IntroductionWelcome| 00:04 | Welcome to this EDIUS 6.5 New Features Workshop.
| | 00:09 | I'm the author of the official Grass
Cutters EDIUS Certified Editor Training
| | 00:13 | Program and an EDIUS Master Trainer.
| | 00:15 | I'm also a filmmaker with strong views about
how to get the best out of media technology.
| | 00:20 | This course will help you make the most
of the powerful new features in EDIUS 6.5.
| | 00:27 | Some of the new options may not seem
so important, but when you discover the
| | 00:30 | way they add to the workflows
available to you, you may end up wondering how
| | 00:35 | you got by without them.
| | 00:36 | You can now see transparent picture
areas when nesting sequences. That is, Alpha
| | 00:41 | channel is supported when
editing one sequence into another.
| | 00:45 | This feature alone opens up
great creative effects and
| | 00:48 | compositing possibilities.
| | 00:49 | Grass Valley have added 10-bit color
correction, video layouter enhancements
| | 00:55 | like Alpha channel-based shadows, and
built-in stereoscopic editing. Plus, a host
| | 01:01 | of smaller, but
nonetheless significant new features.
| | 01:04 | The new filmstrip timeline view, shake
stabilizer, and expanded format support,
| | 01:09 | all help speed up your edit,
and expand your creative freedoms.
| | 01:14 | I think this is a significant new release,
and hope you'll enjoy learning all about it.
| | 01:19 | Let's get started.
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1. Introducing EDIUS 6.5Introducing EDIUS 6.5| 00:01 | EDIUS 6.5 has a fantastic list of new
features. They're not all big ground
| | 00:08 | breaking changes to the interface, it's
not all change color and change buttons,
| | 00:12 | but nonetheless there are some really
important new developments in this update.
| | 00:16 | It's well worth diving
in and making use of them.
| | 00:19 | We've got some new project settings,
we've got options to change the way we
| | 00:25 | display color, we can have 10-bit
quantization instead of 8-bit, so less
| | 00:29 | banding, less posterizing,
more subtle color correction.
| | 00:32 | We can now work with Alpha
channels in our nested sequences.
| | 00:36 | As you can see here, I've got a nested
sequence with Alpha and I'm using a Track
| | 00:42 | Matte Key to see that
foreground element up here;
| | 00:45 | could not do that before,
couldn't be done in EDIUS Version 6.
| | 00:51 | We now also have the option
to enable Stereoscopic Editing.
| | 00:56 | Check it out, Stereoscopic, if we turn
this option on, then we can convert clips
| | 01:02 | into stereoscopic items, we can then
go into our Effects and work with a
| | 01:08 | Stereoscopic Adjustor Effect to
adjusting the interaxial distance, the distance
| | 01:14 | between the two lenses.
| | 01:15 | We've got support for more formats now.
If I double-click here to Import, take a
| | 01:21 | look at the objects of type, you can
see we've got some interesting options.
| | 01:24 | We've now got support for R3D files,
this is RAW media from RED cameras, you can
| | 01:30 | take up to 4k natively, you can adjust
the playback resolution and work with
| | 01:34 | that camera roll format
directly, natively in EDIUS 6.5.
| | 01:38 | We've got support for AVCHD Version 2,
we've got support for Canon CF files, and
| | 01:45 | we can now work natively with the F4V
File format, that's the H264 variant of
| | 01:52 | the Flash Video format.
| | 01:53 | EDIUS 6.5 includes support for the new
loudness unit system, which is being used
| | 01:59 | by broadcasters all around the world as
a replacement for the old decibel scale.
| | 02:04 | We now have a dedicated Loudness Meter
that we can use to monitor our audio
| | 02:10 | levels, of course I've turned off the
audio here, let's turn it on, and you can
| | 02:16 | see as we play through here, I'm
getting a graph that indicates my amplitude in
| | 02:20 | LUFS, rather than in decibels.
| | 02:21 | And I can use this to measure whether
my audio is going to be broadcast legal,
| | 02:26 | or built in to EDIUS 6.5.
| | 02:29 | I can use the same tool to analyze a clip
that exists in the bin, or for that matter,
| | 02:34 | I can use it to analyze a Sequence.
| | 02:36 | You see here, I can right-click
Loudness, I can go through this analysis and
| | 02:41 | there we are, I've got a
graph ready to use as a reference.
| | 02:44 | EDIUS 6.5 has a filmstrip view, if you
like, and this view is here under the User
| | 02:51 | Settings, I can set this to All and now
I've got, here we are, thumbnails right
| | 02:56 | the way through my timeline.
| | 02:59 | We can also output to new formats. If I
go to my Export options here, you can see
| | 03:06 | we've got support for, well for
example, if we're working in a stereoscopic
| | 03:10 | project as we are now, we can
export directly to P2 3D clips.
| | 03:15 | So it's all integrated
into a single group of files.
| | 03:19 | Or I can choose one of the new QuickTime
options, which include Canopus HQ, Canopus
| | 03:27 | HQX with Alpha, I can generate files
with Alpha now embedded inside of them,
| | 03:32 | fantastic for collaboration.
| | 03:34 | If I choose something like a regular
Canopus HQ file, I can even specify
| | 03:39 | whether I'm going to work with Left
Eye or Right Eye or dual-stream, Anaglyph,
| | 03:43 | whatever I want to generate a
file for stereoscopic media.
| | 03:47 | Grass Valley have released the Canopus
Codec as a free installer for both Mac
| | 03:52 | and PC, so now we have this
fantastic YUV native quality-based rather
| | 03:57 | than data rate-based codec available for
collaboration between those two operating systems.
| | 04:03 | We also have an option both in the
Layouter and, if I go into the Layouter
| | 04:08 | here you can see, and also in the Project
Settings to define the way images are scaled.
| | 04:13 | If I go to my Resampling Method,
this is a new menu in EDIUS 6.5,
| | 04:18 | I can choose either High Speed, so I
get great realtime support, or one of these
| | 04:23 | advanced Lanczos
Algorithms for scaling my media.
| | 04:26 | This is particularly important for
scaling down your media, because scaling up
| | 04:30 | is pretty easy, but scaling down is
quite difficult for the system to know which
| | 04:34 | pixels it should keep and
which ones it should discard.
| | 04:37 | The Laczos Algorithms are better quality,
but you do take a hit to your realtime
| | 04:42 | performance, it's something you
can change later if you want to.
| | 04:44 | We also now have, inside the Layouter,
a procedurally-generated drop shadow.
| | 04:50 | This will generate a drop shadow based
on the Alpha channel of your media, and
| | 04:54 | that includes nested sequences, so you
can have things animate over time and the
| | 04:59 | drop shadow will update in
a very natural looking way.
| | 05:01 | These new features, along with quite a
few others that are just thrown in for
| | 05:07 | this release, we've got things like 50p and
60p formats in the integrated disk burner.
| | 05:12 | There's a whole load of these
little additions added to EDIUS 6.5.
| | 05:16 | Altogether, this is a fantastic
release, and even just for me, just the ability
| | 05:22 | to use Alpha in nested sequences alone
opens up whole new vistas of workflows
| | 05:28 | and timeline design.
| | 05:30 | So, these are the new features in
EDIUS 6.5, which represent a continual
| | 05:36 | development, if you like, of the
flexible workflows for EDIUS Editors.
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| New project settings| 00:02 | Because EDIUS uses the Project Settings to
define things like the conforming of your media,
| | 00:08 | there are quite a few new options there
that are important for the 6.5 release.
| | 00:15 | So, if I just take a look in the
Project Settings here, and I'll choose Change
| | 00:20 | Current Setting, we can take a
look at those important new options.
| | 00:24 | All of the new settings are ones that
you can change after creating the project.
| | 00:29 | So, it's not things like the 60Hz,
50Hz video playback limitation where you
| | 00:34 | can't choose a different frame rate
from NTSC and PAL frame rates.
| | 00:40 | So, let's take a look.
| | 00:41 | First of all, one of the wonderful
new features in EDIUS 6.5 is the ability
| | 00:46 | to use Alpha channel information from one
sequence when it's nested, inside another.
| | 00:51 | That means when you edit the
sequence inside another sequence.
| | 00:55 | You must enable that option in the Project
Settings first or it's just not going to work.
| | 01:01 | So, here under Video Channels, where at
the moment, I've got my YCbCr option,
| | 01:07 | If I click on this menu, I
now have a +Alpha option.
| | 01:10 | With that option enabled, just
automatically you'll start to see transparent
| | 01:15 | regions in nested sequences.
| | 01:17 | You'd also find that under the View
Menu up at the top here, we've got the
| | 01:22 | option to view the Alpha channel, which
is pretty useful if you're working with
| | 01:25 | subtly gradiated Alpha-enabled source media.
| | 01:30 | Next down, I've got this
Video Quantization Bit Rate.
| | 01:33 | This is a very nice feature in EDIUS 6.5.
| | 01:36 | As far as I'm aware, all broadcast
television is 8-bit and pretty much all
| | 01:41 | effects processing is done in non-
linear editors in 8-bit, but now if we want
| | 01:47 | to, we can change the
quantization bit rate to 10-bit.
| | 01:51 | The name of this isn't particularly
helpful if you're not a techie, and you
| | 01:55 | don't now what quantization is.
