properties and luma key indicator in the selective key graph Low Clip Use this to select the lower darker luminance values to be keyed A Low Clip setting of 0 represents black and a setting of Creating a secondary color correction 78 255 represents white Intermediate settings represent different shades of gray from very dark to very light gray Low Gain Use this to set the
127. forming a clip in the Program Monitor ccceeeeeeeeeeeeeeeeeeeeees 54 Contents Cropping your CUD sisiisiiastdiiasidiinaiaitaataidwateadandanseatindangisaceadnantaaeadeadin 55 USING Select CHOP sereen agnen n E EE A N RE an ERa E 56 Applying a mask to your effect 2 2 20 ccc cece eee eee eee ee eee eee enone 57 Using Select MASK s sisisevsesieas cavecadedvwercaseaseatidesmesvedveesvunseahasbdeanevrwerwnadeates 58 Creating a primary Color COrrectiOn 0cceeee eee ee eee cece eee e eee eeeees 59 Uong SOM VIESN agdeatars ated gta ie pepeca eed iiawes eee esa eos 61 Working with Split View in the Program Monitor ceceeeeseeeeeee tenes 61 Usno ROR CURVE Sirra aa 63 Adjusting tonal range soris E 65 Using the color balance Gra iliccccvsersncsctvcticisees este pianalniaudiavideaias 66 Performing an auto Balance cinin inair a dea ririri 69 Matching colors between two CIPS s s sssssesssesssnsrsnrrrsrrrtnrrrsrrrennrene 70 Using the luma mapping grapi sicnccacsccscnssccansscencssonansasennchiananchasnancmmanee 72 Creating a secondary color Correction s susssussrsrsnunnnnnnnnnnnnnnnnn 74 Using the selective key Qraph cceeeeeeeeeeeeeeeeeeee ener nessa eeaeeaeeeeeeaeeaeeees 79 Creating a Color pass GHeCh c ii siccs sisies dean sesnasridesctnernsadies senna era ania 84 Creating a 3D DVE CTOCE wvicciccinsvccianiactuevciuatsantenvatvanianraneelvanwauwesnann 85 Creating a 4 corner pin effect 22 c cece e
128. g the Matrox VFW software codecs on a system without the RT X2 hardware in your Matrox RT X2 Installation Manual you can render and play back RT X2 compatible avi files using your VFW program without having the RT X2 hardware in your computer Chapter 5 Using Matrox RT X2 with Video for Windows Programs 153 Note You must have the Matrox RT X2 hardware for full support of the Matrox MPEG 2 I frame HD codec The Alpha Matrox MPEG 2 I frame codecs are available only on a system that has RT X2 hardware Before you start rendering Before you start rendering material to a Matrox avi file make the following settings in your VFW program Set the appropriate frame rate for the video format to which you are rendering For example if you are rendering to PAL format set the frame rate to 25 fps Set the frame size of your rendered material to full screen 720x480 if you are rendering to NTSC or 486p format using the DV DVCAM DVCPRO or MPEG 2 I frame codec 720x576 if you are rendering to PAL or 576p format using the DV DVCAM DVCPRO or MPEG 2 I frame codec 1440x1080 or 1280x720 if you are rendering to 1440x1080i p or 720p format using the MPEG 2 I frame HD codec To render video using the same compression format frame size and frame rate as your source video but using a different video quality data rate or scanning mode interlaced or progressive you must select the Recompress Always option so that
129. g with a 1440 1080i p project you can import Sony XDCAM EX 1080i p HQ mode 1920x1080 and 1080i p SP mode 1440x1080 mp4 files for realtime playback You can also choose to import Panasonic P2 mxf files and Sony XDCAM EX 720p mp4 files to your 720p project for realtime playback When needed Matrox RT X2 will convert the clips to your project s video format by removing the redundant frames when the clips are played back on the timeline When your edits are complete you can export your project to an HDV device over the 1394 interface for a 1440x 1080i p project only or export to tape using your Matrox RT X2 s HD analog component output You can also choose to downconvert the video to NTSC or PAL to record to SD tape The format in which you can export depends on your project s video format as explained in Supported master output formats on page 188 Appendix B Matrox RT X2 Workflows 179 1440x1080i p workflow example The following diagram illustrates a typical workflow for working with a 1440 x 1080i p project on Matrox RT X2 Native HDV 1080i p or analog component video footage 1080i only Clips captured natively over the 1394 interface or Matrox MPEG 2 frame HD codec used to capture HD analog component video SD stock footage f p imported to project and Matrox project using XDCAM EX 1080i p scaled to project s a 1440x1080i p mp4 files imported to frame size for realtime project preset project playback
130. h retains the picture s full vertical resolution for display on a widescreen television To display the video with the correct Defining your General settings 26 proportions on an NTSC or PAL monitor select the 16 9 display setting on the monitor 5 If the Pulldown Method list is available select the pulldown method you want to be applied to your output video Standard 2 3 or Advanced 2 3 3 2 You should select Advanced 2 3 3 2 only if you ll be recording to a DV 1394 device that supports this pulldown method Depending on your project s frame rate and the current master output format a pulldown method may automatically be selected Under Analog Setup NTSC select the setup level you want for your NTSC analog video OIRE Applies a setup level of 0 IRE You should select this option only when working with a commercial DV 1394 device that uses the Japanese analog NTSC setup of 0 IRE For example if the video appears too bright when you play back DV clips on your NTSC monitor you can change the setup to 0 IRE to output your DV clips at the correct brightness 7 51RE Applies the standard NTSC setup level of 7 5 IRE Under Analog Output Type select the type of analog video output you want If you re outputting SD analog video you can select Component or Composite amp S Video If you re outputting HD analog video the analog output type will be set to Component Select Allow Super White to allow the highest l
131. he difference in luminance between the lightest and darkest areas of the image Brightness Adjusts the level of black in the image e RGB Curves Lets you use curves to adjust the red green and blue color channels of your clip individually or use a master curve to adjust all color channels simultaneously For more information see Using RGB curves on page 63 e Color Balance These controls let you adjust the mixture of colors in your clip Tonal Range Allows you to fine tune the tonal ranges of your clip by reducing the range of pixels included for shadows midtones or highlights For more information see Adjusting tonal range on page 65 Graphical Allows you to see a graphical representation of your changes when you adjust the color balance settings You can also modify most of the color balance settings directly within the graph For more information see Using the color balance graph on page 66 Numerical Lets you adjust your color balance settings numerically by entering values in the text boxes or by dragging the corresponding sliders You can adjust the Hue Saturation and Luminance for each tonal range Master Hue Saturation and Luminance Affects all areas of your clip from the lightest white to the darkest black Shadows Hue Saturation and Luminance Affects the darkest areas of your clip Midtones Hue Saturation and Luminance Affects the areas with tones between the darkest and
132. he first light along the horizontal axis e Y Position Sets the position of the first light along the vertical axis e Z Position Sets the depth of the first light e Relative Position Selecting this option makes the first light source position relative to the center of your clip For example if you move your clip the first light will move with it By default the position of the first light is relative to the center of the screen Second Light e Enable Select this to enable the second light e Color Use the color picker button or the eyedropper to select the color of your second light e Second Light Pattern Allows you to select the second light pattern Click the button on the right to see the list of available patterns e X Position Sets the position of the second light along the horizontal axis e Y Position Sets the position of the second light along the vertical axis e Z Position Sets the depth of the second light Creating a surface finish effect 142 e Relative Position Selecting this option will make the second light source relative to the center of your clip For example if you move your clip the second light source will move with it By default the second light source is relative to the center of the screen e Transform Allows you to apply or change various transform settings such as to change your clip s size position and rotation to create a rotating slab Note The transform properties for the surface f
133. he light refractions caused by shining a bright light into the lens of a camera when taking a photo You can choose from many different lens flare patterns gt To set up a Matrox lens flare effect Click the triangle beside Matrox Lens Flare to expand the property list vy Th Matrox Lens Flare si D Light Source Position Center Position Select Shape Global Settings Flare Settings Crop VVVVV e Light Source Position X amp Y Position Sets the position of the light source along the horizontal and vertical axes The refractions caused by the light source will move in accordance with its position Z Position Sets the depth of the light source L Tip You can easily adjust the light source position directly in the Program Monitor To do this click the Transform icon iik beside Matrox Lens Flare in the Effect Controls panel A crosshair will appear in the Program Monitor Drag the crosshair to position the light source along the horizontal and vertical axes Center Position X Position Sets the position of the lens flare along the horizontal axis Y Position Sets the position of the lens flare along the vertical axis e Select Shape Click the button to the right of the current pattern to see the list of available lens flare patterns Click here to Vv Select Shape select anew pattern e Global Settings X Y Scale Use these controls to make your lens flare smaller or larger Full screen size is rep
134. he value the less sharp the colors become e Crystal Opacity Sets the opacity of the crystals Levels range from completely transparent 0 to opaque 100 e Crystallize Alpha Channel Enables alpha for the crystallize effect so the crystals will remain visible even on the anti aliased edges of a title or DVE This option is enabled by default but can be cleared if you find that the crystals make your title difficult to read Note Crystallize Alpha Channel is applicable only when your source clip or an effect applied to your source clip contains alpha key information For example if you apply the crystallize effect to a clip with no alpha key information and scale it down using Adobe s Motion effect the crystals will not be visible on the edges of your clip because the Motion effect is the last effect applied and there is no alpha key information to crystallize Whereas if you apply a Matrox 3D DVE to the same clip and then you apply the crystallize effect you will be able to apply and see the crystallized edges because the Matrox 3D DVE effect contains alpha information e Mask Settings Let you select a mask pattern and adjust the transparency settings to define the area where you want to apply your crystallize effect Enable Mask Select this option to enable the mask Creating a crystallize effect 102 Select Shape Click the button to the right of the current pattern to see the list of available mask patterns Click h
135. her refine your key Areas that are completely affected by the color correction are white untouched areas are black and gray areas are partially affected Expand Outside Mask Applies the color correction settings outside the mask area This setting is especially useful when setting up a color pass effect where you have several objects of the same color but want to retain the color for only one object For more information see Creating a color pass effect on page 84 Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 79 Using the selective key graph The selective key graph allows you to modify your selective key settings Hue Key Saturation Key and Luma Key directly in the graph You can also perform an auto key e Map This is the default view when you first expand the graphical property You can drag the handles to move the indicator to different regions in the graph to adjust the Hue Key Saturation Key and Luma Key settings Map Plot Hue Sat OF Lum Show Key Auto Key HEA Handles In order to see the indicator and handles you have to enable the key setting you want to use For example if you want to adjust the Hue Key properties you need to click the Hue button in the selective key graph or select the Enable option in the Hue Key numerical properties In the following graph the Hue properties have been enabled Map Plot Hue Sat Lum Show Key Auto Key mere
136. hese avi files correctly in Adobe After Effects or Adobe Premiere Pro you ll need to use the Interpret Footage command to change the pixel aspect ratio to 1 0 You can configure Matrox EZ MXF to create only video files only audio files or both types of files By default Matrox EZ MXF is set to create both video and audio files gt To create Matrox EZ MXF files 1 2 3 In Windows Explorer right click the desired mxf file or selected files and choose Matrox EZ MXF AVI gt Configure Configure Matrox EZ MXF AVI V Create video files AVI IV Create audio files WAY Cancel In the Configure Matrox EZ MXF AVI dialog box specify the type of files you want to create video and or audio and click OK Note The file type settings will remain in effect until you change them Right click the desired mxf file or selected files and choose Matrox EZ MXF AVI gt Create The reference avi and wav files are created as per the folder structure for Panasonic P2 as explained in the next section Important Once the Matrox EZ MXF files are created do not change the location or name of the referenced mxf files or your VFW program won t be able to locate your mxf material If this occurs Matrox RT X2 will display an appropriate error message Panasonic P2 folder structure Panasonic P2 files are organized in a specific folder structure as follows CONTENTS J aupio 9 cup E Icon C proxy E v
137. his to adjust the midtones in your clip without adjusting black or white e Mask Allows you to apply a mask to your effect For more information see Applying a mask to your effect on page 57 e Selective Key The selective key settings allow you to apply the color correction effect to a specific range of pixels in your clip Performing a selective key is similar to performing a chroma or luma key however with a selective key you are applying color correction to the keyed area instead of transparency For example if you use the selective key properties to select red as your Hue color the color correction will be applied to the red regions in your clip You can enable each keyer Hue Saturation and Luma individually or enable all three at the same time to get the desired results Graphical Allows you to see a graphical representation of your changes when you adjust the selective key Numerical settings You can also modify the settings directly within the graph and perform an auto key For more information see Using the selective key graph on page 79 Numerical Lets you adjust your key settings numerically by entering values in the text boxes or by dragging the corresponding sliders e Hue Key This type of key lets you select areas to be keyed affected by the color correction based on their hue Enable Select this to enable the Hue Key properties and hue key indicator in the selective key graph Hue Use
138. his to set the size of your sphere Transparency Sets the transparency of your clip from opaque 0 to fully transparent 100 If you re performing a sphere transition the transparency level is applied to your initial image For example you can set the transparency to 0 at the first frame and 100 at the last frame to create a crossfade between your initial and final images Edge Softness Selects the amount of softness to apply to the edges of your clip Show back face Select this option to show the back face of your sphere Clear this option if you re applying transparency to your clip and you do not want to see the back face of your clip through your sphere Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro Light Settings Show Light Position Select this option to display a diamond shaped cursor that shows the position of the light source highlight on your sphere Make sure you clear this option before exporting your final project X Y and Z Light Position Use these controls to determine the position of your light source along the X Y and Z axes of your sphere Shadow Intensity Use this to add shadow and adjust the darkness of shadow on your sphere Light Intensity Use this to add light and adjust the brightness of the light on your sphere Light Size Use this to alter the size of the highlight Light Color Use the Color Picker button or eyedropper to select the color
139. ial on Matrox RT X2 47 Windows Explorer displaying details for clips 8 Wipe transitions creating 146 Workflows for Matrox RT X2 176 WWW site 190 WYSIWYG Control Panel See Matrox WYSIWYG Control Panel WYSIWYG plug ins See Matrox WYSIWYG plug ins Xx X info error notification 169 hardware information 168 hardware accelerated effects on RT X2 169 monitoring Adobe Premiere Pro memory usage 166 monitoring temperatures 169 system information 166 using 166 XDCAM EX files See Sony XDCAM EX files XMP files created for M2V clips 34 213 Index 214 Your notes Index Digital Video Solutions www matrox com video
140. ications Realtime mixed format multi camera editing e Realtime high quality hardware downconverting for SD output of an HD project e Accelerated media encoding including export to DVD Flash Video and Adobe Clip Notes e WYSIWYG plug ins for many popular compositing and animation programs including Adobe After Effects Adobe Photoshop and Autodesk Combustion e DV 1394 composite S Video and SD HD analog component video input and output e Full resolution DVI output for previewing the video output on a DVI monitor that accepts digital input such as an inexpensive digital flat panel display Not supported on RT X2 LE About this manual This manual explains how to use Matrox RT X2 with the provided Matrox software including how to use your RT X2 system with Adobe Premiere Pro Note Throughout the Matrox RT X2 documentation the term RT X2 refers to RT X2 RT X2 LE and RT X2 SD unless indicated otherwise Style conventions The following style conventions are used in this manual e When an operation is different between Windows Vista and Windows XP the operating system is displayed in brackets after the operation For example right click Computer Vista or My Computer XP e The names of files directory paths and manuals appear in italics For example The data is stored in the sample wav file The file is located in your C Windows System directory Please refer to your Matrox RT X2 Inst