| | 01:57 | But essentially, this is indicating the
number of steps per channel that EDIUS
| | 02:02 | can take between nothing at all and everything.
| | 02:06 | So for example, in the Red channel, we
are going to have no red, or maximum red,
| | 02:12 | and the number of steps
between those two in 8-bit is 256.
| | 02:17 | Well, actually, it goes from 0
to 255, you go one step down.
| | 02:21 | If we switch to 10-bit, then the number
of steps is 0 to 1023, so it's 1024 steps.
| | 02:28 | Each bit you add, you double and double again.
| | 02:31 | This means, when you consider that
there are three channels, you got your red,
| | 02:35 | your green, and your blue, or
your Y, your color blue, color red.
| | 02:38 | We've got an enormous range of subtlety
in the processing of color in our shots.
| | 02:43 | Why is that important?
| | 02:44 | Well, 8-bit video pretty much matches
the range of color acuity that we have
| | 02:50 | with human vision, so it's not that
big a deal if we're working anywhere over
| | 02:55 | 8-bit, but when you're processing effects,
particularly when you're processing
| | 02:58 | things like color correction effects,
you can see more banding and posterizing
| | 03:03 | in 8-bit video effects, than you will in 10-bit.
| | 03:06 | So, it can make a beautiful
difference to the quality of your results.
| | 03:11 | Not all effects are 10-bit enabled,
and those that are not, will have an
| | 03:17 | exclamation mark on them.
| | 03:18 | I'll just click OK here and drag on
screen the effects list, and you can see
| | 03:26 | quite a few of these have
this exclamation mark on it.
| | 03:30 | Now, also some of these effects won't
work with the new Alpha channel support,
| | 03:34 | and if I hover the mouse over one of
these, you can see here I've got a little
| | 03:38 | note in the tool tip that says:
| | 03:39 | Alpha channel not supported,
10-bit color not supported.
| | 03:42 | So, the exclamation mark is there, both
to indicate Alpha channel isn't there,
| | 03:47 | and to indicate 10-bit color is not there.
| | 03:50 | Most of these are okay for 10-bit, and
the exclamation mark, unfortunately it's
| | 03:56 | the same symbol for the lack of 10-bit
support and the lack of Alpha channel
| | 04:00 | support, but most of them are 10-bit, actually.
| | 04:03 | If you look at the tool tips for these,
you'll see that that exclamation mark is
| | 04:06 | very often indicating that the
problem is with the Alpha channel support.
| | 04:13 | Of course, as I'm saying that it's
all coming up with both on these effects.
| | 04:17 | Now, if I just jump back into our
Project Settings, choose the Current Settings.
| | 04:23 | Importantly, effects like the Layouter,
that's calculated in 10-bit, the three
| | 04:28 | way color correction effect,
that's calculated in 10-bit as well.
| | 04:32 | So, in any case the option's here and
you can turn it off and on at any time.
| | 04:37 | Next down here, I've got this fantastic
Stereoscopic Editing option. If you're
| | 04:41 | not shooting stereoscopic media, this
is pretty irrelevant for you, but if you
| | 04:46 | enable this option, if I now click OK,
and if I just pull on screen here my
| | 04:55 | bin palette, you can see if I select a
couple of clips here and right-click, I've
| | 05:01 | now got the option to set as Stereoscopic,
and if I choose that option, I'm able
| | 05:07 | to define which of those
two clips is my left eye,
| | 05:10 | which is my right eye, and so on.
| | 05:12 | You just won't get that menu option if you
don't enable it in your Project Settings.
| | 05:16 | Let's just pull that out of the way for a
second. So you're going to need to make sure
| | 05:21 | that's on, but again, if I just go
back in here, it's pretty irrelevant if
| | 05:25 | you're not working with stereoscopic media.
| | 05:28 | So, it's something that you may or may
not want to enable just to remove the
| | 05:32 | clutter from the interface.
| | 05:34 | And lastly, up here on the right, I've
got a Resampling Method option, and this
| | 05:38 | is a really interesting
development in EDIUS 6.5.
| | 05:41 | When you're scaling, and particularly
when you're scaling down, because when
| | 05:45 | you're scaling up, the image is, it's
pretty easy for the system to work out
| | 05:50 | what to do, it just increases the
number of pixels in any given region of the
| | 05:54 | picture, but when you're scaling down,
it could be quite difficult for an
| | 05:57 | editing system to know which pixels it
should keep and which it should discard,
| | 06:02 | and you can get kind of a quantization
effect on the edge of hard lines, perhaps
| | 06:07 | if you got the edge of a building
against a skyline, it can look pretty bad.
| | 06:11 | So by default, the scaling method used
in EDIUS is designed with the emphasis
| | 06:17 | on realtime performance, and that's this
Area Average (Fast & Sharp), you can see there.
| | 06:22 | We can do Bilinear, which is fast and
smooth, but we've now got Bicubic and these
| | 06:27 | several Lanczos options as well,
which are a high-quality algorithm for
| | 06:33 | calculating scaling.
| | 06:34 | Now this relates particularly to
adjustments that you make using the layouter.
| | 06:39 | If you're scaling down in the layouter,
you're going to want to choose one of
| | 06:43 | these options to get the
best possible image quality.
| | 06:46 | However, notice that this is an
effect that you can change at any time in
| | 06:50 | the Project Settings.
| | 06:51 | So, what you could do is work all the
way through your project with the Fast &
| | 06:56 | Sharp option enabled to get that great
realtime performance, and then when you're
| | 07:00 | ready to output your project, you
just have a list of things to check at the
| | 07:05 | end of the edit, before you do that
final export and change this to one of the
| | 07:09 | higher quality options.
| | 07:10 | You can see this guidance there about
what to go for if you're working with
| | 07:15 | progressive picture or
motion graphics and so on.
| | 07:17 | You could, for example, also set your
Video Quantization to 8-bit, which is
| | 07:22 | going to give you better realtime
performance, and then at that last stage,
| | 07:26 | just before you output, switch this to 10-bit
and switch to a high quality resampling method.
| | 07:32 | In the layouter, you have a menu very
similar to this one, where you can set, per
| | 07:37 | effect, to have one or other resampling method.
| | 07:41 | One of the options on the list is to
use the Project Setting, so you can just
| | 07:45 | leave it on the default, which is that
option, and then come in here at the end
| | 07:50 | of the edit and change it.
| | 07:51 | So that's a series of important
new Project Settings in EDIUS 6.5.
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| New format support| 00:01 | EDIUS is famous for its format
support, and with the 6.5 release,
| | 00:08 | there are a number of really notable
additions to the list of items you could
| | 00:13 | import and playback natively.
| | 00:15 | If I just bring up here the page on the
Reference Manual, you can see what I mean.
| | 00:20 | This is the EDIUS User Guide, the
Reference Manual for 6.5, and this is the
| | 00:24 | list of Registerable File Formats, the
items that you can import, and they'll
| | 00:28 | just play natively.
| | 00:29 | This list just goes on and on and on.
| | 00:33 | And there are some very interesting
notable additions for this release.
| | 00:39 | In particular, notice that we now have
RED file support, so you can take R3D
| | 00:44 | files up to 4K resolution and
play them natively inside of EDIUS.
| | 00:49 | Now you won't get access to the full
source settings control panel where you can
| | 00:54 | change things like the debarring
settings and the interpretation of color, but
| | 00:58 | if I just jump into the EDIUS interface
here and go to System Settings, and look
| | 01:04 | under Importer/Exporter, you'll see
that we now have a RED entry here and in
| | 01:09 | this panel we can specify the Preview Quality.
| | 01:13 | Red Camera R3D files are a
kind of camera roll format.
| | 01:17 | Now they'll just hammer your hard drives.
| | 01:19 | They are really high data rate, and
they are pretty difficult for your machine
| | 01:23 | to play back. So particularly, if
you're working on a laptop, you are likely to
| | 01:28 | want to drop this Preview Quality.
| | 01:29 | Now the playback engine in EDIUS is
fantastic and it's going to give as good,
| | 01:35 | if not better, as any other non-linear
editing system available for playback performance.
| | 01:41 | But even on a reasonably specced out
machine, I'd probably be thinking I'm in a good
| | 01:46 | position if I can get one in four
preview resolution here. More than that
| | 01:51 | and you're really talking about a very,
very large amount of data to playback
| | 01:55 | and the realtime performance
isn't going to be fantastic.
| | 01:59 | Still, it's great that we can play
back RED media native now in EDIUS 6.5.
| | 02:04 | While I'm in the System Settings here,
notice that under the Source Browser, we
| | 02:09 | have a new option to define the Transfer folder.
| | 02:13 | That is the folder into which media
files will be placed if you choose the
| | 02:18 | option when importing using the Source
Browser to transfer the files, as well as
| | 02:23 | importing them into your project.
| | 02:25 | So, whereas before they would just
always end up going into the Project Folder
| | 02:28 | and that could be kind of difficult to organize,
| | 02:31 | now you can specify Custom folder,
browse wherever you want to on your machine,
| | 02:35 | and that's where the files will go,
you get the path described down here.
| | 02:38 | This relatively small change, I think,
is just huge in terms of workflow when
| | 02:44 | working with file-based media and EDIUS 6.5.
| | 02:47 | Going back to our list of formats,
you'll notice as well we now have support for
| | 02:55 | f4v files, Flash Video
Files that use the H.264 codec.