141. ideo and graphics clips into spirals coils or whirlpools e X amp Y Position Sets the position of the twirl along the horizontal and vertical axes e Inner Radius Determines the circumference of the center of your twirl The higher the radius the larger the center of the twirl becomes e Outer Radius Width Height Use this control to adjust the width and height of your twirl simultaneously The higher the value the larger your twirl becomes If you clear Fixed Aspect Ratio you can adjust each control individually e Angle Sets the angle of your twirl in degrees e Invert Lets you reverse the direction of the twirl so that it twirls outward from the inner radius e Smoothness Sets the smoothness applied to the colors in the twirl The higher the value the less sharp the colors become This is useful if you want to remove artifacts that may appear when using a high angle for your twirl e Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 Creating a twirl effect 146 Creating a wipe transition The Matrox wipe transitions support standard dissolves SMPTE wipes and organic wipes with soft edges and color borders gt To set up a Matrox wipe transition Click the transition s icon in your sequence then click the Custom button in the Effect Controls panel This opens the Customize Matrox Wipes dialog box Customize Matrox Wipes l ssec panem o5 ma
142. ideo for a 1440x 1080i project 8 If you re capturing to a Matrox MPEG 2 format click the Configure button to configure your MPEG 2 settings For details on the available settings see Selecting your MPEG 2 I frame settings on page 39 or Selecting your MPEG 2 IBP settings on page 41 Once you ve configured your settings click OK to return to the Matrox Capture Settings dialog box 9 Select Use Automatic Gain Control AGC if you want the gain of your composite or S Video input signal to be adjusted automatically to compensate for very bright or dark images This improves the brightness or contrast of your picture 10 Click OK to save your settings and return to the Project Settings dialog box Chapter 3 Defining Your Adobe Premiere Pro Settings 31 Specifying your audio capture settings You can specify various audio capture settings such as to specify your input source and the type of audio files either stereo wav or mono wav that you want to create when capturing audio on Matrox RT X2 Remarks e When you capture to an avi file on Matrox RT X2 the clip s video and audio are saved to the avi file and the clip s audio is also saved to one or more separate wav files You could choose to edit the separate wav files using audio post processing software such as Adobe Soundbooth e When you capture to an m2v file on Matrox RT X2 the clip s associated audio is always saved to one or more separate stereo wav f
143. iginal Alpha Select this option if you would like the brush strokes to be confined within the transparent areas in your clip This is useful if you are using a title Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 107 e Blend Over Original Use this to blend the brush strokes with your original image This is useful when you are using smaller brush strokes and want to reduce any semi transparent areas around the brush strokes e Texture Map Method Use the menu on the right to choose how your brush stroke colors will be processed Preprocess The brush stroke colors are based on the underlying pixels of the original image When you move the brush strokes they retain their original color Postprocess The brush stroke colors change with the underlying colors of the clip For example if your brush strokes are mostly blue and then they are moved to an area of the clip that contains red they will turn red e Random Seed Adjust this setting to change the placement of brush strokes in your clip The brush strokes are randomly affected based on the value you select For example if you notice the brush strokes in your clip are always in the same place you can use this setting to move them e Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 Creating an impressionist effect 108 Creating a lens flare effect The Matrox lens flare effect lets you simulate t
144. ile 1 Choose File gt Export gt Movie Click the Settings button and from the File Type list select Matrox AVI 2 From the Range list select an export range then select any additional export options Chapter 3 Defining Your Adobe Premiere Pro Settings 3 From the menu on the left side of the dialog box choose Video 4 From the Compressor list select the compression format you want for your exported file Important The Matrox codecs are listed in all supported SD and HD formats The format is shown in brackets beside the codec name such as NTSC Make sure you select a Matrox codec in one of the supported video formats for your project as listed in the above table Matrox DV DVCAM Renders video to DV or DVCAM format Matrox DVCPRO Renders video to DVCPRO format Matrox MPEG 2I frame Renders video to MPEG 2 intra frame format using the 4 2 2 Profile Main Level at a selected data rate SD resolution only Matrox MPEG 2 I frame HD Renders video to MPEG 2 intra frame format using the 4 2 2 Profile High Level at a selected data rate HD resolution only If you selected Matrox MPEG 2 I frame or Matrox MPEG 2 I frame HD click the Configure button to select your MPEG 2 I frame settings For details on the available settings see Selecting your MPEG 2 I frame settings on page 39 From the Pixel Aspect Ratio list select the setting that matches the aspect ratio of your material D1 DV
145. ile to be created When Matrox RT X2 saves each wav file it assigns a Stereo wav or Mono wav suffix to the base name you gave for the associated video file For example if you ve named your video file MyFile avi the associated stereo audio files would be named MyFile Stereol wav MyFile Stereo2 way etc Remarks The channels that you choose to save to the first stereo wav file or first two mono wav files will be embedded in the associated avi file When you import your avi file to the Project panel the clip s separate wav files will also be imported and the embedded audio in the avi file will be ignored The clip s avi file and first associated wav file however will appear as a single Movie clip in your project The embedded audio in the avi file will Chapter 3 Defining Your Adobe Premiere Pro Settings 33 be used only if the avi file does not have any associated wav files Therefore if you perform audio post processing on your avi files make sure you delete the associated wav files so that only the embedded audio in the avi files will be used in your project When performing an audio only capture Matrox RT X2 supports capture of only one stereo pair Your first stereo or first two mono channels will be saved to a single stereo wav file any other channels will be ignored When RT X2 saves the wav file of an audio only capture it does not assign the Stereo wav suffix to the filename 7 Click OK t
146. iles gt To specify your settings for capturing audio in Adobe Premiere Pro on Matrox RT X2 1 Choose Project gt Project Settings gt Capture 2 From the Capture Format list select Matrox AVI to capture to an avi file or Matrox M2V to capture to an m2v file for SD projects only 3 Click the Configure button then click the Audio Capture Settings tab a ars je ae l Filename StereoZ ya D 4 If you selected the RT X2 breakout box as your video input device see Specifying your video capture settings on page 28 you must also select the source from which you want to capture audio Your audio source must match the audio input where you connected the cable labeled TO AUDIO CARD IN from your RT X2 breakout box as explained in your Matrox RT X2 Installation Manual For example if you plugged the TO AUDIO CARD IN connector into the Line In jack or corresponding jack on your sound card select Line In from the Input Source list Defining your Capture settings 32 Remarks If all available audio inputs don t appear in the Input Source list select List all audio inputs If your audio input connection does not appear in the list you must unplug the TO AUDIO CARD IN connector and connect it to an audio input on your sound card that appears in the list If your analog audio source appears with an beside it in the list your sound card does not have matching audio
147. ing in the area outside the mask so that only the underlying image appears outside the mask For example you can define a mask area where you want the keying to be performed and show only your underlying image outside the mask This is useful if you re having problems keying on an area at the edges of your foreground image gt To adjust the mask properties Click the triangle next to Mask to expand the property list Vv Mask Left 0 00 D Right 100 00 D Top 0 00 D Bottom 100 00 Vv Select Invert im The properties under Mask let you control the area on the clip where you want to apply the mask You can enter the values you want in the text boxes or drag the appropriate sliders Left Right Top and Bottom e Left Adjusts the left edge of your mask e Right Adjusts the right edge of your mask e Top Adjusts the top edge of your mask e Bottom Adjusts the bottom edge of your mask e Select Mask Displays a dialog box in which you can apply your mask settings see Using Select Mask on page 58 e Invert Inverts the mask so that your effect is applied outside the mask instead of within the mask Applying a mask to your effect 58 Using Select Mask To apply a mask to your Matrox effect using the Select Mask dialog box click the triangle next to the Select property to expand it then click the Select Mask button Select Mask Bottom The Select Mask dialog
148. inish effect include a Scale Z property that allows you to adjust the thickness of your slab For more information about using the other transform properties see Transforming your clip on page 52 e Enhance Sharpness Lets you adjust the sharpness of your clip Important Ifyou are working in HD the surface finish effect may require rendering based on certain setting combinations Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro Creating a track matte effect The Matrox track matte effect lets you superimpose one clip onto another using an animated matte sometimes called a traveling matte to determine how the two clips are composited keyed You can use any of the following types of clips as your matte e A grayscale video or graphics clip e A graphics clip or graphics sequence with an alpha channel e Any clip to which you ve applied an effect that provides an alpha channel such as a Matrox chroma key or 3D DVE When using a grayscale clip as your matte areas of black in the matte create transparent areas in your foreground clip areas of white create opaque areas that prevent the underlying clip from showing through and gray areas create semi transparent areas in your foreground clip gt To set up a Matrox track matte effect 1 Place your background clip underlying image on the appropriate lower track in your sequence such as on the Video 1 track Place your matte clip directly above you
149. ion Options cceeceeeeeeeee teens teens 154 Rendering material to a Matrox VFW avi file 2 eceeeeeeee eee 156 Configuring the Matrox MPEG 2 I frame Codecs 0 eeeeeeeeee es 157 Chapter 6 Using the Matrox WYSIWYG Plug ins OVERVIEW onsen O O OE 160 Configuring the Matrox WYSIWYG Control Panel ccecseeeeeeeees 160 Contents Required steps to use the WYSIWYG plug ins 2 20 eeeeeeeeeeee 162 Adobe After EMS CtS cis sissicscuiccsnaanticnnenencasamsendenencnehae kaos aaa aniani 162 AOOBS PRGtO SMO exicnas cate cise aotvecsnddnandatenvennchantncinaraausatengenaicassnannacen ten 162 PPO SSIES AS AKG rA EE 162 Autodesk C mDUStOM sinen nAaR A EAEN 162 By OM FUSION er aa AAE OE 162 NewTek VV ave 3D oaii E a a eE RARA 163 Chapter 7 Monitoring Your Matrox RT X2 System Using X info to display RT X2 information 0 eceeeeeeeee seen eee 166 Monitoring your Adobe Premiere Pro memory USAGE 0 eeeeee ee 166 Displaying systemi INTORMALTOM naceynin yaa 166 Displaying hardware Information rsotsssririosirsier ass serine rsni sannana 168 Monitoring your RT X2 card s operating temperatures 169 Enabling and disabling the Matrox hardware accelerated effects IVAGODS Premiere PrO s cissccscssssescstessdsssscvesessavernsrecsvnassnentassaaseanesessas 169 Error NSTMCAMOM a ciiniancarvetnaasancginsaesniiepaveiwarincotsnavaadewsteinneacievedeecaseak 169 Appendix A Und
150. ion does not affect clips that have already been imported into your project To scale individual clips in a sequence right click the clip in the Timeline panel and choose Scale to Frame Size Because you can also mix interlaced and progressive clips that have the same frame size and frame rate in a project when you apply realtime scaling to a clip it will play back in real time even if the clip s scanning mode interlaced or progressive doesn t match your project Depending on your project s video format realtime scaling of clips is supported as shown in the following table Project video format Supported realtime scaling of clips NTSC Downscale 1440 x 1080i p 29 97 fps PAL Downscale 1440x1080i p 25 fps 486p 23 98 fps Downscale 1440x 1080p 23 98 fps 486p 29 97 fps Downscale 1440 x 1080i p 29 97 fps 576p 25 fps Downscale1440 x 1080i p 25 fps 1440x 10801 25 fps Upscale PAL and 576p 25 fps 1440x 10801 29 97 fps Upscale NTSC and 486p 29 97 fps 1440x 1080p 23 98 fps Upscale 486p 23 98 fps 1440x 1080p 25 fps Upscale PAL and 576p 25 fps 1440x 1080p 29 97 fps Upscale NTSC and 486p 29 97 fps Remarks Realtime scaling is not supported for the following Matrox offline HD clips Matrox avi files with alpha Sony XDCAM EX 1080p 23 98 fps SP mode 1440 x 1080 mp4 files in an SD project Sony XDCAM EX 1080i p HQ mode 1920x 1080 mp4 files in an SD project Chapter 3
151. it to load your P2 memory card for use with Matrox RT X2 However the device must show up in Windows as a drive 2 You can either edit directly from the P2 device or from the computer s hard drive If you choose to edit your mxf clips from the computer copy the Panasonic P2 folder structure to your computer s hard drive For information regarding the Panasonic P2 folder structure see Panasonic P2 folder structure on page 10 3 Import the native mxf files into Adobe Premiere Pro s Project panel like any other file To help you select your shots you can enable thumbnail view and add details for your mxf files in Windows Explorer or Premiere Pro s Import or Get Properties dialog box For more information on displaying mxf file information see Displaying information for clips in Windows Explorer on page 8 4 Edit your project with the native mxf files from the Project panel applying effects and mixing the mxf files with other clips as you see fit 5 Add Adobe After Effects compositing with a simple copy and paste or import the mxf files into After Effects and edit them as you see fit Note Matrox RT X2 does not support exporting to an mxf file Chapter 2 Working with mxf mp4 and avi Files Working with native XDCAM EX mp4 files in Adobe Premiere Pro Note Matrox RT X2 SD does not support XDCAM EX files Matrox RT X2 supports realtime playback of Sony XDCAM EX 1080i p and 720p mp4 files in Adobe Pre
152. ittering by using only the Offset control Probability Specifies how often the jitter will occur The higher the value the more probable the jitter Offset Specifies how far the image jitters vertically upward Distance Between Frames Sets the space in between the current frame and the next frame jittering upwards The higher the value the more space between the two frames Flicker Manual Control Select this option to manually control when the flickering occurs by using only the Highest Intensity control Enabling this option will disable all other flicker controls Frequency Specifies the amount of flickering that occurs The higher the value the more flickering you will see Lowest Intensity Sets the lowest level of brightness which creates a progression from dark to bright between this level and the Highest Intensity level during the flicker Lower values will start the flicker at a darker level For example if you want your flickering to progress from complete darkness to normal brightness you would select 0 for the Lowest Intensity and 100 for the Highest Intensity Highest Intensity Sets the highest level of brightness the flicker will attain Note Ifyou enable Manual Control you can use Highest Intensity to control the flickering by creating keyframes at various levels of brightness Randomize Specifies the amount of random flickering that will occur For example at 0 there will be no
153. kes along the x axis X Position Variation Use this to set the maximum percentage that a brush stroke will move in relation to the X Mean Position value For example if you set the X Position Variation value to 5 each brush stroke will randomly move between 0 and 5 of the X Mean Position value Y Mean Position Sets the position of the brush strokes along the y axis Y Position Variation Use this to set the maximum percentage that a brush stroke will move in relation to the Y Mean Position value For example if you set the Y Position Variation value to 5 each brush stroke will randomly move between 0 and 5 of the Y Mean Position value Link X amp Y If you select this option you only need to adjust the x size values and the y size values will be identical Brush Opacity Mean Opacity Use this to set the opacity of the brush strokes Levels range from completely transparent 0 to opaque 100 Opacity Variation Use this to set the maximum percentage of opacity that a brush stroke will reach in relation to the Mean Opacity For example if you set the Mean Opacity value to 5 the opacity for each brush stroke will be randomly set between 0 and 5 of the Mean Opacity value Smoothness Sets the smoothness applied to the colors in the brush strokes The higher the value the less sharp the colors become This is useful if you want to remove artifacts that may appear when using a brightly colored image Use Or
154. l Super Video CDs will play back on some DVD set top players S Video A component video signal in which the luminance Y and chrominance C information are separate S VHS videocassette recorders use the S Video format Also called Y C video sync A circuit or signal that directs the electron gun in a camera or TV picture tube to hold a picture steady on the screen It also synchronizes the electronics of other video equipment sync generator An electrical device that generates sync timing signals used to synchronize video equipment and keep pictures stable on the screen T TBC See time base corrector telecine process A process that transfers film negative or positive to SD or HD video tape The telecine process shines a light Glossary of terms 202 source through each frame converting the optical images to an electronic signal that is then recorded to video tape temporal redundancy reduction See inter frame compression texture mapping A display technique where bitmaps textures are placed mapped onto 3D surfaces to make objects look more realistic time base corrector TBC An electronic device that when connected to the output of a VTR corrects the stability and timing of the VTR s playback video This is achieved by stripping the unstable horizontal and vertical sync pulses from the video signal and replacing them with new clean sync pulses time code A sequential code number
155. l six cube faces to display a predetermined RGB color front red back green left blue right yellow top cyan bottom violet Since color shows highlight and shadow better than video this option is useful for viewing the results when you adjust the highlight and shadow settings Show Light Direction Displays a three dimensional arrow that gives a visual representation of the light direction that you can use as a viewing aid while adjusting the light rotation The arrow is white when the light is directed away from you and gets progressively darker as the light direction rotates towards you Make sure you clear this option before exporting your final project X Light Rotation Rotates the light along the x axis Y Light Rotation Rotates the light along the y axis ZLight Rotation Rotates the light along the z axis Cube Faces Front Back Left Right Top Bottom All six cube faces share the following settings Cube Face Source Sets whether the corresponding cube face displays a color the primary source that the cube effect is applied on or one of the two extra sources as selected under Additional Sources Crop Allows you to crop the edges of your source clip For more information see Cropping your clip on page 55 The crop settings are available only when the corresponding face is set to display a video source 99 Creating a cube effect 100 Important With the Matrox cube effect the cropp
156. lar default zig zag scanning pattern of the AC coefficient of the DCT block as defined in the ISO IEC 13818 2 figure 7 2 specification documentation Alternate Sets an alternate zig zag scanning pattern of the AC coefficient of the DCT block as defined in the ISO IEC 13818 2 figure 7 3 specification documentation Use this setting when capturing or rendering video at a high data rate for example at a data rate of 100 Mb sec or higher 6 Under Rounding Type select one of the following MPEG 2_ Rounds the AC coefficients up to the nearest whole number when calculating the quantization coefficient Matrox Custom Truncates the AC coefficients to the lowest whole number when calculating the quantization coefficient In some cases this setting may yield less artifacts in graphics 7 Select the Force Frame based DCT setting to render macroblocks as frames rather than as fields In some cases graphics will yield less artifacts if this option is selected 8 Click OK to save your settings The settings you selected will be used each time you render material with your program until you change the settings again Chapter 5 Using Matrox RT X2 with Video for Windows Programs Using the Matrox WYSIWYG Plug ins This chapter explains how to use the Matrox WYSIWYG Control Panel and plug ins available with Matrox RT X2 so that you can display the contents of your composition or animation on your video monitor 160 Overvie
157. lecting channels 32 Audio conform files suppressing creation of 22 Audio levels monitoring for capture 33 recording and playback volume controls 16 Audio waveform files suppressing creation of 22 Auto balance performing using color correction 69 Auto key performing using the chroma key graph 95 performing using the selective key graph 82 Autodesk 3ds Max WYSIWYG plug in about 160 206 required steps 162 See also Matrox WYSIWYG plug ins Autodesk Combustion WYSIWYG plug in about 160 required steps 162 See also Matrox WYSIWYG plug ins Automatic Gain Control selecting 30 AVI files capturing using Adobe Premiere Pro 28 creating from a 32 bit TGA sequence 12 creating from MXF files using Matrox EZ MXF 9 creating reference files for large HDV clips 11 displaying information in Windows Explorer 8 exporting using Adobe Premiere Pro 36 rendering using VFW programs 152 156 Axio offline HD projects editing on RT X2 186 B Blur soft focus effect creating 90 C Capture format selecting for video capture 29 Capturing using Adobe Premiere Pro HDV material on RT X2 SD 35 182 HDV material to edit in SD on RT X2 181 monitoring audio levels for 33 specifying Matrox settings for 28 Chroma clamper effect using 148 Chroma filtering and chroma interpolation for rendering to VFW files 155 Chroma key effect creating 92 overview 91 using the chroma key graph 95 Index Chroma key graph using 95 Chroma key shadow effect creating 9
158. lied to foreground clip D Video video 2 Ss D Video 1 Matrox Source Identifier effect applied to matte clip 5 Click the triangle beside Matrox Track Matte to expand the property list vy Matrox Track Matte Select Matte Source Composite Type Reverse fw 6 Click the triangle beside Select Matte Source and select the unique ID number that you assigned to your matte clip 7 Click the triangle beside Composite Type and select any of the following composite types Alpha Uses the alpha channel of your matte to key your foreground image This is applicable only if your matte is a graphics clip that has an alpha channel or a clip to which you ve applied an effect that provides an alpha channel such as a Matrox chroma key Luma 0 255 Uses the full range of luminance levels in your matte to key your foreground image This is applicable only if your matte contains super black and super white luminance levels Luma 16 235 Uses the standard range of luminance levels in your matte to key your foreground image 8 To reverse the result of your track matte effect select Reverse This inverts the key to give you the opposite result transparent areas of your foreground image become opaque and opaque areas become transparent Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 145 Creating a twirl effect The Matrox twirl effect lets you create twirl patterns that twist and rotate your v
159. light Intensity Sets the darkness of the highlight as a percentage e Border Settings Round Corner Size Allows you to round the corners on the edges of your clip e Softness Lets you adjust the amount of softness on the edge of your clip by dragging the slider or entering a percentage in the text box The higher the value the less sharp the edge will become Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 131 Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 Important Due to the shape of the ripple effect your effect may exceed the cropped area Ripple Softness Use this to add softness to the alpha channel in the ripple so that the outline of the ripple will appear smoother Transform Allows you to apply or change various transform settings for your ripple such as the size position and rotation of the ripple For more information see Transforming your clip on page 52 Creating a ripple effect 132 Creating a shadow effect The Matrox shadow effect lets you project a realistic shadow from any source containing key information such as DVEs and titles with an alpha channel You can tint the shadow and position scale and rotate it to match the angle of the surface on which it is cast Applying blur to the shadow can simulate the realistic look of diffused light being projected on the source Note Ifyou are working in HD the Matrox shadow e
160. line editing project is then exported to tape for broadcast Using the Matrox MPEG 2 I frame HD codec 184 This workflow scenario is represented in the following diagram Analog component video Matrox MPEG 2 frame HD footage shot as 1080i codec set at 50 Mb sec used 29 97 fps or 25 fps to capture clips Matrox offline editing project using a 1440x1080i MPEG 2 l frame project preset Offline project is trimmed offline clips are unlinked and recaptured using the Matrox MPEG 2 I frame HD codec at 90 Mb sec or higher Exported to tape as finishing quality HD video for broadcast Appendix B Matrox RT X2 Workflows 185 MPEG 2 I frame HD codec workflow example for online editing In this workflow example the Matrox MPEG 2 I frame HD codec is used to capture video clips for use in an online editing project The clips are captured with Matrox RT X2 at a data rate of 90 Mb sec or higher and then used to complete an online editing project A VFW application such as Adobe After Effects is used to create a composition that is rendered using the VFW MPEG 2 I frame HD codec and imported into the online editing project When the edit is complete it is exported to tape for broadcast This workflow scenario is represented in the following diagram Analog component video footage shot as 1080i 29 97 fps or 25 fps Matrox MPEG 2 I frame HD codec MPEG 2 I frame HD clips used set at 90 Mb sec or higher used to
161. lip and High Clip handles or you can use the luminance eyedropper to automatically pick the luminance value you want to key on The eyedropper can be used in two ways Click the eyedropper button and click on the color with the desired luminance value in your clip Click the eyedropper button and click and drag anywhere on your clip to create arectangular area containing the luminance values you want to select The selected luminance will be an average of the luminance values contained within the rectangle Note Any luma key displayed in the Program Monitor will be temporarily deactivated when using the luminance eyedropper This allows you to see the colors of your clip before any modifications were made You can also adjust the softness of your key with the Low Gain High Gain and Transparency handles All these adjustments affect the shape and size of the luminance selector as follows LOW CLIP lg HIGH CLIP gt gt TRANS 4 RA K_A LOW GAIN HIGH GAIN e Plot Click this button to see the luminance spectrum with a plot that shows each luminance value present in your image as a vertical line in the histogram A longer line indicates a higher amount of pixels in your image of that line s luminance value You can drag the handles in the luma plot spectrum to adjust the Transparency Low Clip High Clip Low Gain and High Gain properties Any adjustments made affect the shape and size of the luminance sel
162. ls so that the mask doesn t cover the entire screen Shape Transparency Sets the transparency of the shape and the area around the shape At the default setting 0 the shape is completely opaque and the area around the shape is transparent Dragging the slider to the left increases the transparency of the shape which makes the shine effect less apparent Dragging the slider to the right decreases the transparency of the area around the shape which increases the amount of shine outside the mask area Transform Use these properties to apply or change various transform settings such as the position scale and rotation settings of your mask For more information see Transforming your clip on page 52 e Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 Creating a shine effect 138 Creating a sphere effect The Matrox sphere effect lets you wrap your clip around a true 3D sphere with shadow and highlight The radius of the sphere the position of the light and the progression from a flat 2D clip to a fully formed sphere are all keyframeable gt To set up a Matrox sphere effect Click the triangle next to Matrox Sphere to expand the property list gt gt e e Sphere Settings Progression Use this to set the progression for your sphere where 0 leaves your clip as a flat 2D image and 100 creates a fully formed sphere Radius Use t
163. miere Pro Both 1080i p HQ mode 1920 x 1080 and 1080i p SP mode 1440x1080 clips are supported in your 1080i p projects and will be automatically scaled to your project s frame size as needed For example when you import XDCAM EX 1080i 29 97 fps HQ mode 1920x1080 clips to a 1440x 10801 29 97 fps project the clips are automatically downscaled to 1440x 1080 Realtime downscaling of XDCAM EX 1080i p SP mode clips in SD projects is also supported as explained in Mixing SD and HD clips in a project on page 20 Note Instead of importing XDCAM EX clips directly to your Adobe Premiere Pro projects you should copy the clips from your XDCAM EX device to your computer s hard drive E Working with native XDCAM EX mp4 files in Adobe Premiere Pro Displaying information for clips in Windows Explorer Matrox RT X2 extends the functionality of Windows Explorer by allowing you to easily view and manage your mxf and avi files by providing thumbnail previews Vista and XP and additional file details XP only Note You can view thumbnails and additional details for mxf and avi files in any application where you can choose the thumbnails or details view such as Adobe Premiere Pro s Import dialog box Thumbnails preview Matrox RT X2 allows you to view thumbnails of mxf and avi files in Windows Explorer The thumbnail will display the first frame of the clip Without Matrox RT X2 only the default Windows icon would appear I
164. mplished by representing the first frame of progressive video frame A as two fields of video fields a1 and a2 the second frame frame B as three fields of video fields b1 b2 and b3 the third frame frame C as three fields fields c1 c2 and c3 and the fourth frame frame D as two fields fields d1 and d2 Performing an advanced reverse pulldown 2 3 3 2 cadence reverses the process by converting 29 97 fps interlaced video to 23 98 fps progressive video This is achieved by discarding a video frame two video fields from the sequence From the diagram above a typical advanced reverse pulldown would discard video fields b3 and c1 This means that the application can remove video frame C from the sequence without reading the other frames When compared to standard reverse pulldown advanced reverse pulldown results in less degradation in the converted video because removing an entire frame from the sequence leaves the remaining frames in the sequence intact and therefore preserves the native generation of the video Matrox RT X2 implementation of advanced reverse pulldown The advanced reverse pulldown process is simpler than a standard reverse 2 3 pulldown because the additional frame video frame C in the diagram above is tagged when the 23 98 fps progressive footage is recorded to tape This information is present in the DV stream and when Matrox RT X2 performs an advanced reverse pulldown it reads this information to identify
165. n RT X2 SD Matrox HD presets are provided for capturing HDV material Make sure you select the appropriate preset for your HDV footage such as the Matrox 1440x1080i 29 97 fps HDV preset if your footage was shot in Sony 1080 60 format or the Matrox 1440x1080i 25 fps HDV preset if your footage was shot in Sony 1080 50 format On RT X2 SD you can capture HDV material in an SD project as explained in Capturing HDV material on Matrox RT X2 SD on page 35 3 From the Location list select where you want to save the project on your A V drive 4 Inthe Name box specify a name for your project 5 Click OK to apply the settings Chapter 3 Defining Your Adobe Premiere Pro Settings Setting up your scratch disks When specifying the location of your scratch disks in Adobe Premiere Pro make sure you follow the recommendations in your Adobe Premiere Pro User Guide For example always store your video and audio files on an A V drive gt To specify your scratch disks 1 Choose Edit gt Preferences gt Scratch Disks 2 Under Scratch Disks select an appropriate A V drive letter for each scratch disk type Tip To enhance performance store your media cache files on a drive separate from your video files 3 Click OK to save your preferences Important Make sure that you specify the same scratch disk settings for all your projects This will help shorten the amount of time it takes to open new or existing projects Displayi
166. n a folder containing mxf or avi files enable the thumbnails view as follows e In Windows Vista choose View gt Tiles or any of the icon options such as Large Icons except Small Icons Note In Windows Explorer ensure that Always show icon never thumbnails is cleared in Organize gt Folder and Search Options gt View e In Windows XP choose View gt Thumbnails Additional file details in Windows XP On a Windows XP system Matrox RT X2 lets you add additional details for mxf and avi files in Windows Explorer gt To add clip details in Windows Explorer 1 Start Windows Explorer and ensure that the details view is selected for the appropriate folder by choosing View gt Details Chapter 2 Working with mxf mp4 and avi Files 2 Choose View gt Choose Details Choose Details Select the details you want to display for the files in this folder Details T Start Timecode Matrox had Duration Matrox Video Standard Matrox Codec Matrox Frame Rate Matrox Aspect Ratio Matrox User Clip Name Matrox P2 Top Clip Name Matrox P2 Next Clip Name Matrox P2 Program Name Matrox P2 Scene No Matrox P2 Take No Matrox P2 Shooting Location Matrox P2 Shooter Matrox P2 Start Date Matrox P2 v Width of selected column in pixels 60 3 In the Choose Details dialog box select the check boxes correspo
167. nding on your project s video format you can capture HDV 1080i p 29 97 fps material in an NTSC or 486p 29 97 fps project HDV 1080i p 25 fps material in a PAL or 576p 25 fps project HDV 1080p 23 98 fps material in a 486p 23 98 fps project Your HDV clips will be downscaled when you scale the clips to your project s frame size for realtime playback as explained in Mixing SD and HD clips ina project on page 20 gt To capture HDV 1080i p material on Matrox RT X2 SD 1 oo fF WwW N N Make sure that your HDV device is properly connected to the 1394 port on your Matrox RT X2 breakout box Choose Project gt Project Settings gt Capture From the Capture Format list select HDV Capture and click OK Choose Edit gt Preferences gt Device Control From the Devices list select DV HDV Device Control Click Options and make sure that your device control options are correctly set as explained in your Adobe Premiere Pro documentation Click OK to save your settings 8 Capture your HDV clips as explained in your Adobe Premiere Pro documentation Capturing HDV material on Matrox RT X2 SD 36 Exporting to a Matrox avi file Several software codecs are included with Adobe Premiere Pro so that you can export your video to different formats Your Matrox RT X2 system adds several Matrox codecs to the ones included with Premiere Pro Because the Matrox codecs use your RT X2 hardware to accelerate rende
168. nding to the desired Matrox or Matrox P2 details Detail names followed by Matrox P2 are specific to Panasonic P2 files for example User Clip Name Shooter Shooting Location and Scene No 4 Click OK 5 To apply the change to all folders choose Tools gt Folder Options gt View gt Apply to All Folders Creating Matrox EZ M SF files for playback with VFW applications Note The Matrox EZ MXF utility is not available on RT X2 SD because Matrox RT X2 SD does not support mxf files Many animation compositing and motion graphics applications used by video editors read Video for Windows VFW avi files but these applications are not designed to read mxf files The Matrox EZ MXF utility creates a very small reference avi file along with the associated mono wav files from an mxf file without modifying the contents of your original mxf file or its metadata Your VFW application plays the created avi and wav files which reference the original mxf file Remarks e Windows Media Player does not support mxf files You can therefore use the Matrox EZ MXF utility to create reference avi and wav files for your mxf files that you want to play back using Windows Media Player Creating Matrox EZ M F files for playback with VFW applications 10 For mxf files that have a frame size of 1440 x 1080 the created reference avi files will have a frame size of 1920x1080 and a 1 333 pixel aspect ratio To display t
169. ng SD and HD clips in a project on page 20 When you apply a DVE or other effect that resizes a realtime scaled clip the full screen image is resized including any letterbox or pillarbox black bars By disabling the accelerated scaling to frame size any black bars in your scaled clips will become transparent but your scaled clips will require rendering Disable accelerated transitions Select this if you d like to disable the realtime accelerated playback of Premiere Pro transitions that support this feature Because Matrox RT X2 emulates Premiere Pro s non realtime version of these transitions if you don t like the emulation you can disable the accelerated transitions to revert to Premiere Pro s non realtime version that requires rendering Accelerate Motion using Select this if you d like realtime accelerated playback of Premiere Pro Motion effects You can then select one of the following to determine how you want the Motion effects to be processed e Matrox move amp scale Maps the Motion effects to the Matrox CPU based move amp scale effect which gives the best results if you only want to create picture in picture effects without rotation If you apply rotation when you set up a Motion effect it will require rendering e Matrox 3D DVE Maps the Motion effects to the Matrox hardware accelerated 3D DVE effect which supports rotation The picture however won t be as sharp as when you map the Motion effects Chapter 3