| | 02:59 | In fact, you can both import and
export these formats if you want to.
| | 03:04 | We've also got support further down here.
| | 03:06 | Of course we have XF file format support.
| | 03:10 | So if you're working with Canon
XF media, you're covered as well.
| | 03:15 | Moving up the list a little bit, you
can see that we have AVCHD2 support. And
| | 03:24 | another interesting option is we have
QuickTime Movie support, and that's fine, and
| | 03:29 | of course, that means any codec
supported by the QuickTime engine will work, but
| | 03:32 | now that Grass Valley have released
the Canopus Codec as a free installer for
| | 03:37 | both Mac and PC, that means you can use
that codec inside a QuickTime wrapper.
| | 03:44 | This makes the Canopus HQ, and even the
Canopus HQX codec, a fantastic option for
| | 03:50 | transferring media between
Mac and PC editing systems.
| | 03:55 | So you really can use it as an intermediate.
| | 03:57 | Of course, you need to install the
codec before you can play it back, but it's
| | 04:02 | available for free and anyone can get it.
| | 04:04 | The Canopus HQ Codec also supports
Alpha, so again, it's an excellent
| | 04:09 | alternative to things like using an
animation codec within QuickTime to make
| | 04:13 | sure that you get the
Alpha, or even, I suppose, PNG.
| | 04:16 | Of course, the wonderful thing about
working with all of these different types
| | 04:21 | of file in EDIUS is you can just
import them and play them natively and you
| | 04:27 | don't have to go through any
kind of transcoding process.
| | 04:29 | All of these file types are just going
to open up, you can press play, mix and
| | 04:34 | match them as much as you like on
the timeline, and whatever your Project
| | 04:38 | Settings are, that's what you're going to get.
| | 04:40 | That's what the media is going to conform to.
| | 04:42 | So that's new format support in EDIUS 6.5.
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2. New Editing WorkflowsThe Loudness Meter| 00:01 | There's a major change going on in
the broadcast television industry from
| | 00:07 | using the Decibel Scale to using
the new LUFS, or Loudness Units Scale.
| | 00:13 | And this has been picked up by Grass
Valley and support for the new scale has
| | 00:19 | been implemented in the form of
support for the new Loudness Units, but also
| | 00:23 | if we look under the View menu, we have
the introduction of this new Loudness Meter.
| | 00:28 | Now before I go into the meter, I'm
just going to go up to the System Settings
| | 00:32 | and I'm going to go into the Loudness
Meter options, where you can see I have all
| | 00:37 | of these controls to define the way the
audio level is going to be measured in
| | 00:43 | your program, in your sequence.
| | 00:44 | Now you'll notice that by default, we've got
an ITU and an EBU option here and these
| | 00:49 | both do broadly the same thing.
| | 00:51 | In fact, more recently, the two standards
have pretty much come in line with one another.
| | 00:56 | Now if you're not familiar with
this new standard, it's probably not
| | 00:59 | that important to you.
| | 01:00 | If you're working in broadcast, you absolutely
are going to have to start using this system.
| | 01:06 | But broadly speaking, a Loudness Unit is
pretty similar to a Decibel, so you can
| | 01:12 | think about these measurements in similar terms.
| | 01:13 | So, I'll just cancel out of these
options here. I should mention before I do
| | 01:18 | come out of that completely, you can
see that I have the option to Add and if I
| | 01:22 | choose Add, I can specify all of these
values, but be careful how you define
| | 01:26 | these, because you need this to have the
settings that your transmission control
| | 01:31 | department are really looking for.
| | 01:32 | So I'll just cancel out of that,
just tidy up my display a little bit.
| | 01:36 | So, how do you use the new meter?
| | 01:38 | And there are a couple of ways.
| | 01:40 | First of all, if I go to the View
menu, I can choose to view the loudness
| | 01:43 | meter, and I can specify whether I'm going
to use the EBU standard or the ITU standard.
| | 01:49 | If I click Settings, I get access to
all of that information, but not really,
| | 01:54 | access to change the settings.
| | 01:56 | You see here I can't change the Gating
threshold, this is the threshold below
| | 02:01 | which amplitude is not measured. I
can't change it here, I have to go into the
| | 02:07 | System Settings to define a preset.
| | 02:09 | And that's very much in line with
the way the EDIUS likes to work with
| | 02:14 | presets in general.
| | 02:15 | It likes to have the presets in the
System Settings and then you just get on
| | 02:19 | with doing the job inside the interface.
| | 02:22 | Notice down here, what I can change
though is the output channels that I'm
| | 02:25 | measuring, I can have two groups if
I want different channels within my
| | 02:30 | sequence, but I'm just working with stereo
media here, so I'll leave things as they are.
| | 02:34 | Now let me just reset this
to show you how this works.
| | 02:38 | Here on my timeline, I've got some audio,
I'm just going to position my record
| | 02:44 | line near the beginning there, and
I'm going to turn on the measurement.
| | 02:50 | I'm going to click Start, and that
means that the Loudness Meter is active and
| | 02:54 | I'm going to hit Play, and here
as this plays - (video playing)
| | 02:58 | You see we get a level. (video playing)
| | 03:08 | And I'll just click here to stop again.
| | 03:10 | So, you can see, what's happening is
I'm getting this fantastic graph, and what
| | 03:13 | we are looking for is items that go
over the reference level, here we are,
| | 03:18 | that's our reference level.
| | 03:19 | Anything that goes over that level would
be rejected, so I need to go in at that
| | 03:24 | point in my sequence and adjust the level,
and the idea of this meter is to help
| | 03:31 | me locate those sections of the timeline.
| | 03:33 | Now I don't know if you can see too
clearly here, but as I'm dragging this
| | 03:37 | scrollbar at the bottom,
my playhead is moving here.
| | 03:41 | So as I reach that point in the
graph, I can think, okay, right, that's
| | 03:46 | definitely a section that is too loud,
and I can go in and maybe take a look at
| | 03:52 | my waveform and see if I can fix that level.
| | 03:55 | And here you can see I've got various
different kinds of information supplied as
| | 03:59 | part of the new loudness measurement system.
| | 04:02 | This is the overall amplitude for the
section of the timeline that I've measured.
| | 04:06 | Here's the momentary, just a short
period of time of level, it's a little bit
| | 04:12 | louder, and here's that short term
measurement, which I suppose actually is a
| | 04:16 | slightly extended period over
this momentary, very short range.
| | 04:20 | Over on the right here,
I'm getting a Loudness Range.
| | 04:23 | This is the number of Loudness Units
between the loudest and the quietest part
| | 04:28 | of the area measured.
| | 04:30 | So, this is actually giving you very,
very subtle information about the audio
| | 04:35 | level in your sequence.
| | 04:36 | Now just to clarify one detail here,
the Loudness Units, LUFS, is the system of
| | 04:43 | measurement, as I said it's quite as
similar to decibels, and this is the
| | 04:47 | objective measurement if you like.
| | 04:48 | So here I've got in the short term
measurement, I've got -24.5 LUFS.
| | 04:54 | Loudness Units is the difference, so
for example, the difference between -23
| | 04:57 | LUFS and -25 LUFS is 2 loudness units.
| | 05:02 |
| | 05:02 | So I can set this to show me in
Loudness Units if I want, you see the scales
| | 05:07 | all get a lot smaller, because it's
showing me the differences that are
| | 05:10 | audible within the periods of time
that are being measured, I can set this to
| | 05:14 | give me the objective LUFS scale.
| | 05:16 | Now this way of measuring we will do, of
course, requires that I playback in real time.
| | 05:22 | I've got to hit Play, and I
have got to watch that graph.
| | 05:25 | And once it's done, I've then got a
graph for the entire current sequence, but
| | 05:29 | there is another way.
| | 05:30 | If I just click OK on this meter, I
am going to pull my Asset bin on screen,
| | 05:36 | go to my Sequences bin, and here you
can see there is New Filmstrip View Sequence.
| | 05:43 | So, let's just rename that Choices,
which is what this film is, and if I
| | 05:48 | right-click on this, I can now choose Loudness,
this is a new option added with EDIUS 6.5.
| | 05:56 | And if I choose this option, I get a
very simple menu, again, this is based on
| | 06:00 | the presets in the System Settings, are we
going to use the EBU of the ITU scale, these
| | 06:04 | are the two big broadcast unions.
| | 06:06 | Let's go for the ITU this time, again,
I can go into the Settings, I get the
| | 06:11 | same options, in particular I can
choose which channels I want to measure in my
| | 06:14 | audio, which could be relevant,
| | 06:16 | particularly if you're working with
perhaps a multilingual broadcast, and you're
| | 06:19 | producing a sequence where you've got
different tracks with different languages
| | 06:23 | on, and you want a measure them
separately. Just cancel that.
| | 06:26 | Do I want to measure the entire sequence,
or just part of it, here I have got In/Out.
| | 06:33 | I am going to choose
Entire File, and I am going to click OK.
| | 06:37 | And now you can see, very quickly in
this case, because it's a pretty short
| | 06:40 | sequence, it's only about 30 seconds,
you can see here on the timeline.
| | 06:44 | But very quickly EDIUS has given me
the graph for the entire sequence.