170. ng warnings in Adobe Premiere Pro s Events panel Matrox RT X2 uses Adobe Premiere Pro s Events panel to issue certain error messages and warnings To display these choose Window gt Events For more information about using the Events panel see your Adobe Premiere Pro documentation Mixing interlaced and progressive clips ina project When editing on Matrox RT X2 you can mix interlaced and progressive clips in the same project as long as the clips have the same frame size and frame rate Both the interlaced and progressive clips will play back in real time For example when working in an NTSC project you can import NTSC clips as well as 486p 29 97 fps clips and 1440x 1080p 29 97 fps clips to which you ve applied realtime scaling as explained in Mixing SD and HD clips in a project on page 20 You should be aware however that when you apply effects to clips that have a scanning mode progressive or interlaced that doesn t match your project some undesirable artifacts may appear in your clips 19 Setting up your scratch disks 20 Mixing SD and HD clips in a project Matrox RT X2 supports realtime playback of SD clips in an HD project and HD clips in an SD project To do this however the clips must be scaled to your project s frame size If you want the scaling to be performed when you import the clips into your project choose Edit gt Preferences gt General and select Default scale to frame size This opt
171. ng with clips and effects to facilitate color correction To prepare your workspace for color correction choose Window gt Workspace gt Color Correction To set up a Matrox primary color correction Click the triangle next to Matrox Color Correction Primary or Matrox Color Correction Primary Advanced to expand the property list v a gt Note The RGB Curves and Tonal Range settings are available only with the advanced versions of the Matrox primary and secondary color correction effects Because the advanced versions of these effects require additional system resources you should apply them only if you want to use the RGB Curves or Tonal Range settings e Enable Split View Select this option to split your clip into two sections in the Program Monitor and on your video monitor One section will display your clip as you adjust the color correction controls and the other section of Creating a primary color correction 60 the clip will remain unchanged For more information see Using Split View on page 61 Important This option is for preview only You should clear it before you render your clip otherwise the split will appear in your video output e Proc Amps The processing amplifier proc amp controls allow you to adjust different aspects of your clip Hue Adjusts the tint of the colors in the image Saturation Adjusts the saturation vividness of the image s colors Contrast Adjusts t
172. ng your clip on page 55 Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 103 Creating a garbage matte effect The Matrox 4 point 8 point and 16 point garbage matte effects let you use individual control points to determine the shape of a garbage matte applied to a clip to superimpose it onto another clip You can use these effects to create a garbage matte for cropping unwanted objects from a foreground image in a chroma or luma key effect For example by applying a garbage matte to your key foreground image you can drag up to 16 control points to crop specific areas of your clip and show only your underlying image outside the matte gt To set up a Matrox garbage matte effect Click the triangle next to Matrox Garbage Matte 4 Points Matrox Garbage Matte 8 Points or Matrox Garbage Matte 16 Points to expand the property list v e v e Matte Settings The particular control points available depend on the type of garbage matte effect that you applied 4 8 or 16 point Use the provided control points to adjust the shape of your garbage matte The values represent the horizontal and vertical positions of each control point L Tip You can easily position each control point directly in the Program Monitor To do this click the Transform icon R beside the effect name in the Effect Controls panel A cursor will appear at each control point in the Program Monitor Drag these cursors to adjust the shape of y
173. ns for your realtime accelerated Premiere Pro effects For example you can choose to disable certain features and specify how you want your Motion effects to be processed For details see Selecting options for accelerated Premiere Pro effects on page 24 Under Realtime Indicator Threshold drag the slider to set the threshold at which Matrox RT X2 determines that a segment in the Timeline panel is realtime Drag to the left to set a lower safer threshold or to the right to set a higher more aggressive threshold For example if you find that Matrox RT X2 does not identify any segments as being non realtime that is with a red bar and you have dropped frames when you export your project to tape you can set a safer threshold to force more segments to require rendering and avoid having dropped frames Alternately if you find that some segments are identified with a red bar but they don t have dropped frames you can set a more aggressive threshold Under Audio Conform Waveform File Creation indicate whether or not you want audio conform and pek waveform files to be created when you import clips to your project Chapter 3 Defining Your Adobe Premiere Pro Settings 10 11 12 13 14 Create audio conform and PEK files Creates both audio conform and pek files Create PEK files Creates only the pek files audio conform files won t be created You can clear either one or both of these options to indicate
174. ny source that provides alpha key information such as Matrox DVEs and titles with an alpha channel shine effect A Matrox effect that lets you create rays that shine through text or add shimmer to an object in your clip You can also use the shine effect to make 2D text appear as 3D text SMPTE Society of Motion Picture and Television Engineers A professional society of motion picture and television engineers that prepares standards and documentation for television production spatial redundancy reduction See intra frame compression sphere effect A Matrox effect that lets you wrap your clip around a true 3D sphere with shadow and highlight 201 striping a tape Preparing a tape for editing by recording continuous control track time code and a video signal such as black or color bars super See graphics overlay super black Video that is darker than the standard black level See also super white super white Video that is brighter than the standard white level See also super black surface finish A Matrox effect that lets you apply various surface textures to your clips such as metal brick wood or granite with color spot lighting SVCD Super Video CD A standard for storing video and audio on a CD that provides better video quality than VCD and standard VHS Video is compressed using MPEG 2 at 2500 Kbps and audio is compressed as MPEG 1 layer II at 224 Kbps An SVCD can hold about 30 minutes of materia
175. o however make sure that you start Adobe Premiere Pro and open your Matrox RT X2 project before starting the other programs Otherwise Adobe Premiere Pro may fail to start If this happens quit all programs and then restart Adobe Premiere Pro L Tip When Adobe Premiere Pro is running you can monitor your Adobe Premiere Pro memory usage To do this hold your mouse pointer over the Matrox X info Bi icon For details on using Matrox X info see Chapter 7 Monitoring Your Matrox RT X2 System Setting your system s volume levels To properly capture and play back audio in Adobe Premiere Pro make sure you ve set appropriate recording and playback volume levels for your system as follows For Windows Vista 1 Right click the speaker icon on the Windows taskbar and choose Playback Devices 4 Tip If you don t see the speaker icon right click the Windows taskbar and choose Properties click the Notification Area tab select Volume and click OK 2 From the list of available devices double click the device that you want to use with your Matrox RT X2 system 3 Click the Levels tab and for each of the controls Line in Microphone etc make sure the volume slider is at an appropriate level such as at midpoint As well make sure that each control is not muted Note If youhave an active audio stream connected to an input on your audio card via the RT X2 breakout box you must mute the input to avoid hearing the audio when y
176. o enable or disable the Luma Key properties Low Clip Low Gain High Gain and High Clip When enabled you will be able to see the Lum Key indicator and handles to modify the Luma Key properties in the selective key graph rman LowClip LowGain HighGain HighClip Low Clip Low Gain High Gain High Clip Map Plot Hue Sat Lum Show Auto Key EEE Indicator Handles p Tip For both the Saturation Key and Luma Key properties you can lock and move all the handles at the same time in the selective key graph by pressing SHIFT and then dragging any handle If you press CTRL you can lock and move either the Low Clip and Low Gain handles or High Gain and High Clip handles Creating a secondary color correction 82 Note Ifyou want to reset the hue saturation and luma key properties to the default settings at any time click the appropriate Reset button Saturation Key Hue E button Sat Lum Show Key Click this button to display the matte used to define your selective key region This enables you to further refine your key Areas that are completely affected by the color correction are white untouched areas are black and gray areas are partially affected Auto Key Click this button to automatically key on the most common color at the current frame except gray Selecting Auto Key affects values for the Hue Key Saturation Key and the Luma key properties Alternately you can use the auto key
177. o on a CD that provides slightly better video quality than standard VHS Video is compressed using MPEG 1 at 1100 Kbps and audio is compressed as MPEG 1 layer II at 224 Kbps A VCD can hold about 60 minutes of material Video CDs can play back on most DVD set top players See also SVCD vectorscope A device that measures the phase and amplitude of the color components of a video signal VITC Vertical Interval Time Code Time code that is encoded onto the vertical blanking interval of a video signal VITC can be read by a VTR whenever an image is displayed but not usually during high speed operation See also LTC voice over Narration added to a video segment and mixed in louder than the original background sounds W WAV An audio data file format developed by Microsoft and IBM This format is the standard for Windows and can be played by most applications that can support sound white balancing A color correction technique that adjusts the color levels of an image using white or gray as a color reference point White balancing assumes that when a white object can be made to look white the other color levels will also be accurate White balancing is used to correct improper color levels of an image that are due to varying lighting conditions or incorrect camera settings White balancing can be performed using the Matrox color correction effect and is also available as a setting on most cameras white level The brightest
178. o preview your wipe transition Drag the slider beside the Play button to scrub through your transition Click the Play button or press the SPACEBAR to play back your transition Select Loop if you d like the wipe to play back continuously until you click Stop You can adjust the wipe settings as your transition is playing to immediately see the result of your changes 5 Use the controls under Presets to save and load your wipe transition settings You can also create default settings for your wipe transitions Save Allows you to save your organic wipe settings to a file for future use When you click the Save button the Save As dialog box opens and allows you to name your effect and save it as a Matrox wipe transition mwt file Load Click this button to load a previously created mwt file Set as Default Sets your current wipe settings as the default settings for Matrox wipe transitions Restore Default Click this button to restore the default settings you specified using the Set as Default button For more information about setting up transitions see your Adobe Premiere Pro documentation Creating a wipe transition 148 Using the Matrox chroma clamper effect You can use the Matrox chroma clamper effect to ensure that when you ve applied effects that perform color space conversion on part of a clip the clip s colors remain constant throughout Some effects such as Matrox hardware accelerated
179. o save your settings and return to the Project Settings dialog box Monitoring audio levels for capture If you select Show VU meters on the Audio Capture Settings page each time you configure your Matrox RT X2 capture settings or open the Capture panel to start a capture in Adobe Premiere Pro VU meters will be displayed to let you monitor the levels of your currently selected audio input source 7 Audio Input Levels Clipping detectors Peak level indicators As you play your audio source the color of the input level is green at or below 12 dBSF yellow between 12 and 6 dBFS and red above 6 dBFS The clipping detectors will light up become red whenever audio clipping occurs The peak level indicators are thin lines that show the highest level recently reached These indicators will show the peak level for about two seconds or until a higher peak level is reached If needed adjust the audio level on your source device to keep the average input level between 30 and 10 dBSF You can also use Windows Volume Control to adjust your audio input levels as explained in Setting your system s volume levels on page 16 Defining your Capture settings 34 Notes about capturing to Matrox m2v files When capturing to Matrox m2v files keep the following points in mind Automatic scene detection Scene Detect is not supported but batch capture is supported The associated wav files for your m2v clips
180. o your clip using the Select Crop dialog box click the triangle next to the Select property to expand it then click the Select Crop button Note When working with the Matrox cube effect Select Crop is available only for the primary source Select Crop Ce The Select Crop dialog box allows you to crop your clip in two ways e Click and drag directly in the Select Crop window to create the rectangular cropping area To resize your cropping area drag any side of the rectangle For example drag the right side of the rectangle to crop the right edge of your clip To resize the entire cropping area at once drag one of the corners the corner that s diagonally opposite the corner you are moving will remain stationary e Use the Left Right Top and Bottom controls to crop any edge by a given number of pixels You can enter values in the text boxes or drag the sliders to resize your crop area For example drag the Left slider to crop the left edge of your clip Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 57 Applying a mask to your effect Many of the Matrox effects allow you to add a mask to define the area where you want to apply your effect For example you may want to apply a color correction to only one area of your clip and leave the rest of the clip untouched Adding a mask to the chroma or luma key effect and selecting Transparent Outside Mask lets you disable key
181. or animation s grayscale alpha key matte information From the Scaling menu select one of the following options for your preview output Seale to fit Select this to scale your output to fit your video monitor The aspect ratio of your project format will be preserved Original Size Select this to output your video without any scaling If you are playing back HD clips in an SD project your output will be centered on your video monitor Configuring the Matrox WYSIWYG Control Panel 162 Required steps to use the WYSIWYG plug ins The following sections list the steps required to use the Matrox WYSIWYG plug in for each application in order to preview your composition or animation on your video monitor Note The following procedures may change with a subsequent release of the program Adobe After Effects 1 Start Adobe After Effects and import the footage you want to preview 2 Drag the footage from the Project window to the Composition window Adobe Photoshop 1 Start Adobe Photoshop and open the file you want to preview 2 Choose File gt Export gt Matrox WYSIWYG Preview Autodesk 3ds Max 1 Start Autodesk 3ds Max and open the file you want to preview 2 Open the Render Scene dialog box by choosing Rendering gt Render 3 Under Render Output click Devices 4 Inthe Select Image Output Device dialog box select Matrox WYSIWYG Preview and click OK 5 Click Render Autodesk Combustion 1 Start Autodesk Comb
182. order type Border Inside Color Use the color picker or eyedropper to set the inside color of your border which will create a gradient between this color and the outside color of your border Border Inside Transparency Sets the transparency of the inside color of your border Round Corner Size Allows you to round the corners on the edges of your border Corner Point Offset Allows you to move the position of the corner points of your border so that you can create various shapes for your 3D DVE Negative values bring the corner points towards the center of the clip while positive values move the corner points outward Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 87 e Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 e Enhance Sharpness Lets you adjust the sharpness of your clip Creating a 3D DVE effect 88 Creating a 4 corner pin effect The Matrox 4 corner pin effect lets you anchor each corner of a video or graphics clip onto points in an underlying clip even if the underlying clip is angled or skewed You could use this effect for example to overlay a video clip onto an underlying clip of a television screen gt To set up a Matrox 4 corner pin effect Click the triangle next to Matrox 4 corner Pin to expand the property list Vv LI Matrox 4 corner Pin Top Left Corner Top Right Corner Bottom Left Corner
183. orking with an SD project on RT X2 you can also capture video directly to an m2v file for DVD authoring using Adobe Encore Working with SD 24P material 178 Working with HD projects Note Although Matrox RT X2 SD does not support working with HD projects you can capture and import HDV 1080i p clips to an SD project on RT X2 SD as explained in Capturing HDV and SD material on Matrox RT X2 SD on page 182 Matrox RT X2 lets you capture native HDV material over the 1394 interface and capture HD analog component input to MPEG 2 I frame HD format Native HDV and MPEG 2 I frame HD clips can be mixed in real time in the same HD project You can also import SD clips to your HD project and Matrox RT X2 will upscale the clips in real time as explained in Mixing SD and HD clips ina project on page 20 Note When working with a 720p or 1440x 1080p project you can capture native HDV material over the 1394 interface but analog component capture is not supported Matrox project presets are provided for capturing to native HDV or MPEG 2 I frame HD format but regardless of which preset you choose to create your project you can change your capture settings at any time to switch between capturing native HDV using DV 1394 input and capturing HD analog component video to MPEG 2 I frame HD format For more information about capturing to MPEG 2 I frame HD format see Using the Matrox MPEG 2 I frame HD codec on page 183 When workin
184. ors have a low saturation value and are located at or near the center of the spectrum Vivid colors have a high saturation value and are located at or near the perimeter of the spectrum Because pale colors have low saturation you ll find them more difficult to key on than the vivid colors Saturation Threshold Use this to proportionally increase or decrease the region outside of your saturation range This controls how closely the Saturation value must match the key color before a region becomes transparent For example after applying a chroma key effect to a foreground image that includes dark areas or shadows that you want to preserve in your effect you may find that these areas have become semi transparent By adjusting the Saturation Threshold you can eliminate the key color from these dark areas so that they ll become completely opaque Softness Use this to soften the edges of your key by blending parts of your foreground image with your underlying image This makes certain areas of your foreground image partially transparent instead of completely transparent or opaque Spill Removal Use this to remove the contamination spill that your key color may leave on or around the edges of your foreground image Spill is usually caused by light reflecting from your solid color backdrop key color onto your foreground image Spill Removal replaces your key color from the spill areas with the opposite color in the spectrum which ret
185. ou re not working in Premiere Pro 4 Click OK and click the Recording tab 5 From the list of available devices double click the device input that you want to use as the audio source such as Line in with your Matrox RT X2 system 6 Click the Levels tab and make sure the volume slider is at an appropriate level such as at midpoint Chapter 3 Defining Your Adobe Premiere Pro Settings L 17 7 Repeat steps 5 and 6 for every audio input source that you intend to use with your Matrox RT X2 system For example if you intend on recording audio from a microphone set the volume levels for the Microphone input 8 Click OK 9 Click OK to close the dialog box For Windows XP 1 Double click the speaker icon on the Windows taskbar Tip If you don t see the speaker icon on your Windows taskbar run Sounds and Audio Devices from the Windows Control Panel select Place volume icon in the taskbar then click OK 2 Choose Options gt Properties From the Mixer device list make sure that the audio device you want to use with your Matrox RT X2 system is selected Select the Playback option then select all check boxes in the list Click OK For each of the controls Line in Wave etc make sure the Volume sliders are at an appropriate level such as at half level As well clear all the Mute check boxes Note Ifyou have an active audio stream connected to an input on your audio card via the RT X2 breakout box you mus
186. ou ve set up Matrox DV HDV device control as explained in Setting up Matrox DV HDV device control on page 44 7 Choose File gt Export gt Export to Tape For information about exporting your sequence to tape using Adobe Premiere Pro see your Adobe Premiere Pro documentation Chapter 3 Defining Your Adobe Premiere Pro Settings Creating an SD project in 16 9 format When editing on Matrox RT X2 you can choose to work with SD source video that s been recorded in either the 4 3 standard TV screen format or the widescreen 16 9 format gt To create an SD project in 16 9 format on Matrox RT X2 do the following 1 Record your video onto tape with your camera set to the widescreen 16 9 format The video will be recorded as horizontally compressed 4 3 anamorphic video Start Adobe Premiere Pro and select the appropriate Matrox widescreen preset such as DVCPRO Widescreen This ensures that the effects you create on Matrox RT X2 will be displayed with the correct proportions when viewed in 16 9 format Capture your video clips as you normally would Select the 16 9 display option on your NTSC or PAL video monitor to unsquish the video and play it back in widescreen format without distortion If you create animations titles or graphics for your project using a program that lets you set the pixel aspect ratio use the appropriate setting for 16 9 display For NTSC or 486p video set the pixel aspect ratio to 1 1
187. ou can capture HDV material in an SD project using Adobe Premiere Pro s HDV capture feature instead of Matrox s capture feature as explained in Capturing HDV material on Matrox RT X2 SD on page 35 Specifying your video capture settings Matrox RT X2 lets you capture your video to various formats depending on your project s video format For example if you re working with an SD project such as NTSC you can capture to a DV format such as DVCPRO to create avi files for use in your Premiere Pro projects When working with an SD project you can also choose to capture video to an m2y file for DVD authoring using Adobe Encore These m2v files are not supported in your Matrox projects but are supported in Adobe Encore For details about specific limitations when capturing to Matrox m2v files see Notes about capturing to Matrox m2v files on page 34 To specify your settings for capturing video in Adobe Premiere Pro on Matrox RT X2 1 Choose Project gt Project Settings gt Capture 2 From the Capture Format list select Matrox AVI to capture to an avi file or Matrox M2V to capture to an m2v file for SD projects only 3 Click the Configure button then click the Video Capture Settings tab putocopuesetens Fee vp conone o e nr a a MUU s d Matrox MPEG 2 I frame v Chapter 3 Defining Your Adobe Premiere Pro Settings 4 Under Input Device select one of the following
188. ounds the AC coefficients up to the nearest whole number when calculating the quantization coefficient Matrox Custom Truncates the AC coefficients to the lowest whole number when calculating the quantization coefficient In some cases this setting may yield less artifacts in graphics 5 Under DC Precision select the bit depth precision of the DC intra block Selecting your MPEG 2 I frame settings 40 Note The higher the DC precision value that s used to capture or render your video the more likely that the DC content will be increased at the expense of the AC content in the encoded stream This may result in lowering the overall quality of the compressed stream at a specified data rate Under Zig Zag Type select one of the following Regular Sets the regular default zig zag scanning pattern of the AC coefficient of the DCT block as defined in the ISO IEC 13818 2 figure 7 2 specification documentation Alternate Sets an alternate zig zag scanning pattern of the AC coefficient of the DCT block as defined in the ISO IEC 13818 2 figure 7 3 specification documentation Use this setting when capturing or rendering video at a high data rate that is at a data rate of about 25 Mb sec for SD video or 90 Mb sec or higher for HD video Select the Force Frame based DCT setting to render macroblocks as frames rather than as fields In some cases graphics will yield less artifacts if this option is selected 8 Click O
189. our VFW program Before you start rendering 156 Rendering material to a Matrox VFW avi file When you render material to an avi file such as when you render a finished video production or an animation you must select the compressor codec you want to create the file The compressor determines the quality of your rendered video Refer to your program s documentation for instructions on how to select a compressor for your avi file Note When specifying your Export Movie settings in Adobe Premiere Pro you must set the File Type to Microsoft AVI on the General page then select the compressor you want on the Video page gt To create a Matrox VFW avi file 1 Select one of the following codecs from your program s list of available compressors Matrox DV DVCAM Renders video to DV or DVCAM format Matrox DVCPRO Renders video to DVCPRO format Matrox MPEG 2 I frame Renders video to MPEG 2 intra frame format using the 4 2 2 Profile Main Level at a selected data rate SD resolution only Matrox MPEG 2 I frame Alpha Renders video to MPEG 2 intra frame format with alpha using the 4 2 2 Profile Main Level at a selected data rate SD resolution only This codec is available only on a system that has the Matrox RT X2 hardware Matrox MPEG 2 I frame HD Renders video to MPEG 2 intra frame format using the 4 2 2 Profile High Level at a selected data rate Matrox MPEG 2 I frame HD Alpha Renders vi
190. our garbage matte Matte Opacity Use this to set the opacity of your garbage matte Levels range from completely transparent 0 to opaque 100 Creating a garbage matte effect 104 e Edge Softness Lets you apply softness to the edges of your garbage matte e Invert Matte Select this option if you want to invert the opaque and transparent areas of your garbage matte e Show Matte Only Select this to display only the matte used to create your garbage matte displayed as a white video clip Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 105 Creating an impressionist effect The Matrox impressionist effect lets you choose from many different patterns that you can use to make your image appear similar to an impressionist painting e Select Shape Click the button to the right of the current pattern to see the list of available impressionist patterns Click here to select a new pattern Brush Stroke Count X amp Y Brush Stroke Count Use these to specify the number of brush strokes along the x and y axes If you select Link X amp Y you only need to adjust the X Brush Stroke Count and the Y Brush Stroke Count will be set to the same value e Rotation Mean Rotation Use this to adjust the rotation of the brush strokes Positive values rotate the brush strokes clockwise and negative values rotate the brush strokes counterclockwise Rotation Variation Use this to set the maximum percentag
191. ox RT X2 allocates to work with your project Although this optimizes memory usage the changes in memory management could affect realtime performance depending on the content of your project If you experience dropped frames try clearing this option to see if the performance improves Under Matrox RT X2 Splash Screen select Disable splash screen display if you don t want the Matrox RT X2 splash screen to be displayed on your computer and video monitors when you first open your project after starting Premiere Pro Select Disable splash screen audio if you d like to disable the audio associated with the Matrox RT X2 splash screen Click OK to save your settings and return to the Project Settings dialog box 23 Defining your General settings 24 Selecting options for accelerated Premiere Pro effects To select your options for processing accelerated Premiere Pro effects on Matrox 1 Choose Project gt Project Settings gt General and click the Playback Settings button 2 Click the General tab Premiere Pro Accelerated Effects C Disable accelerated scaling to Frame size _ Disable accelerated transitions M Accelerate Motion using Matrox move amp scale w 3 Under Premiere Pro Accelerated Effects select the options you want Disable accelerated scaling to frame size Select this if you want to disable the realtime playback of clips that are scaled to your project s frame size as explained in Mixi
192. parent 0 to opaque 100 Bottom Left Corner Color Use this to set the bottom left corner color Bottom Left Corner Opacity Sets the opacity of the bottom left corner Levels range from completely transparent 0 to opaque 100 Bottom Right Corner Color Use this to set the bottom right corner color Bottom Right Corner Opacity Sets the opacity of the bottom right corner Levels range from completely transparent 0 to opaque 100 Note The shadow corner colors are applied based on the size of the full screen Therefore corner colors of your shadow may vary depending on the size and position of your DVE For example if you choose red for your shadow s top right corner color and scale down and position your DVE to take up only the top right quarter of the screen the shadow will reflect red for each corner of the shadow even though you may have selected different colors for all four corners Shadow Softness Use this to set the softness of your shadow The higher the value the softer your shadow becomes Note Shadow Softness is applied starting from the borders of the full screen therefore the Shadow Softness may be less apparent based on the size and position of your DVE Blur Use this to apply blurring to your shadow Camera Field of Vision Specifies the field of vision of the camera in reference to the shadow X Camera Position Moves the camera around the x axis Y Camera Position Moves the camera around the y axis Z Camera
193. ported to HDV clips are 1394 interface and SD project SD clips captured d led ownecaled using analog inputs Project imported to a 1440x1080i p project for delivery in HD SD clips are upscaled Exported to tape as SD video for broadcast Capturing HDV and SD material to edit in SD on Matrox RT X2 182 Capturing HDV and SD material on Matrox RT X2 SD On Matrox RT X2 SD you can take advantage of the superior image quality offered by your HDV camera by capturing native HDV 1080i p material over the 1394 interface in an SD project To do this you use Adobe Premiere Pro s HDV capture feature as explained in Capturing HDV material on Matrox RT X2 SD on page 35 When working in your SD project you can also capture native DV clips over the 1394 interface and capture SD clips using Matrox RT X2 SD s analog component S Video and composite inputs The SD and HDV clips can be mixed in real time in the same SD project Your HDV clips will be downscaled to SD when you scale the clips to your project s frame size for realtime playback as explained in Mixing SD and HD clips in a project on page 20 When your edits are complete you can export your project to tape as SD video for broadcast This workflow scenario is represented in the following diagram DV clips captured natively over the 1394 interface and SD clips captured using analog inputs HDV 1080i p clips Matrox project using captured natively an SD p
194. project 35 key features 2 See also Matrox RT X2 Matrox WYSIWYG Control Panel using 160 Matrox WYSIWYG plug ins about 160 required steps 162 Matrox X info using 166 Memory usage monitoring in Adobe Premiere Pro 166 optimizing in Adobe Premiere Pro 23 Monitoring your system with X info 166 Motion effects selecting options for 24 Move amp scale effect creating 120 mapping Motion effect to 24 MP4 files using in projects 7 178 MPEG 2 Elementary files exporting for DVD project 43 MPEG 2 IBP codec See Matrox MPEG 2 IBP codec MPEG 2 I frame codec See Matrox MPEG 2 I frame codec MPEG 2 I frame HD codec See Matrox MPEG 2 I frame HD codec Index 210 MPEG 2 I frame HD settings selecting in Adobe Premiere Pro 39 selecting in VFW programs 157 MPEG 2 I frame settings selecting in Adobe Premiere Pro 39 selecting in VFW programs 157 MXF files creating reference AVI files using Matrox EZ MXF 9 displaying information in Windows Explorer 8 using in projects 6 176 178 N NewTek LightWave 3D WYSIWYG plug in about 160 required steps 163 See also Matrox WYSIWYG plug ins NTSC setup level selecting for analog video 26 O Old movie effect creating 122 P P2 files See Panasonic P2 files Page curl creating 126 Pan amp scan effect creating 128 Panasonic P2 files using in projects 6 178 See also MXF files PEK files suppressing creation of 22 Photoshop WYSIWYG plug in See Adobe Photoshop WYSIWYG plug in Pi
195. quit and restart any DirectShow application such as Windows Media Player in order for the change to take effect 1 From the Project Format menu select the format that matches your composition or animation such as NTSC 4 3 2 From the Output Format menu select the format you want for your preview output The available output formats depend on your project format For example if you chose an NTSC project format you can select an NTSC output format only If you chose a 1440x 1080i 29 97 fps project format you can select a 1440 x 10801 29 97 fps output format or you can select an NTSC output format to downconvert the HD video to NTSC Chapter 6 Using the Matrox WYSIWYG Plug ins 161 Note If Adobe Premiere Pro is running the Project Format and Output Format will be determined by your Premiere Pro project s video output settings If you selected an output format that has a frame rate of 25 or 50 fps and your DVI video monitor is unable to properly display your preview output select Force DVI Output to 60 Hz Bypass Autodetect Otherwise make sure this option isn t selected to allow Matrox RT X2 to automatically detect the frequency rates supported by your DVI video monitor and set the DVI output frequency accordingly From the Preview Type menu select one of the following options for the preview Video Select this to view your composition or animation Alpha Channel Select this to view only your composition s
196. r Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 55 Cropping your clip Many of the Matrox effects allow you to apply crop settings to your clip To apply crop settings click the triangle next to Crop to expand the property list Note If you re applying a Matrox effect that doesn t provide the Crop property you can apply realtime cropping to your clip using Adobe Premiere Pro s crop effect available in the Video Effects bin under Transform The Premiere Pro crop effect will remain realtime unless you enable the Zoom option For more information about using Premiere Pro s crop effect see your Adobe Premiere Pro documentation The controls under Crop let you crop any edge of your clip You can enter the values you want in the text boxes or drag the appropriate sliders Left Right Top Bottom Crop Left Crops the left edge of your clip Crop Right Crops the right edge of your clip Crop Top Crops the top edge of your clip Crop Bottom Crops the bottom edge of your clip Select Crop Displays a dialog box in which you can apply your crop settings For details see Using Select Crop on page 56 Stretch to original size Select this to stretch the cropped area to the original size of your clip For the Matrox cube effect this option is not available because the cropped area is automatically stretched to fit the original size Cropping your clip 56 Using Select Crop To apply crop settings t
197. r background clip such as on the Video 2 track and apply the Matrox Source Identifier effect to this clip Note This effect is used only to identify which clip you re using as the matte for your track matte effect If you set up another effect in the same segment that also uses the Matrox Source Identifier effect such as for another track matte effect or an additional source for a Matrox cube effect you must assign a unique ID number to each source clip In the Effect Controls panel click the triangle beside Matrox Source Identifier to expand the property list then select a unique ID number for your matte clip from the Identify As list as shown below sz Matrox Source Identifier Identify As p I o D a unique ID number ID 2 for your matte source ID 3 ID 4 ID 5 ID 6 Important Any effect applied to your matte after applying the Matrox Source Identifier effect will be ignored Therefore if you want to apply an effect such as a Matrox chroma key or apply motion to your matte using a Matrox 3D DVE or Adobe Premiere Pro Motion effect you must apply this effect before applying the Matrox Source Identifier effect 143 Creating a track matte effect 144 4 Place your foreground clip the clip you want to superimpose onto your background clip directly above your matte clip and apply the Matrox Track Matte effect to this clip Your sequence should be similar to the following example Matrox Track Matte effect app