| | 06:50 | So, I can monitor, or rather I can
check the overall loudness for a sequence
| | 06:57 | directly in the bin in a single pass.
| | 06:59 | And that's gives me now a guide to
locate those sections of my audio that go
| | 07:05 | over my reference level.
| | 07:07 | This is a fantastic feature, if you do
have to work with the new LUFS scale.
| | 07:12 | If you are working with this new
broadcast standard, you need spend a little bit
| | 07:16 | of time with this and get familiar with it.
| | 07:18 | It's going to save you so much time,
making sure that your audio levels
| | 07:23 | are broadcast standard.
| | 07:25 | So again, I can get access to this by
right-clicking and choosing Loudness, you
| | 07:30 | can also go through this process for
individual clips, you've got the same option.
| | 07:36 | Or within the timeline, I just go to the
View menu, bring up Loudness Meter, and
| | 07:42 | I can analyze individual sections of my audio.
| | Collapse this transcript |
| The new filmstrip view| 00:01 | EDIUS is famously flexible
in its approach to editing.
| | 00:06 | You can edit pretty much any way you like.
| | 00:08 | If you want to use Track Patching
and Keyboard Shortcuts, that's fine.
| | 00:12 | If you prefer the mouse, that's fine,
and there are a lot of keyboard shortcuts
| | 00:16 | that aren't mapped by default when you
first install the software and you can
| | 00:20 | enable them and you can have EDIUS
work pretty much like any other non-linear
| | 00:23 | editing system if that's your preference.
| | 00:25 | And in EDIUS 6.5, we've got another,
just a little extra feature, under the User
| | 00:30 | Settings here that enables you to see
not just clip thumbnails at the beginning
| | 00:36 | or the end, the in or the out of the
clip, or the in and the out, which is the
| | 00:41 | default I've got here, there's a first
frame there and a last frame on my clips,
| | 00:45 | but also all the way through.
| | 00:46 | Now, I just want to highlight this
new feature, because there's just an
| | 00:50 | interesting twist in the way it works.
| | 00:52 | I'm going to click OK here and right
away you'll see all the way through I am
| | 00:56 | getting these thumbnails, but
notice how long it's taking to draw them.
| | 01:00 | Now, I'm just going to resize a little
bit here and pull down my interface, perhaps
| | 01:08 | not as much as that, let's just click
and resize, near about there, I think.
| | 01:12 | So, notice if I zoom out, the first
time these thumbnails are drawn, it takes
| | 01:17 | a little bit of time.
| | 01:18 | If I zoom back in a little bit,
you'll notice that it does not.
| | 01:22 | I'll just zoom in again, one, there
we go, takes a moment to update the
| | 01:25 | thumbnails, zoom back out,
zoom back in, no time at all.
| | 01:30 | So, the first time EDIUS draws these
thumbnails for you, it is going to take
| | 01:35 | a little bit of time.
| | 01:37 | but it's a one off once they're there,
it's very very quick to navigate the
| | 01:41 | timeline, if I just zoom in a little bit,
I'm pressing Ctrl and the plus key on my
| | 01:45 | numerical keypad there, or I can just
zoom in a little here I suppose, you
| | 01:50 | see, there it is again.
| | 01:51 | If I resize this very small, you can
see it takes a quite a long time for it to
| | 01:57 | draw these thumbnails.
| | 01:59 | This is not going to have any impact
on video editing generally, and it's, as I say,
| | 02:04 | quick once EDIUS has had the time to draw
the thumbnails once, but it does take up
| | 02:09 | a bit more memory on your machine,
and if you're working on a high powered
| | 02:13 | machine as I am here, that's
absolutely fine, you're not going to notice any
| | 02:16 | impact on performance.
| | 02:17 | But if for example, you're editing on
a lowered power machine, maybe a low spec
| | 02:22 | laptop, good for portability, not
so great for a realtime performance.
| | 02:26 | You might find that you start to
notice a little bit of a hit to performance,
| | 02:30 | simply because of the extra memory
required to manage these extra images.
| | 02:35 | So, that's the new All option under
the User Settings, here we go, over under
| | 02:40 | the Clip Thumbnail section, and of
course, this being a user setting, it's
| | 02:44 | going to apply to any projects that
you open on the machine where you're
| | 02:48 | using this user profile.
| | Collapse this transcript |
| Alpha channel support for output| 00:01 | One of the great new features in
EDIUS 6.5 is the inclusion of really great
| | 00:09 | Alpha Channel Support, which we
didn't have before up to EDIUS Version 6.
| | 00:14 | Now I'm about to show you to work, you
must first enable Alpha Channel Support
| | 00:19 | in the Project Settings.
| | 00:20 | So if I go up to the Settings menu
and I choose Project and Change Current
| | 00:24 | Settings, you can see here under
Video Channels I've got YCbCr+Alpha, so do
| | 00:31 | make sure this is on, or you won't
even have the same options in the menus.
| | 00:36 | Now the option I want to show you, just
for now, is that you can now export files,
| | 00:41 | create new media files
that have an Alpha channel.
| | 00:43 | That means they have
transparency information in the file.
| | 00:47 | So to demonstrate this, I'm going to
throw on a Mask effect, let me just -- I am
| | 00:52 | just tight on space here, but I think
we should -- here we go, I've got the
| | 00:56 | Mask, throw this on to a clip.
| | 00:58 | I'm going to go into the Mask Settings
and I'm just going to get the Pen tool
| | 01:04 | and make a very lazy big
shape here. There we go.
| | 01:07 | Just a kind of a squiggle on screen,
so you can see, and I'm going to set the
| | 01:13 | Outside Opacity to 0, so we can see
the result, and also just to demonstrate
| | 01:17 | this, I'm going to turn on a soft edge
and I'm going to put this really high.
| | 01:22 | I'm going to make this maybe, I don't know,
let's see what 250 looks like, so there we go.
| | 01:26 | I've got a really soft edge on
that and I'm going to click OK.
| | 01:30 | So now I'm seeing the black
background of the timeline behind this clip and
| | 01:33 | there's the content going on in the foreground.
| | 01:37 | If I now go to the File menu and
choose Export and Print to file, you'll
| | 01:42 | notice that here, if I choose, for
example, one of these Canopus AVI options, now
| | 01:49 | not all formats are going to support the
inclusion of an Alpha channel, but this one does.
| | 01:55 | You'll see that I've got my Canopus HQ
Fine, Standard, and Offline quality options.
| | 02:01 | I also now have a new option that
says Alpha in brackets, so you do need to
| | 02:07 | first of all have Alpha enabled in the
Project Settings, and secondly when you
| | 02:11 | export, you need to make sure you're
using an option that includes Alpha.
| | 02:15 | Now if you wanted to use a QuickTime
file, you could use the Animation RGB+
| | 02:21 | Codec option, that would give you Alpha
as well, or PNG for that matter, but what
| | 02:25 | I'm looking for here is this Canopus HQ option.
| | 02:28 | I can use the HQX 10-bit version, I can
use Lossless, but I'm just going to go
| | 02:33 | for Canopus HQ, and just to save space,
so you can have this file and look at it,
| | 02:38 | I'm going to choose the Offline quality version.
| | 02:40 | I've got all the usual options down
here for exporting in 12-bit 2-Channel, to
| | 02:45 | Enable or Disable Conversions and so on.
| | 02:47 | But I'm happy to take the whole sequence.
| | 02:49 | It's a very, very short
one with just one clip in it.
| | 02:52 | So I'll click Export and I'm putting
this in a folder called Example Alpha in
| | 02:57 | with the other media, so you can take a
look, and let's call this Example Alpha
| | 03:01 | Shot, OK, let's Save that, it
shouldn't take long, and we're done. Great.
| | 03:10 | Now of course, EDIUS being EDIUS,
this has been imported automatically for
| | 03:15 | me into my current bin, here it is in my
Source Media folder, because it's the active one.
| | 03:21 | I'm just going to drag that into this
Example Media bin, so we've got it separately.
| | 03:25 | Now if I double-click on this to open
it up, of course, it's just going to
| | 03:29 | look like the clip with a kind of a, I
suppose an organic vignette on it, but it's not.
| | 03:34 | This is actually Alpha channel
information stored inside the clip.
| | 03:37 | Just to demonstrate this, I've got
another sequence here which is just an edgy
| | 03:42 | sequence really, but with a Blue Color
Matte in the background on video 1A. And
| | 03:46 | I'm going to pull this clip down
to Vtrack so you can see the result.
| | 03:53 | And there it is, that is a clip with
Alpha channel information stored inside
| | 03:58 | of it, and in fact, if you enable
the Alpha Channel option in the Project
| | 04:02 | Settings in EDIUS 6.5, you'll notice
that magically a new option appears here
| | 04:07 | under the View menu.
| | 04:09 | I've not got this Show Alpha Channel
option, which won't appear at all if you
| | 04:14 | don't have Alpha turned
on in the Project Settings.
| | 04:17 | Now if I turn this on, my preview
monitors are going to display the Alpha for,
| | 04:24 | well, in this case you can see the
original Alpha for the clip, it's pretty
| | 04:28 | obvious, and of course on the
timeline there, perhaps if I move that Color
| | 04:31 | Matte out of the way, which has 100% Alpha for
all of the pixels, you can see the same result.
| | 04:37 | So again, this View option, Show Alpha
Channel, only there if you enable Alpha
| | 04:41 | in the Project Settings, but very, very useful.
| | 04:44 | Of course, EDIUS could always work with
media that had an Alpha channel before,
| | 04:49 | but this is a new wonderful feature in
EDIUS 6.5 that you can now generate media
| | 04:54 | with Alpha Channel information, which
makes it that bit more convenient to share
| | 05:00 | your work with people working on other
editing systems, or even for example,
| | 05:04 | taking your assets and using them in
display medium or incorporating them into
| | 05:08 | other animations, for example.
| | 05:10 | So that's that ability to
export with Alpha from EDIUS 6.5.
| | Collapse this transcript |
| Stereoscopic video editing| 00:01 | EDIUS 6.5 has a whole
dedicated stereoscopic editing mode.
| | 00:08 | There's a special effect for it,
there's new controls in the Layouter, and
| | 00:12 | there's a stereoscopic clip setting.
| | 00:15 | This is a pretty big subject, but let
me just take you through the key things
| | 00:18 | you need to know to start working
with stereoscopic media in EDIUS 6.5.
| | 00:23 | First of all, if I go up to my
Settings menu here and go to my Project
| | 00:29 | Settings, I'll just change the
Current Setting, I've got this Stereoscopic
| | 00:33 | Editing Enable option.
| | 00:35 | This must be on for these functions to,
well, not just for them to work, but
| | 00:40 | for them to exist at all.
| | 00:41 | They're just not going to be there.
| | 00:43 | The menus won't exist if you don't have
this enabled, so do check that that is
| | 00:47 | enabled first of all.
| | 00:49 | Remember that EDIUS conforms playback
based on your Project Settings, so I can
| | 00:54 | make as many sequences as I like and
they're all going to have stereoscopic
| | 00:57 | playback enabled. And now that I've
enabled that option, under the View Menu,
| | 01:02 | I've got this option right the way down
here, Stereoscopic Mode, and this allows
| | 01:07 | me to choose the way I want
to see Stereoscopic Media.
| | 01:11 | Now, the option you choose will depend
upon the monitor that you're using to
| | 01:15 | view your stereoscopic content in 3D,
and you'll just have to go through these
| | 01:21 | options and choose the one that's right.
| | 01:23 | I'm choosing Anaglyph here, because it's
nice and visual on a 2D screen and this
| | 01:28 | media is all going to be 2D
of course, for these tutorials.
| | 01:31 | Now, I've got a clip here and it's a
very short one, I've kept it nice and
| | 01:36 | small, so it's a small download for
these files, and I've got a left eye and a
| | 01:41 | right eye for this media.
| | 01:42 | The difference is pretty subtle.
| | 01:43 | If I open up one and then the other,
you can see there's a little bit of
| | 01:48 | variation in the angle between
these two, which is quite correct, that
| | 01:51 | inter-axial distance between
the two lenses is pretty small.
| | 01:55 | If I want to tell EDIUS that these two
shots are actually a stereoscopic single
| | 02:00 | piece of video, it's very easy to do,
and remember this option only exists
| | 02:04 | because I've got the stereoscopic
features Enabled in the Project Settings.
| | 02:08 | I'm going to lasso to select these two clips.
| | 02:12 | I'm going to right-click and I'm
going to choose Set as Stereoscopic.
| | 02:17 | Now I can do this for a whole list of clips.
| | 02:19 | I just have two here, because I
don't want to give you a massive download of
| | 02:23 | assets for the sake of just really
one feature, but if I had 50 shots here,
| | 02:28 | which would be 25 combined or muxed
into single shots or single video clips,
| | 02:34 | then these would all appear on the list,
and pretty much all you need to do in
| | 02:39 | this panel is choose Autopairing.
| | 02:41 | Now, I've only got one item here, so
it's pretty easy, but you can see based on
| | 02:45 | the preview, if I had a list of
items here, right now I'm seeing this
| | 02:49 | particular one, the clip is 20008, and the right
eye I happen to know is the clip called 30008.
| | 02:57 | I can switch these by clicking on this
button, but I don't need to, and if I
| | 03:01 | drag over to the right, you can see
I've got a little menu here where I can
| | 03:05 | specify how I'm going to sync these two shots.
| | 03:07 | Remember, these are two completely
separate pieces of video and they just happen
| | 03:12 | to be perfectly synchronized for 3D,
and one of the problems you might find is
| | 03:17 | that the start point of these two clips differs.
| | 03:19 | It's very possible if you're working
with a simple camera rig that doesn't have
| | 03:24 | any kind of remote control for the two
units paired to have them synchronized.
| | 03:28 | So, in this menu, I've got the option to
specify the Start Frame or the In Marks,
| | 03:33 | so I could specify an In Mark that is
a sync point for these two cameras, and
| | 03:37 | use that, or if I've got external time
code, then I could use that, and here I've
| | 03:41 | got a Similarity indication.
| | 03:43 | If I had lots of different clips here,
clicking on Autopairing would kind of
| | 03:47 | make a bit more sense.
| | 03:48 | You'd see this Similarity heading
and you can see that the clips with the
| | 03:52 | highest level of Similarity, EDIUS
probably thinks are the ones that match.
| | 03:56 | If I click Monitor Preview here, it's
just going to give me a preview based on
| | 04:02 | my current view option, which is Anaglyphic.
| | 04:04 | So you see I've got the overlap there.
| | 04:06 | So, I'm going to click OK, notice I've
got two clips at the moment, I click OK
| | 04:10 | and now I've got one, and all I need to
do is begin to edit in exactly the same
| | 04:15 | way that I'd edit any other kind of clip.
| | 04:17 | If I drag this down into my Sequence,
you see, there we go, I've got my fish, and
| | 04:22 | if you happen to have anaglyphic
glasses that you could put on right now, you'd
| | 04:27 | be seeing that with some basic 3D.
| | 04:29 | I can, if I want, change this to
maybe Top and Bottom, or I can change it to
| | 04:36 | kind of a blend, which is pretty nice.
| | 04:38 | It gives you a bit more of a
natural color, and you can see based on the
| | 04:42 | distance between the two instances of
the fish just how close or far away from
| | 04:46 | the camera they are.
| | 04:47 | Let me just switch back
to Anaglyphic for a moment.
| | 04:50 | Now, depending on the type of media you
shot, you may find that EDIUS will pick
| | 04:55 | it up automatically and put
it in as a stereoscopic clip.
| | 04:58 | Coincidentally, if I right click here,
I do have the option to cancel the
| | 05:02 | stereoscopic mode if I want to for this clip.
| | 05:04 | Nothing has been done to
the original media files.
| | 05:07 | EDIUS is a non-destructive
editing system, as you'd expect.
| | 05:11 | This is just combining the two clips
and displaying those two sets of media
| | 05:15 | simultaneously, and of course, the
beauty of the power of the playback engine in
| | 05:19 | EDIUS means that this will work just fine.
| | 05:22 | I can carry on working with realtime
effects and view my media at full quality.
| | 05:26 | It's fantastic to work
with 3D media in this way.
| | 05:29 | If we look under our Effects Palette, and
just scroll down a little bit, we can see
| | 05:35 | that we've got a
Stereoscopic Adjuster Effect here.
| | 05:39 | Now, I'm going to throw that onto this
clip, and I'm also just going to put on
| | 05:44 | a regular effect here like Smooth Blur,
just so you can see another option.
| | 05:48 | Now, in my Information Palette, I've got my
Stereoscopic Adjuster and the Smooth Blur.
| | 05:53 | Just before I get to the Stereoscopic
Adjuster, notice that next to the Smooth
| | 05:58 | Blur, I've got an L and an R, and
these buttons allow me to selectively apply
| | 06:04 | the effect to just the left
eye or the right eye of my media.
| | 06:08 | This is very, very useful, if for
example, you're having some trouble
| | 06:11 | calibrating the color between your left
and right eye images, you could have a
| | 06:15 | color correction effect that just
brings in line one of your camera angles and
| | 06:18 | you could only apply the effect to that angle.
| | 06:22 | Of course, here I've got a blur,
| | 06:24 | it could be any effect you like.
| | 06:25 | Now if I go into the Stereoscopic Effect,
there's a long list of options here,
| | 06:29 | but most of this is the keyframing.
| | 06:31 | Right up at the top, I've got
a Horizontal axis adjustment.
| | 06:35 | You can see I'm creating more
separation and effectively bringing that fish
| | 06:40 | closer to the viewer.
| | 06:42 | I've also got some simple Masking here.
| | 06:44 | I can mask the edge of the left eye or
the edge of the right eye, and you'll
| | 06:49 | notice that, now I've zoomed in, I'm
getting a little bit of this banding at the
| | 06:53 | edge where I've moved these two 2-dimensional
images apart so much, that I'm
| | 06:58 | losing the edge of the frame.
| | 06:59 | So, if I just click Fit Frame, you can
see that EDIUS will auto zoom the image,
| | 07:04 | it will scale it up by just the right
amount for me to lose that bit of edging.
| | 07:08 | If I turn on Auto Trimming, it's
going to have a very similar effect.
| | 07:12 | I can adjust here and as I adjust, you
can see there's a kind of an auto zoom
| | 07:16 | adjustment going on there.
| | 07:18 | I can also flip the left eye or
right eye and this is sometimes necessary
| | 07:22 | depending on the rig that you're using.