198. r example to capture video that was recorded using the standard TV screen format select 4 3 To capture video that was recorded using the widescreen 16 9 format select 16 9 If you re defining capture settings for an HD project the Input Aspect Ratio will be set to 16 9 Under Capture Format select your desired capture format from the list If you re capturing to an avi file from a DV 1394 device video will be captured to native DV or HDV format the Capture Format will be set to Native DV HDV If you re capturing to an m2v file the Capture Format will be set to Matrox MPEG 2 IBP Note The capture formats that are available in the Capture Format list depend on your project s video format For more information see Supported video compression formats on page 187 Matrox DV DVCAM Captures video to DV or DVCAM format Matrox DVCPRO Captures video to DVCPRO format 29 Defining your Capture settings 30 MatroxMPEG 2I frame Captures video to MPEG intra frame format using the 4 2 2 Profile Main Level at a selected data rate SD resolution only For the best results when capturing video clips on which you ll be applying chroma key effects you should use this codec instead of a DV codec Matrox MPEG 2 I frame HD Captures video to MPEG 2 intra frame format using the 4 2 2 Profile High Level at a selected data rate HD resolution only This is the only capture format available to capture analog v
199. rame Intra frame A frame created during the MPEG or MPEG 2 compression process that contains all the information required to reproduce a complete image It allows random access points within a video stream and acts as a reference point for B frames and P frames to be built I frames are editable because they contain enough data to construct an entire video frame unlike B frames or P frames impressionist effect A Matrox effect that lets you choose from many different patterns to make your image appear similar to an impressionist painting insert editing Recording new video and or audio material onto a prerecorded or striped tape Insert edits can be made in any order unlike assemble edits which must be made sequentially inter frame compression A video compression method that compares a series of frames in a video sequence and removes the redundant data Inter frame compression treats all the frames in the sequence as an interdependent group As a result most of the frames can t be edited independently Also called temporal redundancy reduction Contrast with intra frame compression See also GOP interlaced scanning A method of creating a video image by drawing only the odd numbered lines on the screen in one pass then the even numbered lines in the next pass Two passes are therefore required to create a complete frame of video NTSC and PAL displays are interlaced See also progressive scanning 197 interleave
200. re having problems with these effects however you may want to clear this option to disable the effects To enable the Matrox hardware accelerated effects in Adobe Premiere Pro you must be using Matrox RT X2 with a display card that has at least 256 MB of onboard memory and supports Microsoft DirectX 9 You can t enable the Matrox hardware accelerated effects if Matrox has tested your display card and determined that it doesn t support these effects You can check the Matrox Video Support site for up to date information about the display cards tested by Matrox at www matrox com video support Error notification X info provides temperature warnings and warnings for other possible RT X 2 hardware problems Once X info has detected a hardware problem the Matrox X info Notification dialog box will be displayed to give you details of the problem and further instructions You will not be able to close this dialog box until the problem has been resolved Using X info to display RT X2 information 170 Your notes Chapter 7 Monitoring Your Matrox RT X2 System Understanding Standard and Advanced Pulldown This appendix describes the most common pulldown methods and explains how and when these pulldown methods are employed by Matrox RT X2 172 Overview Part of your project s workflow may involve the application of a pulldown technique to convert your input video to your project s video format Pulldown can also be applied to
201. re in 2D space while adding soft edges See also DVE Appendix D Matrox RT X2 Glossary Motion JPEG A compression and storage standard used for motion video The JPEG compression process is applied to each video field in succession Also called M JPEG MP ML Main Profile Main Level An MPEG 2 video compression profile that supports 4 2 0 luminance chrominance sampling at up to 720x576 pixel resolution and data transfer rates up to 15 Mb sec 1 79 MB sec This profile is used for broadcast transmission and distribution on DVD See also 4 2 2P ML MPEG A video compression standard that specifies a series of compression profiles and image resolution levels introduced in 1990 by the Motion Picture Experts Group MPEG takes advantage of the redundancy inherent in video data through a combination of inter frame and intra frame redundancy reduction The MPEG standard supports data transfer rates of up to 1 5 Mb sec 0 2 MB sec Also called MPEG 1 See also MPEG 2 inter frame IBP compression and intra frame I frame compression MPEG 1 See MPEG MPEG 2 A video compression standard that improves upon the MPEG standard by supporting data rates of up to 100 Mb sec 12 MB sec scalable modes field or frame searching and much larger screen sizes See also intra frame I frame compression inter frame IBP compression 4 2 2P ML and MP ML MPEG 2 IBP An MPEG 2 compression type that uses inter frame compression to creat
202. rent sizes x1 x4 x8 and x16 The Matrox RT X2 card is installed in a PCI Express slot Also called PCIe slot PCI X slot A type of PCI slot that increases the speed at which data can move within the computer from 66 MHz to up to 133 MHz P frame Predicted frame A frame created during the MPEG or MPEG 2 IBP compression process A P frame is created by using motion vectors to predict the Glossary of terms 200 differences between it and the closest previous I frame or P frame This forward prediction allows for higher compression than with I frames but not as high as with B frames P frames like B frames contain only predictive data and therefore cannot be edited independently pixel Picture element The smallest portion of an image that can be written to a display Each pixel in an image represents a single dot on the computer screen A picture s resolution depends on the number of pixels on the screen Plug and Play A hardware standard for auto configuration It refers to the ability of computer hardware to detect and configure expansion devices such as your Matrox hardware Windows supports Plug and Play plug in Software that adds functionality and or features to an application For example the Matrox realtime plug in for Adobe Premiere Pro adds realtime Matrox effects and transitions to Adobe Premiere Pro proc amp An electronic device that adjusts the different aspects of a video signal such as its hu
203. resented as 100 You can shrink your lens flare to 0 or enlarge it to 1000 Note however that by enlarging your clip the resolution may become blurry You can adjust the size controls individually or if you select Fixed Aspect Ratio you only need to adjust the x axis Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 109 Adjusting the percentage on the x and y axes changes the lens flare s width and height respectively Intensity Sets the opacity of the light refractions Levels range from completely transparent 0 to opaque 100 Enable Alpha Select this option to enable alpha for the lens flare so it will remain visible even on transparent keyed areas of your clip e Flare Settings Adjusting these settings will change the appearance of the flare usually the brightest spot in the lens Note While most of the lens flare patterns contain a flare some of them do not If you choose a pattern without a flare these settings aren t applicable Size Sets the size of the flare Intensity Sets the opacity of the flare Levels range from completely transparent 0 to opaque 100 Color Sets the color of the flare e Crop Allows you to crop the edges of your clip For more information see Cropping your clip on page 55 Creating a lens flare effect 110 Overview of the luma key effect You can use the Matrox realtime plug in to apply a luma key to make certain areas of a
204. ring they can export video much faster than when you use a software codec The supported formats for exporting to a Matrox avi file depend on your project s video format as follows Project video format Supported export format s NTSC NTSC PAL PAL 486p 23 98 fps 486p 23 98 fps or NTSC 486p 29 97 fps 486p 29 97 fps or NTSC 576p 25 fps 576p 25 fps or PAL 720p 23 98 fps 720p 23 98 fps 720p 59 94 fps 486p 23 98 fps or NTSC 720p 25 fps 720p 25 fps 720p 50 fps 576p 25 fps or PAL 720p 29 97 fps 720p 29 97 fps 720p 59 94 fps 486p 29 97 fps or NTSC 720p 50 fps 720p 50 fps or PAL 720p 59 94 fps 720p 59 94 fps or NTSC 1440x 10801 25 fps 1440x 10801 25 fps or PAL 1440x 10801 29 97 fps 1440x1080i 29 97 fps or NTSC 1440x 1080p 23 98 fps 1440x 1080p 23 98 fps 1440x 10801 29 97 fps 486p 23 98 fps or NTSC 1440x 1080p 25 fps 1440 1080p 25 fps 576p 25 fps or PAL 1440x 1080p 29 97 fps 1440x 1080p 29 97 fps 486p 29 97 fps or NTSC gt For example if you have an NTSC project you must select an NTSC codec If you have a 1440x 1080i 29 97 fps project you can select a 1440x 1080i 29 97 fps codec to export to HD format or you can select an NTSC codec to downconvert the HD video to NTSC this includes appropriate color space conversion from HD to SD RT X2 SD supports exporting to SD format only To export your sequence to a Matrox avi f
205. rogram Monitor on page 54 Note If you are working with the Matrox crystallize shadow mask mask blur mask mosaic or shine effect the transform settings will apply only to your mask or shadow and not the entire clip Using the transform controls To apply various transform settings to your clip using the transform controls in the Effect Controls panel click the triangle next to the Transform property to expand it v You can enter the values you want in the text boxes or drag the appropriate sliders X Y Z Position Use these controls to position your clip on the x horizontal y vertical and z depth axes Values of 0 0 0 pixels align the center of your clip with the center of the screen and positions are measured from this point You can enter positive or negative pixel values to move your clip right or left x up or down y and forward or backward z Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 53 e X Y Scale Use these controls to make your clip smaller or larger Full screen size is represented as 100 You can shrink your clip to 0 or enlarge it to 1000 Note however that by enlarging your clip the resolution may become blurry You can adjust the size controls individually or if you select Fixed Aspect Ratio you only need to adjust the x axis Adjusting the percentage on the x and y axes changes your clip s width and height respectively Note Some effects like Matrox sur
206. roject preset over the 1394 HDV clips are interface downscaled Exported to tape as SD video for broadcast Appendix B Matrox RT X2 Workflows 183 Using the Matrox MPEG 2 I frame HD codec Note The Matrox MPEG 2 I frame HD codec is not supported for capture or export on Matrox RT X2 SD The Matrox MPEG 2 I frame HD codec allows you to control the data rate of the video that you are capturing or exporting At low data rates about 50 Mb sec the codec can be used to capture and export video for an offline editing project At high data rates about 90 Mb sec the codec can be used to capture and export high quality video for an online editing project The VFW MPEG 2 I frame HD codec allows you to render and play back MPEG 2 I frame HD clips in VFW applications such as Adobe After Effects On a system without the Matrox RT X2 hardware the VFW MPEG 2 I frame HD codec can be used to render and play back 1440x 1080i p clips only MPEG 2 I frame HD codec workflow example for offline editing In this workflow example the Matrox MPEG 2 I frame HD codec is used to capture video clips for use in an offline editing project The clips are captured with Matrox RT X2 at a data rate of 50 Mb sec and then used to complete an offline editing project When the offline edit is complete the project is trimmed and the offline clips are unlinked and then recaptured using the Matrox MPEG 2 I frame HD codec at a data rate of 90 Mb sec or higher The on
207. rojects only 1 On Matrox RT X2 SD you can capture native HDV 1080i p 1440 x 1080i p material over the 1394 interface in an SD project using Adobe Premiere Pro s HDV capture feature as explained in Capturing HDV material on Matrox RT X2 SD on page 35 Realtime playback is also supported for Panasonic P2 mxf files in SD and 720p formats Sony XDCAM EX mp4 files in 720p and 1080i p HQ and SP formats and when mixing SD and HD clips in the same project as explained in Mixing SD and HD clips in a project on page 20 RT X2 SD does not support mxf or mp4 files 3 When exporting an HD project to a Matrox avi file you can choose to downconvert the HD video to any of the supported SD video formats For details see Exporting to a Matrox avi file on page 36 Supported video compression formats 188 Supported master output formats The following table lists the supported master output formats for Matrox RT X2 depending on your project s video format Note Matrox RT X2 SD supports SD projects only Project video format Supported master output formats NTSC NTSC PAL PAL 486p 23 98 fps NTSC 486p 29 97 fps NTSC 576p 25 fps PAL 720p 23 98 fps 720p 59 94 fps or NTSC 720p 25 fps 720p 50 fps or PAL 720p 29 97 fps 720p 59 94 fps or NTSC 720p 50 fps 720p 50 fps or PAL 720p 59 94 fps 720p 59 94 fps or NTSC 1440x 10801 25 fps 1080i 25 fps or PAL 1440x 10801
208. s If needed adjust this amount until you obtain a frame accurate or near frame accurate export to tape Note If your exported video is frame accurate but you re missing audio at the start of your project on the DV tape simply add a few frames of black and silence at the start of the sequence If you do this you may not need to use the Delay Movie Start 45 Exporting your sequence to tape 46 Exporting to DV tape using DV 1394 device control You can use Matrox DV HDV device control when exporting your Adobe Premiere Pro sequence to a DV 1394 device DV 1394 export to HDV however is not supported for 720p projects gt To export your sequence to tape over the 1394 interface 1 Open the project and activate the sequence you want to export to tape 2 Make sure your DV 1394 device is properly connected and turned on 3 Unless you re exporting to an HDV device make sure that you ve enabled the DV 1394 output for export to tape and selected a DV 1394 output format as explained in Selecting your DV 1394 output settings on page 27 Note If you re exporting to an HDV device Premiere Pro will detect that you re using an HDV device when you perform the export to tape and the video will be exported in native HDV format Matrox RT X2 SD does not support exporting to an HDV device 4 If you re using a camcorder switch it to VTR mode 5 Load a striped recordable tape into your DV 1394 device 6 Make sure that y
209. selecting 148 Sphere effect creating 138 Splash screen disabling for Matrox project in Premiere Pro 23 Split View using 61 working with in the Program Monitor 61 Standard pulldown description of 172 See also Advanced pulldown Style conventions of this manual 3 Super black allowing for output video 26 Super white allowing for output video 26 Surface finish effect creating 140 System information displaying with X info 166 T Tapes preparing for export to tape 45 Index Technical support See Customer support Temperatures monitoring 169 TGA sequence converting to an AVI file with alpha 12 Thumbnails preview 8 Titles supported formats 150 Track matte effect creating 143 Transforming a clip 52 using the Program Monitor 54 using the transform controls 52 Transitions applying realtime 51 disabling accelerated realtime 24 Twirl effect creating 145 V Video capture settings 28 Video effects applying realtime 51 Video for Windows programs 152 rendering Matrox AVI file 156 Video formats expressed in RT X2 documentation 4 Video luma level 22 Video output settings 25 Video Rendering settings in Adobe Premiere Pro 27 Volume controls recording and playback settings 16 VU meters 33 W Warnings displaying in Adobe Premiere Pro s Events panel 19 displaying with X info 169 WAV files capturing using Adobe Premiere Pro 31 exporting using Adobe Premiere Pro 38 Widescreen format editing SD mater
210. settings to all channels When you adjust the setting for the Red Blur Amount the same settings will be applied to the other channels e Color Gain Settings Let you adjust the amount of color in your clip within the blurred area Red Green and Blue Color Gain Use these controls to individually fine tune the intensity of a particular color present in your clip For example you can increase the Red value to increase only the red color component of your clip within the blurred area Lock Channels Select this to apply the same color gain settings to all channels When you adjust the setting for the Red Color Gain the same settings will be applied to the other channels e Mask Settings Let you select the mask pattern and adjust the transparency settings for your effect Select Shape Click the button to the right of the current pattern to see the list of available mask patterns Vv Select Shape Click hereto selectanew pattern Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro Shape Transparency Sets the transparency of the shape and the area around the shape At the default setting 0 the shape is completely opaque and the area around the shape is transparent Dragging the slider to the left increases the transparency of the shape which makes the blur less apparent Dragging the slider to the right decreases the transparency of the area around the shape which increases the amount of blurring outside the mask
211. st of available patterns Click here to select a dust 1S pattern Amount Sets the maximum number of dust particles that can be visible at any given time Lifetime Sets the maximum number of frames that the dust pattern will remain immobile before moving to another random position Opacity Sets the opacity of the dust pattern Levels range from completely transparent 0 to opaque 100 Color Use this to set the dust color Fixed Particle e Display Fixed Particle Select this option if you would like one of the dust particles to remain fixed on your image e Particle Number Use this to select the particle you want to remain fixed on your image Each dust particle is represented by a value e X Position Sets the position of the fixed particle along the horizontal axis e Y Position Sets the position of the fixed particle along the vertical axis Creating an old movie effect 124 Streak Streak Pattern Allows you to select a streak pattern Click the button on the right to see the list of available patterns Click here to select a streak pattern Amount Sets the maximum number of streaks that can be visible at any given time Opacity Sets the opacity of the streak pattern Levels range from completely transparent 0 to opaque 100 Color Use this to set the streak color Jitter Manual Control Select this option to disable Probability and manually control the amount of j
212. t areas of your clip Midtones Hue Saturation and Luminance Affects the areas with tones between the darkest and lightest areas of your clip e Highlights Hue Saturation and Luminance Affects the lightest areas of your clip e Luma Mapping Graphical Allows you to see a graphical representation of your changes when you adjust the luma mapping settings You can also modify the 75 Creating a secondary color correction 76 luminance of your clip directly within the graph For more information see Using the luma mapping graph on page 72 Numerical Lets you adjust your luma mapping settings numerically by entering values in the text boxes or by dragging the corresponding sliders Input Levels Black and White These controls let you fine tune your clip s brightness and contrast by changing the luminance value that represents black white or gray Doing so expands or compresses the range of luminance levels in your clip which increases or decreases your clip s tonal range For example by increasing the black value you set black in your clip to a higher luminance value which compresses the luminance range and darkens your clip proportionally Output Levels Black and White These controls let you map the values under Input Levels to any level of black and white You can reduce contrast in your clip or reverse the luminosity of your clip by setting black to a higher value than white e Gamma Use t
213. t mute the input to avoid hearing the audio when you re not working in Premiere Pro 6 Choose Options gt Properties Select the Recording option then select all check boxes in the list Click OK For each of the controls Line in Microphone etc make sure the Volume sliders are at an appropriate level such as at half level As well if available clear all the Mute check boxes Close the dialog box Setting your system s volume levels 18 Loading project presets The Matrox realtime plug in for Adobe Premiere Pro includes project presets that you can load to immediately apply appropriate Matrox RT X2 settings For more information about using the Matrox project presets for working with different types of projects see Appendix B Matrox RT X2 Workflows gt To load a Matrox project preset 1 Start Adobe Premiere Pro and click the New Project icon The New Project dialog box appears 2 From the appropriate Matrox folder Matrox SD to create an SD project or Matrox HD to create an HD project select the preset that matches the type of project you want to create For example if you want to create an NTSC project in which you ll capture clips to DV DVCAM format and work in a standard 4 3 editing environment expand the NTSC and Standard folders under Matrox SD then select the DV preset Remarks Matrox RT X2 SD supports creating SD projects only Therefore the Matrox HD presets are not available o
214. t to expand the list e Additive Adds the shine layers on top of one another repeatedly so the effect becomes brighter e Blend Blends the shine layers together This mode is useful if you want to make two dimensional text appear to be three dimensional Precision Sets the amount of shine layers applied in the effect Higher values result in a cleaner more precise effect Note The higher the precision value the longer the shine effect will take to render Start Opacity Sets the opacity of the rays closest to the light source Levels range from completely transparent 0 to opaque 100 Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 135 End Opacity Sets the opacity of the rays furthest from the light source Levels range from completely transparent 0 to opaque 100 Preprocessing These controls allow you to isolate a channel as the input for the shine For example if you wanted to apply the shine to the alpha channel only you would select Alpha Only as your mode Enable Preprocessing Select this option to enable preprocessing Mode Lets you select the channel you want to use for your effect Click the triangle on the right to expand the list e Red Only Uses the red channel e Green Only Uses the green channel e Blue Only Uses the blue channel e Alpha Only Uses the alpha channel e Luma Uses the luminance values e Oversaturated Luma Uses the oversaturated luminance values only
215. te HD and SD avi files with alpha in Matrox MPEG 2 I frame format On Matrox RT X2 SD however only the SD files are supported Chapter 2 Working with mxf mp4 and avi Files 13 gt To create an avi file with alpha from a tga sequence 1 In Windows Explorer right click the selected tga file s choose Matrox AVI Alpha gt Select Format and then click the desired avi output video format such as 1440x1080i 29 97 fps Note Formats that are not supported by your Matrox RT X2 hardware are identified with an asterisk in the list If you create an avi file using an unsupported format it will not play back in real time on your Matrox RT X2 system Right click the selected tga file s and choose Matrox AVI Alpha gt Configure Note Once set the output format and configuration settings apply to all subsequent tga sequences that you convert to avi files However if you select a 1440x 1080i p output format the compressor for the tga to avi conversion will automatically be set to Matrox MPEG 2 I frame HD Alpha Configure Matrox AVI Alpha Compressor Matrox MPEG 2 I frame Alpha Destination Folder Browse Same Folder as TGA IV Overwrite existing file OK Cancel From the Compressor list select the compression format you want for your avi file Note Although the Matrox uncompressed formats are available you cannot play back uncompressed clips in real time on your Matrox RT X2 syst
216. the first and second additional sources You must identify each additional source with a unique ID To do this click the triangle beside Matrox Source Identifier to expand the property list and then select an ID number from the Identify As list as shown below You can then reference the ID number using the Additional Sources setting of the Matrox cube effect Select a unique ID number for the additional source gt To set up a Matrox cube effect In the Effect Controls panel click the triangle beside Matrox Cube to expand the property list Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro Additional Sources References up to two additional sources that you identified by applying the Matrox Source Identifier effect Source 1 Lets you select the unique ID number that you assigned to the first additional video source Source 2 Lets you select the unique ID number that you assigned to the second additional video source Cube Options Face Edge Softness Sets the amount of softness to apply to the cube face edges Cube Edge Softness Sets the amount of softness to apply to the outside edges of the cube Depth Sets the depth of the cube Highlight Color Sets the color that is used for highlights Highlight Intensity Sets the brightness of the highlight Shadow Color Sets the color that is used for shadows Shadow Intensity Sets the darkness of the shadow RGB Cube Sets al
217. this to rotate the indicator around the perimeter of the color spectrum so that you can select different hues colors on which to key Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 77 Aperture Use this to widen or narrow the aperture of the indicator to increase or decrease the range of colors on which you want to key Softness Sets the amount of softness applied to the range of colors specified in the aperture region e Saturation Key This lets you select colors to be keyed affected by the color correction based on their saturation value Pale colors have a low saturation value while vivid colors have a high saturation value Enable Select this to enable the Saturation Key properties and saturation key indicator in the selective key graph Low Clip Use this to select the lower saturation values to be keyed Low Gain Use this to set the range of saturation values you want to be partially affected based on the value set by the Low Clip control As you increase the Low Gain setting more pixels are partially affected by the color correction If you decrease the Low Gain control less pixels are partially affected A Low Gain setting of 100 provides the widest range for maximum color correction Alternately a gain setting of 0 creates a key where saturation values are either completely affected or left untouched You can think of the Low Gain control as defining an Affected to Untouched range
218. tion to this user guide the following Matrox RT X2 documents are available Matrox RT X2 Quick Installation Guide Provides brief installation instructions to help you quickly set up your Matrox RT X2 system e Matrox RT X2 Installation Manual Provides detailed instructions for installing your Matrox RT X2 hardware and software including how to connect your external devices to the RT X2 breakout box e Matrox RT X2 Release Notes Provides any important last minute information and operational limitations Chapter 1 Introducing Matrox RT X2 Working with mxf mp4 and avi Files This chapter shows you how to work with mxf mp4 and avi files on Matrox RT X2 Working with native mxf files in Adobe Premiere Pro and After Effects Note Matrox RT X2 SD does not support working with mxf files Matrox RT X2 supports the MXF file format which allows you to use mxf files that are created with the Panasonic P2 camera in SD and 720p formats directly in Adobe Premiere Pro and After Effects without having to convert the files to the traditional AVI file format Important When using a Panasonic P2 camera to shoot material at 486p 23 98 fps for use with Matrox RT X2 you must set the camera to Advanced mode 486 24pA Steps for using mxf files in your projects 1 Connect your Panasonic P2 device to your Matrox RT X2 computer as per your device s instructions Note Ifyou have a PCMCIA card reader in your computer you can use
219. to your effect For more information see Applying a mask to your effect on page 57 Using Split View The Split View option allows you to split your clip in two for preview on your Program Monitor and your video monitor One section displays your clip as you adjust the color correction controls while the other section of the clip remains unchanged There are two ways to enable Split View You can select the Enable Split View option in the Effect Controls panel or work directly in Adobe Premiere Pro s Program Monitor using your mouse Working with Split View in the Program Monitor To activate the Split View controls in the Program Monitor click the Transform icon ci iik beside the name of the Matrox color correction effect in the Effect Controls panel The Split View button will appear in the upper left corner of the Program Monitor Split View button Pa Enable Split View by clicking the Split View button You can then drag the handles on the corners of the split rectangle to define the area you want to split You can also drag the split rectangle to move it to a specific region of your clip 61 Creating a primary color correction 62 The area within the split view rectangle will display any color correction you make while the area outside remains unchanged In the following example the split view rectangle has been moved to display the color correction in the area surrounding part of the Chinese character on the wall
220. trox 1440 x 1080i 29 97 fps preset 2 Import your Axio 1080i p project by choosing File gt Import and browse to your offline project s Premiere Pro project prproj file 4 Tip To see a list of your prproj files in the Import dialog box you ll need to select Adobe Premiere Pro Projects prproj from the Files of type list 3 You can now edit the offline project on your Matrox RT X2 system When you ve completed the edits you can open the project directly on Matrox Axio or import it to a new Matrox Axio 1080i p project Appendix B Matrox RT X2 Workflows 187 Supported video compression formats The following table lists the supported video compression formats for performing various operations on Matrox RT X2 depending on your project s video format Capture SD project DV DVCAM DVCPRO MPEG 2 I frame MPEG 2 IBP for capture to m2y files only HD project not supported on RT X2 SD DV 1394 input only HDV Analog component input only MPEG 2 I frame HD for 1440x1080i projects only Playback DV DVCAM DVCPRO MPEG 2 I frame HDV MPEG 2 I frame HD Offline HD for playback of Matrox Axio offline HD projects Export to disk DV DVCAM DVCPRO MPEG 2 I frame MPEG 2 I frame HD Can also downconvert to any supported SD format Render previews DV DVCAM DVCPRO MPEG 2 I frame MPEG 2 I frame HD DV 1394 export to tape DV DVCAM DVCPRO HDV for 1440x1080i p p
221. ts Important When rendering RGB graphics selecting Expanded or DV compliant will create super black and or white in your rendered images For example if you select Expanded all black in your RGB graphics will become super black and white will become super white To render your RGB graphics with standard black and white levels set your luminance range to Standard Chroma filtering and Chroma interpolation Select these options to adjust the chroma bandwidth of RGB graphics This improves images that have abrupt changes between different colors such as a blue box on a black or white background You should select these options for most animation and compositing work computer generated material For most video editing programs however it s best that you not select these options If you find that your rendered images appear to be blurred try clearing one or both of these options Chroma sampling for fast motion video Select this option to help eliminate artifacts such as jagged edges and unwanted lines at the edges of fast motion video for PAL video only Important When rendering graphics and titles make sure that Chroma sampling for fast motion video is not selected as this option can cause jagged edges to appear in your rendered images Click OK to save your settings Any change you make to your selected luminance range setting such as switching from Standard to Expanded will only take effect the next time you start y
222. ts in Adobe Premiere Pro if you have a display card that supports these effects see Enabling and disabling the Matrox hardware accelerated effects in Adobe Premiere Pro on page 169 Matrox X info runs continuously to monitor your system whenever your computer is turned on You can open Matrox X info to display system and hardware details by double clicking the icon on your Windows taskbar Note Ifyou do not see the icon right click the notification area of the taskbar and choose Properties clear the Hide inactive icons option and click OK Monitoring your Adobe Premiere Pro memory usage When Adobe Premiere Pro is running you can monitor your Adobe Premiere Pro memory usage To do this hold your mouse pointer over the Matrox X info i icon A pop up message will display the current Adobe Premiere Pro memory usage If your Adobe Premiere Pro memory usage is very high X info will issue a warning message with additional information Displaying system information To display information about your Matrox RT X2 system select System from the Display Information About list On this page you can see Install Information such as the install path and version of Matrox Mx tools You can also create an HTML log file of your system information which can be useful for troubleshooting To create this log use the Browse button under System Information Log to select the path and name of the log then click Chapter 7 Monitoring Your Matro
223. u create 3D ripple patterns that simulate a flag waving ripples in a pond or a dream sequence v Jk Matrox Ripple si D Global Settings D Lighting D Border Settings D crop D Ripple Softness 0 00 Transform Global Settings X Center Sets the center position of the ripple along the horizontal axis Y Center Sets the center position of the ripple along the vertical axis Center Ripple in Crop Region Select this option to move the center position of the ripple to the center of your crop region Progression Sets the progression of your ripple pattern at any keyframe In order to see your ripple pattern progress you need to apply at least two keyframes to your clip For example create a keyframe at the first frame of your clip with Progression set to 0 degrees and another keyframe at the last frame of your clip with Progression set to 45 degrees For information about creating keyframes see your Adobe Premiere Pro documentation Amplitude Sets the maximum height of the ripple Periods Sets the number of visible waves in the ripple Attenuation Specifies the distance from the center of the ripple x and y positions at which the ripple will degrade or flatten Lighting Shadow Color Use this to select a color for the ripple shadow Shadow Intensity Sets the darkness of the ripple shadow as a percentage Highlight Color Use this to select the highlight color High
224. uminance level of your video output to exceed the standard maximum white level Select Allow Super Black to allow the lowest luminance level of your video output to fall below the standard black level Note Super white and super black should not be allowed when producing your final video production for broadcast Click OK to save your settings and return to the Project Settings dialog box Chapter 3 Defining Your Adobe Premiere Pro Settings 27 Selecting your DV 1394 output settings You can choose to output a sequence from the Timeline panel over the 1394 interface to perform an export to DV tape and select the format you want for your DV 1394 output Note These settings are not needed to export to an HDV device and the DV 1394 Output page won t be available if you re working with a 1440 x 1080i p project gt To select your DV 1394 output settings 1 Choose Project gt Project Settings gt General and click the Playback Settings button 2 Click the DV 1394 Output tab General Video Output DY 1394 Output 1394 Output Format _ Enable 1394 output for export to tape Matrox DV DVCAM v 3 Select Enable 1394 output for export to tape if you want your sequence to be output over the 1394 interface when you perform an export to tape that is when you choose File gt Export gt Export to Tape This lets you record your sequence to the DV 1394 device connected to your RT X2 system Important Because this
225. under Video Effects p Tips e You can also apply preconfigured Matrox video effects found in the Matrox Effect Presets bin under Presets e Ifyou can t see the Effects panel choose Window gt Effects If you can t see the Effect Controls panel choose Window gt Effect Controls How to apply a Matrox video transition in Adobe Premiere Pro In Adobe Premiere Pro the Matrox wipe transitions are found in the Matrox bin under Video Transitions in the Effects panel There are numerous methods to create transitions in Premiere Pro Use the method that works best for you to apply your Matrox wipes For information on applying transitions see your Adobe Premiere Pro documentation How to apply a Matrox video effect in Adobe Premiere Pro 52 Transforming your clip Many of the Matrox effects allow you to adjust the scale position and rotation of a clip by applying various transform settings You can adjust the transform settings in two ways e Use the transform controls in the Effect Controls panel to adjust the settings you want e Work directly in Adobe Premiere Pro s Program Monitor using your mouse For example click the desired transform button Position Scale Rotation or Rotation Center Offset then click and drag within the Program Monitor to make your adjustments To do this you ll need to activate the transform controls for use in the Program Monitor For more information see Transforming a clip in the P