| | 07:24 | Some rigs have the second camera at 90
degrees, for example, in order to get the
| | 07:28 | lenses close enough to have that
inter-axial difference just right.
| | 07:33 | It used to be called the interocular
distance, which is the distance between a
| | 07:37 | person's eyes, but now it's called the
inter-axial distance because it's not
| | 07:40 | eyes, it's camera lenses.
| | 07:41 | So to fix that, sometimes you'll need
to compensate by flipping one of the
| | 07:47 | camera angles vertically or horizontally.
| | 07:48 | Notice that these options are all keyframable.
| | 07:52 | This is the familiar keyframe interface
in EDIUS, which means that you can adjust
| | 07:57 | the Z-index position if you like of
an object by adjusting the Horizontal
| | 08:02 | difference over time, so you can have
an object move in 3-dimensional spaces.
| | 08:06 | It's powerful stuff, perhaps
best learned by experimentation.
| | 08:11 | And last of all, in terms of controls,
if I go into the Layouter, now that I'm
| | 08:15 | in a stereoscopic project, and I'll just
resize a little bit, scroll down a little.
| | 08:23 | Here we go, you'll notice I've got some
Lens separation and Zero parallax controls.
| | 08:28 | Now, the lens separation separates out
objects really that are in 3-dimensional
| | 08:34 | space within the Layouter, and this is
particularly for 2D objects that you're
| | 08:39 | placing in that 3D space.
| | 08:41 | The Zero Parallax is that focal point,
if you like, where the eyes of the viewer
| | 08:45 | are going to be looking, that's in
theory, that's the zero point where there's
| | 08:49 | no separation between
the two parts of the image.
| | 08:52 | Again, a little experimentation with
some content and a 3D monitor and you'll
| | 08:56 | see exactly what this does.
| | 08:57 | Let's just Cancel out of that, and of
course, the last stage of working with
| | 09:02 | 3D media is Output.
| | 09:04 | You can view of course, and you could
potentially, easily play out to tape if
| | 09:08 | you're making a side-by-side piece of
media, which is how most of the broadcast
| | 09:12 | stereoscopic media is broadcasted.
| | 09:13 | It just sits on a regular HD
transmission, but with 50% of the resolution given
| | 09:18 | to the left eye and 50% given to the
right eye, and then the TV splits the two
| | 09:23 | and overlays them to give
you the stereoscopic image.
| | 09:26 | But if I go to my Export options and
Print to File, you'll see that if I want
| | 09:31 | to, I can, for example, produce a P2 3D
clip, which will incorporate both eyes
| | 09:38 | into a single mux, a single combined
stream. But if I choose something like,
| | 09:42 | let's say, for example, Canopus HQX, if
you look now, down in this stereoscopics
| | 09:48 | processing menu, I've got a whole bunch
of different options for how this media
| | 09:53 | is going to be produced.
| | 09:54 | I can do dual-stream,
| | 09:55 | I can do separate left and right,
left only, right only, whatever you want.
| | 09:59 | Notice that if I switch over to the P2
3D clip option, this is all unavailable.
| | 10:04 | I'm just going to get the dual-stream,
because that's the point of a P2 3D clip.
| | 10:08 | The point is that everything is
muxed together in a single stream.
| | 10:12 | So again, depending on how you're going
to deliver your stereoscopic media, you
| | 10:16 | can just choose your file type and
your codec, pick the options you want and
| | 10:20 | then specify how you want to output
your separate left and right eye images.
| | 10:25 | So, all of this is integrated
beautifully into the regular EDIUS interface, and
| | 10:30 | once you've got the hang of this
stereoscopic workflow, you can pretty much work
| | 10:34 | with your media just as you would
any other kind of media in EDIUS.
| | 10:37 | Throw it on the timeline, work with
your effects, and enjoy the real time
| | 10:42 | performance for playback.
| | 10:44 | So, that's working with stereoscopic
media, a whole new feature in EDIUS 6.5.
| | Collapse this transcript |
| New export options| 00:01 | There are a couple of really great
additions to the Export options with EDIUS 6.5.
| | 00:08 | So let's take a quick look at those.
| | 00:10 | Here I've got a very simple sequence and
it's worth noting that under my Project
| | 00:16 | Settings, I've got my
Alpha Channel option enabled.
| | 00:20 | So if I now go to File and choose
Export > Print to File, let's take a look
| | 00:27 | at our options here.
| | 00:28 | So first of all, you'll notice that
I've got the option to export clips with
| | 00:34 | Alpha, which is great.
| | 00:35 | So if I've got Alpha Channel information
in my sequence then that will be passed
| | 00:40 | through into the file if I
choose one of these options.
| | 00:43 | But here notice under the QuickTime
category on the left, I've now got a number
| | 00:49 | of Canopus HQ and HQX options listed.
| | 00:52 | Grass Valley have released the Canopus
Codec as a free installer for both Mac OS
| | 00:59 | and Windows, and this is a really big
deal because it means you can use it as an
| | 01:03 | intermediate codec, as an
intermediate format for both platforms.
| | 01:08 | So in the same way that people have
been seeing ProRes or DNxHD as a potential
| | 01:14 | candidate for this kind of work, you
can now use the Canopus HQ Codec and it's
| | 01:19 | completely free for use.
| | 01:20 | You can create Canopus HQ Codec
material on either platform and you can embed
| | 01:26 | Alpha in it if you want to.
| | 01:28 | So you don't have to use the Canopus
Codec for this of course, you could just
| | 01:32 | use the general QuickTime Exporter. And
if I now click Export just to show you
| | 01:37 | here in the settings, I
can specify any codec I want.
| | 01:41 | So if I go into Settings here, you see
I've got all of the usual options for the
| | 01:47 | QuickTime encoder. But if I just come
back out of this, I'm just going to Cancel
| | 01:52 | and Cancel, and I'm pressing F11
now to go back into this dialogue.
| | 01:56 | Notice that also under H.264,
we now have an F4v Exporter.
| | 02:02 | Now F4V is the Flash video format, but
using the H.264 codec instead of a Flash
| | 02:11 | video codec, so this is a newer video format.
| | 02:15 | Now the traditional issue with using
F4Vs over FLVs is that the older Flash
| | 02:20 | players will all support FLV files, and
only the newer version -- I think it's
| | 02:26 | version 11 onward, something like that--
will support F4V, the H.264 variant.
| | 02:31 | Now the F4V version is better quality
for the same amount of data, so it's a
| | 02:35 | good thing, but if you've got users
working in an enterprise environment, a
| | 02:39 | place where, for example, they're not
allowed to update their Flash Player
| | 02:43 | software, they simply might not be
able to play F4V files, so it's just
| | 02:47 | something to keep in mind, but
it's an excellent video format.
| | 02:51 | Notice also under the MXF category
here, if I just turn on my Conversion,
| | 02:57 | although it's kind of tucked away in
the name, this is the Canopus HQ codec
| | 03:02 | wrapped in MXF, so if you're
working with a media server that uses MXF
| | 03:06 | media, there you go.
| | 03:08 | This is HQX and this is HQ, so this
is the 8-bit and the 10-bit variants.
| | 03:15 | Notice also under the Uncompressed
option here in the AVI category, I've got a
| | 03:21 | lot of different Uncompressed video formats.
| | 03:24 | And this is again great if you're
collaborating, because there's nothing quite
| | 03:28 | like using a fully uncompressed file to
avoid any possible codec issues or any
| | 03:34 | decoding or interpretation issues.
| | 03:36 | If it's uncompressed, it's like a bitmap
graphic or a TARGA file, it's just, all of
| | 03:42 | the information is there.
| | 03:43 | And of course, the workflow for all of
these different formats is exactly the
| | 03:47 | same as you would expect
with the existing settings.
| | 03:51 | Choose the option you want, click
on Export, and choose the individual
| | 03:56 | settings for that file type.
| | 03:58 | There's also the option to
Export into a 3D P2 file.
| | 04:04 | Now to enable this, you need to go
into your Project Settings and turn on the
| | 04:09 | Stereoscopic Editing Support.
| | 04:12 | Just like the Alpha Channel Support, if
you don't have this on, you just won't
| | 04:15 | have the Menu option.
| | 04:16 | So there I've got it turned on, I'm
going to click OK, I'm going to go to my
| | 04:22 | Export settings, so File > Export > Print to
File, and now if I look under P2, you'll
| | 04:29 | see that I've got HD P2 3D Clip as an option.
| | 04:33 | Notice down here as well with this
option I've got a Stereoscopics Processing
| | 04:38 | choice, which at the moment is just
set to the only option supported here for
| | 04:42 | the P2 3D Clip, and if I choose Export,
I'm just going to choose the location on
| | 04:47 | my computer and click OK
and the files will be made.
| | 04:50 | Now there aren't that many situations
where you are going to be able to use a 3D
| | 04:57 | file that's generated in this way, so
this is very much one of those cases where
| | 05:01 | if you have particular need for it, the
option is there in EDIUS. But here you
| | 05:05 | can see, I can specify the destination,
if I'm going to use two folders or two
| | 05:09 | P2Cards, which codec I'm going to use,
AVCIntra50 or 100, and I can even put in
| | 05:15 | some metadata at the bottom here.
| | 05:18 | So the options are pretty
straightforward if you need to output to that format.
| | 05:22 | So there you are, there are some
new Export options added to EDIUS 6.5.
| | Collapse this transcript |
|
|
3. Special EffectsNew layouter controls| 00:02 | The EDIUS 6.5 Layouter has had some
interesting new options added to it.
| | 00:09 | It's still the Layouter that we know and
love, so if I choose one of these clips
| | 00:13 | for example, and go into the Layouter
by double clicking on it, let's just pull it
| | 00:17 | out here, it's all pretty familiar controls,
you've got your 2D and 3D mode and so on and so on.
| | 00:25 | You'll notice though that if we scale
down, we have this new Resampling method,
| | 00:31 | which currently is set to Current
Project Setting, and this allows us to choose
| | 00:36 | one of several new resampling
algorithms to define the way that EDIUS is going
| | 00:41 | to calculate the appearance
of video when you scale it.
| | 00:45 | Now, you really need to see this on a
proper monitor connected to your editing
| | 00:49 | system to see the difference, but
essentially, the default mode which is
| | 00:54 | actually the Current Project Setting,
and the default mode for that, if I go
| | 00:58 | back in, let's go into our Project
Settings, Change Current Setting, this is the
| | 01:03 | Area Average (Fast & Sharp) option,
this is designed to maximize realtime
| | 01:07 | performance for playback.
| | 01:09 | So if I just Cancel out, go back into my
Layouter, as long as I keep this on the
| | 01:14 | default setting, Current Project Setting,
then all of my scaling adjustments are
| | 01:19 | going to be made using
whatever my Project Setting is set to.
| | 01:22 | If I change this, I can do so on an
effect-by-effect basis, or rather, on the
| | 01:27 | basis of the Layouter
settings for each individual clip.
| | 01:31 | So for example, if I'm working with
some progressive media, and I particularly
| | 01:36 | want that to be a high quality
scaling adjustment, I can change this to the
| | 01:40 | Lanczos 3 Sharper.
| | 01:41 | You can see here it says
best for progressive picture.
| | 01:44 | You can change it to that option.
| | 01:46 | The downside with using these
options is that you'll lose some realtime
| | 01:49 | performance. It's more work for your
computer to calculate scaling, changing the
| | 01:54 | size of the image using these algorithms.
| | 01:57 | So one option is to leave this on
Current Project Setting all the way through
| | 02:01 | the edit, and then at the very end,
just before you output, go into your
| | 02:05 | Project Settings and change it
to whichever option you want.
| | 02:08 | Of course, that only really works if
you've got one kind of scaling, here you
| | 02:12 | can see for example, we have got
different options for things like motion
| | 02:16 | graphics and progressive picture, but I
would hazard a guess that any of these
| | 02:19 | options are going to give you a sharper,
cleaner scale, than the Area Average,
| | 02:25 | which is the project default.
| | 02:26 | Again, if I leave this option on
Current Project Setting, that's a setting that
| | 02:31 | I can change for the project later and
all of my scaling adjustments will have
| | 02:35 | that new setting applied.
| | 02:36 | I've got a couple of nice
little enhancements as well.
| | 02:40 | Now, if I hold the Shift key down as I
am now, I can lock the movement here to
| | 02:45 | the vertical and horizontal axis, but
my favorite new option, most of these
| | 02:50 | controls are pretty much what you are
familiar with already from EDIUS 6, but my
| | 02:55 | favorite new option is
this one, the Drop Shadow.
| | 02:57 | And the Drop Shadow is procedurally
generated based on the alpha, based on the
| | 03:03 | transparent invisible regions of your
picture, and I'll show you what I mean.
| | 03:07 | I'm just going to click OK here.
| | 03:09 | I've got an area of my timeline, this 3D
Sequence as it's called, although it is
| | 03:13 | not really very 3D, which has a Choices
title, a very simple title in blue over
| | 03:18 | a white color matte.
| | 03:21 | Coincidentally, if I just double click
to open this title up, it's a very simple
| | 03:25 | title, just blue with a
simple black stroke on it.
| | 03:27 | You'll notice that of course, if I make
some changes to this, maybe if I select
| | 03:31 | this and resize it a little bit, there
we go, I've got this button Preview Mode
| | 03:37 | that I can click to see this at a full quality.
| | 03:42 | Now, in EDIUS 6.5, there's a new option
in the View Menu to enable this Preview
| | 03:48 | Mode all the time, up to EDIUS 6, any
adjustments that you make to a title are
| | 03:52 | going to look soft until you click that button.
| | 03:54 | Now, I've just come out of Preview
mode here so this is what we're used to
| | 03:57 | seeing, this kind of soft resolve,
which is designed to maximize realtime
| | 04:02 | performance for layout for your titles,
and then you click this button to get
| | 04:06 | the finished quality result.
| | 04:08 | No longer is this necessary, see if I
move this around, make an adjustment, there
| | 04:13 | we go, no longer is it necessary
for me to keep pressing this button.
| | 04:18 | I can toggle the option off and on permanently.
| | 04:22 | Under the View Menu, with Preview
Mode or just by clicking this button, and
| | 04:26 | it's a tiny little improvement, but
one that was sorely lacking, I think, up to
| | 04:31 | EDIUS 6.5, so it's nice that we can get full
quality previews of our titles all the time.
| | 04:36 | Now, this being a title, I've got zero
alpha, I've got transparency anywhere the
| | 04:41 | letters are not, so if I just close
this, I might as well Save that title.
| | 04:46 | If I go now into the Layouter for this
title, and just scroll down a little bit, so
| | 04:53 | we can see our drop shadow, here we go.
| | 04:56 | If I enable the Drop Shadow and just
crank up the distance a little bit, you
| | 05:01 | should be able to see right away
that I'm now getting a drop shadow. I'll
| | 05:05 | just go to a Single View here, so you can see
this a little bit more clearly, there we go.
| | 05:13 | You can see, I've now got this
procedurally-generated shadow based on the shape
| | 05:18 | of the letters, but it gets better. If
I get a piece of video, here I've got a
| | 05:22 | simple piece of video in front
of that white background, okay.
| | 05:26 | And if I go to my Mask effect, throw
that on, we're going to be pretty lazy
| | 05:31 | with the design of this, I'm just
going to get the Pen Tool and do a bunch of
| | 05:36 | jaggy lines, there we go.
| | 05:38 | I'm not going to win any awards for
motion graphics for this, but I think you'll
| | 05:42 | get the gist, you'll get the point.
| | 05:43 | So, there we go, and I'll just
set the outside Opacity to 0%.
| | 05:50 | So now, I've got my jaggy cutout of my
video and it looks fantastic, if I now
| | 05:54 | go to my Layouter, I can add that
procedurally-generated drop shadow.
| | 05:59 | Now, there's a little bit of a gotcha here.
| | 06:02 | Remember that the order in which these
effects are listed is the order in which
| | 06:07 | they are applied, and at the moment I've
got my Layouter applied before the Mask.
| | 06:11 | If I add a shadow using the Layouter
and then mask it, I'm just going to crop
| | 06:17 | off the shadow anyway using that Mask,
so I need to drag this down under the
| | 06:22 | Mask in order to get the desired effect.
| | 06:24 | Now when I add my shadow, it's going to
be after that Mask and I'm going to get
| | 06:29 | a shadow shaped like this jagged line.
| | 06:30 | Coincidently, just notice here, I've
got this L and R option, this allows me to
| | 06:35 | apply my Mask effect to just the left
or the right eye, if I'm working in a
| | 06:40 | stereoscopic sequence, in this instance.
| | 06:44 | If I'm working in a stereoscopic project,
it is a stereoscopic project, but I'm
| | 06:49 | not really working with stereoscopic media.
| | 06:51 | I'm going to go into my Layouter and
I'm going to scroll down, I'm going to
| | 06:55 | turn on the drop shadow, and I'm going to
crank up the distance a little bit, let's
| | 07:00 | go a bit further, maybe change the
angle, because this is kind of in the
| | 07:05 | direction of my arrows there anyway,
we'll soften this just a little bit,
| | 07:11 | fantastic, look at that!
| | 07:12 | So now, I've got this beautiful
procedurally-generated shadow coming from
| | 07:19 | this media, it's actually being
created by the mask and picked up by the
| | 07:23 | layouter, it's wonderful.
| | 07:25 | Because this is procedurally generated,
if you animate the mask or you use effects
| | 07:30 | like a Track Matte to generate your
Alpha, it means that you will get this
| | 07:34 | animated shadow effect live, it will be
dynamically generated by the Layouter in EDIUS 6.5.
| | 07:41 | So this is a new feature.
| | 07:42 | So, those are the main new controls
added to the Layouter in EDIUS 6.5.
| | 07:49 |
| | Collapse this transcript |
| The Image Stabilizer| 00:02 | EDIUS 6.5 comes with its own built-in
image stabilizer effect and in fact, the
| | 00:09 | effect incorporates a
rolling shutter repair option.
| | 00:11 | So, if you're shooting with any kind of
camera that has the chip type that uses
| | 00:15 | a rolling shutter, so that's any
DSLR or pretty much any camera phone,
| | 00:19 | this is an effect where if you're
moving the camera laterally, or if you've
| | 00:24 | got objects moving across the screen
horizontally, you can get a kind of a
| | 00:27 | tilting, a kind of a shifting from
the top to the bottom of objects on the
| | 00:32 | screen, vertical lines.