226. urns a more natural look to these areas Chroma Suppression Use this to remove any tint that your key color imposes on your foreground image For example if your solid color backdrop key color is green and you are using a person in your foreground image the person s skin may have a green tint You can adjust the Chroma Creating a chroma key or chroma key shadow effect 94 Suppression to replace the green tint with the opposite color in the spectrum to return the person s skin to a more natural looking color Note The following properties Luminance and Shadow Suppression are only available in the chroma key shadow effect Luminance Use this to adjust the luminance of your shadow Negative values increase the brightness of the shadow while positive values decrease the brightness Shadow Suppression Use this to make shadows in your clips less apparent A higher value indicates less shadow Mask Allows you to apply a mask to your effect For more information see Applying a mask to your effect on page 57 Transparent Outside Mask Select this option to apply transparency outside the mask area This allows you to define a mask area where you want the keying to be performed and show only your underlying image outside the mask For more information see Applying a mask to your effect on page 57 Invert Key Select this to invert the key selection giving you the opposite result of what you originally selected Show
227. urve to the grid You can add up to 14 control points to each curve in addition to the two default end points These control points act as anchors that allow you to lock your curve so adjustments can be applied only to specific tonal ranges Click on a curve to add control points and hold the SHIFT key while clicking a control point to delete it end points cannot be deleted Adjusting the points in the top right area of the grid affects highlights the middle area affects midtones and the bottom left area affects shadows For example the following S shaped master curve adds contrast in the midtones range without creating any completely black or white areas Vv RGB Curves Master EO OG BBG Enake Output Input Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 65 If you want to reset the Master R G or B curve to its default setting at any time click the appropriate Reset button Master BO GC BBG Enable Red curve Reset button Tip By applying a mask to your clip you can adjust the RGB channels for that specific area of your clip or invert the mask to isolate that same area from being affected by your RGB adjustments Adjusting tonal range Note The Tonal Range settings are available only with the advanced versions of the Matrox primary and secondary color correction effects Using the tonal range curves allows you to fine tune the range of pixels that are affected when you make a color correction
228. ustion and open the file you want to preview 2 Choose File gt Preferences gt Framebuffer 3 In the menu beside Framebuffer Type select Matrox WYSIWYG Preview and click OK eyeon Fusion 1 Start eyeon Fusion and open the file you want to preview 2 Right click on the file and choose View On gt Matrox WYSIWYG Preview Chapter 6 Using the Matrox WYSIWYG Plug ins 163 NewTek LightWave 3D 1 Start NewTek LightWave 3D and load the file you want to preview by choosing File gt Load gt Load Scene Click the Render tab Under Options on the left hand side of the screen click Render Globals From the Render Display menu select Matrox WYSIWYG Preview oa fF W N Under Render on the left hand side of the screen click Render Frame Required steps to use the WYSIWYG plug ins 164 Your notes Chapter 6 Using the Matrox WYSIWYG Plug ins Monitoring Your Matrox RT X2 System This chapter explains how to use the Matrox X info program to display important details about your Matrox RT X2 system and installed hardware 166 Using X info to display RT X2 information The Matrox X info program lets you display information about your Matrox RT X2 system and installed hardware and provides warnings when certain problems arise such as when the temperature of your RT X2 card exceeds the maximum operating temperature You can also use the X info program to enable and disable the Matrox hardware accelerated Flex GPU effec
229. vices you can use Adobe Premiere Pro s serial device control as explained in your Adobe Premiere Pro documentation Preparing your tapes for recording To use device control the tape on which you ll be recording your material must contain continuous and consecutive time code You can stripe your entire tape with time code by recording black video for the duration of the tape Note The format of your DV tape must match the format you re recording For example if you set your DV 1394 device to record in DV DVCAM format your tape must be striped entirely in DV DVCAM format Mixed format tapes are not supported Avoiding missing frames when exporting to DV tape When performing an export to tape on some DV 1394 devices a delay may occur between the time the device starts recording and the time that Adobe Premiere Pro starts to play back your project This may result in the first video frames of your project not being recorded to tape To ensure that your export to DV tape does not miss any frames you can delay the playback of the project that you are exporting To do this you will need to do a test export with your DV 1394 device to determine the number of frames that are missing from the start of your project on the DV tape In the Adobe Premiere Pro Export To Tape dialog box select Delay Movie Start and enter the number of frames you ve determined are missing from your project multiplied by 4 to convert the value to quarter frame
230. w Together with your Matrox RT X2 hardware the Matrox WYSIWYG Control Panel and Matrox WYSIWYG plug ins let you display the contents of your composition or animation on your video monitor This lets you see the exact color temperature safe title area and any interlaced artifacts as you work You can preview compositions created in the following applications that are supported by the Matrox WYSIWYG plug ins e Adobe After Effects version 5 0 or later e Adobe Photoshop version 7 0 or later e Autodesk 3ds Max version 7 0 or later e Autodesk Combustion version 4 or later e eyeon Fusion version 4 or later e NewTek LightWave 3D version 7 0 or later On a Windows XP system WYSIWYG output to your video monitor is also available for any Matrox avi file and video played back using supported DirectShow applications such as Windows Media Player and Adobe Bridge Configuring the Matrox WYSIWYG Control Panel The Matrox WYSIWYG Control Panel lets you specify the settings you want for previewing your composition or animation on your video monitor To use the Matrox WYSIWYG Control Panel right click the icon on your Windows taskbar If you don t see the icon choose Start gt All Programs gt Matrox Mx tools gt Matrox WYSIWYG Control Panel Note By default the Matrox WYSIWYG output to your video monitor is enabled To disable it clear the Enable WYSIWYG Output option in the Control Panel When you do this you ll have to
231. will be Depending on the capabilities of your system however you may not be able to smoothly play back video at a high quality using your VFW program 2 Beside Frame Rate select a frame rate from the list Make sure the frame rate you select is appropriate for the format to which you are rendering Note The Frame Rate setting is not available if you re rendering to MPEG 2 I frame SD format without alpha wo To apply advanced settings to your MPEG 2 I frame file click the Advanced button Note The Advanced button will be available only on a system that has the Matrox RT X2 hardware and is not available if you re rendering to MPEG 2 I frame SD format without alpha The default advanced settings should provide good results for most applications We recommend that you change these settings only when needed for special purposes Zig Zag Order Rounding Type DC Precision 8 bit X PRENIE C MPEG 2 Alternate Matrox Custom IV Force Frame based DCT A Beside DC Precision select the bit depth precision of the DC intra block The higher the DC precision value that s used to render your video the more likely that the DC content will be increased at the expense of the AC content in the encoded stream This may result in lowering the overall quality of the compressed stream at a specified data rate Rendering material to a Matrox VFW avi file 158 5 Under Zig Zag Order select one of the following Regular Sets the regu
232. with the time code 00 00 20 20 or 00 00 20 25 would be considered an A frame and therefore would be used as the first frame in a pulldown sequence In the case of batch captures when the first frame of a clip that is to be captured might not always be an A frame Matrox RT X2 advances to the next instance of an A frame in the clip to start the pulldown sequence if it s required In order for Matrox RT X2 to perform standard reverse 2 3 pulldown accurately the clips must have A frames appearing at time codes 0 and 5 The clips must also be recorded to a tape that has continuous non drop frame time code Advanced 2 3 3 2 pulldown Advanced 2 3 3 2 pulldown was developed as an alternative to the standard pulldown method for making frame rate conversions in DV video only It is used to convert 486p 23 98 fps video to NTSC 486i 29 97 fps video This conversion is used when video footage is acquired by a DV camera at 23 98 fps and recorded to DV tape with the recorder set for advanced pulldown called 24PA or 24P Advanced mode on some devices Advanced 2 3 3 2 pulldown differs from standard 2 3 pulldown in that the two middle frames of the video sequence are each converted to three video fields Advanced 2 3 3 2 pulldown 174 The following diagram demonstrates the process Progressive frames 23 98 fps Video fields 29 97 fps RICICICICIEICICICICS Za A Frame B Frame C ele D aie E Advanced 2 3 3 2 pulldown is acco
233. wo ways Click the eyedropper button and click on a color on which you want to key Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 97 Click the eyedropper button and click and drag anywhere on your clip to select a rectangular area containing colors on which you want to key Note The Show Key mode and any chroma key applied will be temporarily deactivated in the Program Monitor when using the auto key eyedropper This allows you to see the original colors of your clip before any modifications were made Indicator Click this button to turn the indicator on or off Handles Click this button to turn the handles for the indicator on or off Creating a chroma key or chroma key shadow effect 98 Creating a cube effect The Matrox cube effect lets you map video or graphics to the faces of 3D cubes These cubes can then be rotated in 3D space to create transition effects such as those you often see during sports broadcasts The Matrox cube effect supports up to three video sources one primary source that the cube effect is applied on and up to two additional sources If you want to use additional sources in your cube effect the additional source clips must be placed below and in the same segment as the primary source Each additional source is identified by applying the Matrox Source Identifier effect to the clip Matrox Cube Effect applied to primary source Matrox Source Identifier effect applied to
234. x RT X2 System 167 Create If Open file after scan is selected the HTML system log opens after it is created m Matrox X info Display Information About System v System Information Install Information Matrox Mx tools version 1 0 8 2522 Matrox Mx tools Path C Program Files Matrox Mx tools Matrox Plug in For Adobe Premiere Pro Path C PROGRAM FILES ADOBE ADOBE PREMIERE PRO System Information Log C My_temp SystemLog html Open file after scan Show icon in taskbar Using X info to display RT X2 information 168 Displaying hardware information To display information about your Matrox RT X2 hardware select Hardware from the Display Information About list Your RT X card and display card are each represented by a tab Click a card s tab to display a page with hardware information for example serial number and production date You can also monitor the current and maximum operating temperatures for your RT X2 card m Matrox X info Display Information About FEE Re v RT X2 Card Display Card Hardware Information Serial Number BD93136 Board ID 0 Production Date 2006 02 09 Installed Options No options Firmware Revision Primary Dev 4 0 EEPROM Revision 3 0 Memory Size 64 MB Hardware Model RT X2 Temperature RT X2 C Current 45 5 CELLO Show icon in taskbar Important Whether or not you have opened Matrox X info if your RT X2
235. xel aspect ratio selecting for render in Adobe Premiere Pro 37 Index Preconfigured Matrox effects applying 51 Proc amps adjusting using Matrox color correction 75 Progressive clips mixing with interlaced clips 19 20 Project presets for HD projects 178 for SD 24P material 176 loading for Matrox RT X2 18 See also Matrox RT X2 workflows Pulldown description of advanced 173 description of standard 172 used in 1440x1080p 23 98 fps project 179 used in 486p 23 98 fps project 176 Pulldown method selecting for video output 26 R Realtime plug in for Adobe Premiere Pro 3D DVE creating 85 4 corner pin creating 88 applying a Matrox transition 51 applying a Matrox video effect 51 available effects 50 blur soft focus effect creating 90 chroma key effect creating 92 overview 91 chroma key shadow effect creating 92 overview 91 color correction primary 59 secondary 74 cropping your clip 55 crystallize effect creating 101 cube effect creating 98 garbage matte effects creating 103 impressionist effect creating 105 lens flare effect creating 108 luma key effect creating 111 overview 110 mask blur effect creating 116 mask effect creating 114 mask mosaic effect creating 118 move amp scale effect creating 120 old movie effect creating 122 page curl creating 126 pan amp scan effect creating 128 realtime guidelines 149 ripple effect creating 130 selecting speed control method 148 shadow effect cre
236. y the Target slider will be available if you selected Constant bit rate CBR If you selected Variable bit rate VBR all three sliders will be available so that you can set the minimum target and maximum data rates for the video compression Under GOP Structure you can customize the GOP structure for the MPEG 2 IBP compression as follows GOP length Determines the number of frames in the GOP Group of Pictures Subgroup length Determines the subgroup length of B frames and P frames in the GOP after the initial I frame For example a subgroup of 3 appears as BBP and a subgroup of 2 appears as BP The available subgroup lengths depend on your selected GOP length Under Profile the 4 2 0 profile is selected which uses 4 2 0 luminance chrominance sampling and is suitable for broadcast transmission and distribution on DVD Under Motion Estimation drag the slider to adjust the quality of the motion estimation used for the video compression The default setting gives good results for most video However if you have a lot of fast motion in your video such as fast paced sports footage you can get better results by dragging the slider to the right towards Slow High quality This improves the quality of the motion estimation but decreases the speed of the video compression Alternately if you have mostly slow paced video you may want to drag the slider to the left towards Fast Low quality to decrease the quality
237. y these files correctly in Adobe After Effects or Adobe Premiere Pro you ll need to use the Interpret Footage command to change the pixel aspect ratio to 1 0 You can configure Matrox EZ HDV AVI to create only video files only audio files or both types of files By default Matrox EZ HDV AVI is set to create both video and audio files gt To create Matrox EZ HDV AVI files 1 In Windows Explorer right click the desired HDV avi file or selected files and choose Matrox EZ HDV AVI gt Configure Configure Matrox EZ HDY AVI V Create video files AVI IY Create audio files WAY 2 In the Configure Matrox EZ HDV AVI dialog box specify the type of files you want to create video and or audio and click OK The created reference Creating Matrox EZ HDV AVI files for playback of large HDV clips with VFW 12 files will be named Filename_Ref avi Filename_Ref Monol wav and Filename_Ref Mon2 wav For example if you re creating both video and audio files for a file named Demo avi your reference files will be named Demo_Ref avi Demo_Ref Monol wav and Demo_Ref Mono2 wav only mono reference wav files can be created for stereo HDV clips Note The file type settings will remain in effect until you change them 3 Right click the desired HDV avi file or selected files and choose Matrox EZ HDV AVI gt Create Your reference avi and wav files will be created in the same folder as your source avi files Important
238. your effect on page 57 5 Select Expand Outside Mask Chapter 4 Setting Up Realtime Effects with Adobe Premiere Pro 85 Creating a 3D DVE effect The Matrox 3D DVE effect lets you position your clips anywhere in 3D space while adding soft edges and rounded borders with color gradients in real time Note Ifyou want to create a picture in picture effect the move amp scale effect will provide a sharper picture see Creating a move amp scale effect on page 120 To apply rotation to your effect you must use the 3D DVE effect gt To set up a Matrox 3D DVE effect Click the triangle next to Matrox 3D DVE to expand the property list gt 4 e Transform Use these properties to apply or change various transform settings such as the position scale and rotation settings of your clip For more information see Transforming your clip on page 52 e Border Settings Allow you to create a border or soft edge on your clip Border Outside Softness Lets you adjust the softness of the edge of your clip or outside edge of your border The higher the softness value the less sharp the edge becomes If your clip is skewed you may get more desirable results using the Border Outside Skewed Softness control Border Outside Skewed Softness If you altered your clip so that the perspective is skewed you should use this option to apply softness to the edges of your clip Creating a 3D DVE effect 86 Border Typ
239. your video will be recompressed during the export If you ll be rendering audio set the audio sample rate to 48 kHz and the sample size to 16 bit mono or stereo For best results make sure you clear your program s Data rate limit option for rendered material This ensures that your avi files will be rendered at the particular video quality you select If you re using Adobe Premiere Pro set the Fields for rendering to Lower Field First for NTSC video Upper Field First for PAL and interlaced HD video or No Fields Progressive Scan for progressive video Note Before rendering a lot of material check that your rendered animations and transitions such as wipes and slides play back smoothly If they appear jumpy try adjusting the field dominance or field order for your rendered material For example if your transitions appear jumpy with the field dominance set to Odd field or Field 1 try switching the setting to Even field or Field 2 Before you start rendering 154 Selecting color space conversion options When you render material to an avi file using a Matrox VFW codec you can determine how you want the luminance levels and chroma information to be processed during the color space conversion that s performed during the render Note The default settings for color space conversion provide good results for most applications We recommend that you change these settings only when needed for special purposes gt To select the

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