| | 00:33 | This is a consequence of the chip
recording the image, if you like, usually from
| | 00:37 | the top, down towards the bottom.
| | 00:39 | If anything is moving fast enough,
then one part of the object is recorded at
| | 00:44 | the beginning of the frame, and by the
time the chip gets towards the bottom of
| | 00:48 | the frame and it's recording the
rest of the image, the object's moved.
| | 00:52 | So, you get a kind of a tilting effect,
like a leaning for things like lampposts
| | 00:56 | and the edges of buildings.
| | 00:57 | This is an issue that's relatively
straightforward for EDIUS to fix.
| | 01:01 | Now, I've got two shots here that
I've just recorded with my iPhone.
| | 01:05 | So, I've just recorded some very,
very intentionally shaky footage.
| | 01:09 | One, a little bit more shaky than the other.
| | 01:12 | I'm going to go to my Effects list, I'm
going to select both of these clips on
| | 01:16 | the timeline and I'm going to
throw the Stabilizer Effect on.
| | 01:19 | Now, the first time you apply the
Stabilizer Effect to a clip, you will get a
| | 01:23 | band across the picture saying
that Analysis is taking place.
| | 01:26 | Because I've already applied this
effect to these clips previously, and EDIUS
| | 01:30 | cached the results, I'm not getting that band.
| | 01:33 | Now, once the analysis is complete,
any changes that you make to the
| | 01:38 | stabilizer effect are treated as a --
well, it's a realtime effect, it's a
| | 01:42 | realtime playback effect.
| | 01:43 | So, if I select one of these clips and
go into the Stabilizer options, you can
| | 01:48 | see I've got some pretty straightforward
controls and you can modify these to your
| | 01:52 | heart's content and see how they
are look and compare and contrast.
| | 01:54 | I've even got a preview option at the bottom.
| | 01:57 | Translate is for things like vertical
and horizontal movement in the picture,
| | 02:02 | Scale, pretty obvious, side changes,
perhaps a zoom twitch on the camera or some
| | 02:08 | adjustment from the position of the camera.
| | 02:10 | We've got 2-dimensional rotation,
3-dimensional rotation, and then here we've
| | 02:14 | got the Rolling Shutter repair option.
| | 02:17 | And you can see these controls are
pretty obvious, I've got Off on the left and
| | 02:21 | Strong on the right.
| | 02:22 | So, this is how much do you want to
apply the control, how restrictive do
| | 02:26 | you want this to be?
| | 02:28 | Now, I'll just click OK for a second and
turn off the Stabilizer Effect altogether.
| | 02:32 | Just take a look at this shot at the
beginning and you can see it's pretty soft
| | 02:36 | in places, because it's filmed in low light,
| | 02:38 | it's a relatively slow in shutter speed.
| | 02:40 | You can see there is some softening there.
| | 02:42 | And then here with the second shot,
I'll just actually turn off the Stabilizer
| | 02:47 | Effect there as well.
| | 02:49 | You can see this has got a lot more
movement, it's also a lot softer, and I've
| | 02:53 | got an intentional pan over to the
right and then back again over to the plant.
| | 02:57 | And what's great is that the Stabilizer
Effect will recognize that you intended
| | 03:02 | to move the camera. And I should say
at this point that the effect is really
| | 03:06 | perfect for brightly lit outdoor shots
with a relatively high shutter speed,
| | 03:10 | where you really were
intending for it to be locked off.
| | 03:13 | Maybe you've got a tripod stood on a
platform that you didn't realize at the
| | 03:18 | time was vibrating, because of perhaps
traffic moving nearby or a train or who
| | 03:23 | knows maybe a minor earthquake, and you
just didn't notice at the time and then
| | 03:27 | you get it back to post, and you've got a
little bit of a wobble going on in the shot.
| | 03:32 | That's ideal for this effect.
| | 03:33 | Just to give you a comparison, I'm
going to turn this back on, I'm going to go
| | 03:38 | into the settings, and I'm going to
turn off this Auto Trimming option.
| | 03:41 | And the Auto Trimming option just auto
zooms to compensate for the way the image
| | 03:46 | is being animated to
compensate for the movement in the shot.
| | 03:50 | This is actually an analysis that
happens optically, EDIUS will look at the
| | 03:54 | contents of the picture and
identify objects of interest or areas of
| | 03:59 | interest and try to lock them down by putting
compensatory movement into the picture.
| | 04:04 | And I'll going to show you what I mean.
| | 04:06 | I'm going to turn up the Translate
really high here, I've got the Auto Trimming,
| | 04:09 | this is a kind of Auto Zoom turned off.
| | 04:12 | And as I drag through, now you see,
school boy error, I've got the second clip
| | 04:16 | selected, so let's cancel out of here.
| | 04:17 | Let's go into this other
clip. We can get the same result.
| | 04:20 | Here is my Stabilizer, turn off Auto
Trimming, crank up the strength, and you can
| | 04:26 | see as I drag through here, look at that,
I've got massive amounts of movement
| | 04:32 | to compensate for the wobble in the camera.
| | 04:36 | But as I play through, if you accept
the fact that all of these movements are
| | 04:40 | compensating for my original camera
shake, if you just watch the sofa here for
| | 04:45 | example, you can see what a
dramatic impact it's having.
| | 04:50 | Just by how much this is edging in on
the sides. If I turn on the Auto Trim, you
| | 04:54 | can see this is actually having to
zoom in a lot to keep the image on screen.
| | 04:59 | I'm getting a lot of this lateral movement.
| | 05:02 | In fact, the sofa looks not too bad,
but particularly in the beginning, you can
| | 05:06 | see I've got a lot of fuzziness in
the foreground, and this is because these
| | 05:09 | leaves are very, very close to the
camera actually, relative to that background
| | 05:14 | and because they are so close, it's
very difficult for the system to identify
| | 05:17 | which bit of the picture it should be following.
| | 05:20 | In fact, these leaves are moving at a
slightly different rate and in a slightly
| | 05:25 | different direction to the background.
| | 05:27 | And the system is incapable of
splitting those two elements, it really can't
| | 05:31 | just move that 2D plane that is the
image around in space, and what do you do,
| | 05:37 | how can the system compensate for
components of the picture that are moving in
| | 05:41 | different directions?
| | 05:42 | So, to deal with this, you're
probably going to have to come up with a bit of
| | 05:47 | a balance, it's an art and a craft
getting these settings just right, to get an
| | 05:51 | acceptable level of stability, and
you may not need it to be rock solid.
| | 05:55 | Here, if I turn on the Preview option,
which is just like the color correction
| | 05:59 | preview controls that you get in EDIUS,
you can see as I drag through here, as I
| | 06:04 | play one side, which is the original,
very shaky, and one side, which has the effect,
| | 06:10 | so you can see there's
quite a dramatic difference.
| | 06:12 | So, you can't expect magic with this
effect, you can't expect it to transform
| | 06:17 | very, very, very shaky wobbly footage into
something beautiful, but you can expect it
| | 06:22 | to just smooth things out a little
bit for you, and perhaps it will make the
| | 06:26 | difference between a shot being
unusable, and that shot being usable.
| | 06:29 | So this is the Video Stabilizer effect,
it's applied like any other effect on
| | 06:33 | the list, and it's new in EDIUS 6.5
| | Collapse this transcript |
| Alpha channels for nested sequences| 00:02 | If I were to pick one feature that
is new in EDIUS 6.5, just one standout
| | 00:08 | feature that above all others, I
think really makes a difference to editing
| | 00:13 | workflows, it would be this one.
| | 00:15 | You can now use Alpha in nested sequences.
| | 00:18 | What that means is, if you've got
an area of a sequence that would be
| | 00:23 | transparent, because there's nothing
behind an item, like a title or graphic
| | 00:27 | for example, then it will remain transparent
when you nest that sequence inside another.
| | 00:32 | And let me give you a really simple
example of this. I've got a title here, which
| | 00:37 | is just a regular title, and I'm going
to right-click and choose New Sequence,
| | 00:42 | let's Open that sequence up, let's give
this a name, I'm going to double click
| | 00:47 | on the tab here and call this Title,
and I'm going to put that graphic right
| | 00:52 | there on the video 1VA track
and let's just open this out.
| | 00:57 | Okay, so it's a title and I'm seeing a
black background because the background
| | 01:01 | of the sequence is black.
| | 01:03 | Now if I go into this Alpha Master
Sequence that I have, and just take that
| | 01:08 | Title Sequence, in fact, let's rename
this Title sequence, it's a little bit
| | 01:13 | easier to identify as a Sequence, there we go.
| | 01:16 | I'm going to drag this down onto my 2V
track here, this is my Master Sequence,
| | 01:22 | and there we go, I'm now getting that
title seen overlaid over that 1VA track.
| | 01:28 | You could not do this before.
| | 01:31 | Now if I go into my Settings and go
to Project Settings, I'm just going to
| | 01:35 | Change current setting, and here's the
important option, it's this is my Video
| | 01:40 | Channel, so I've got my Luminance, my Y,
and then my color Blue, my color Red,
| | 01:44 | and now I've got +Alpha.
| | 01:47 | If I turn the Alpha off, and set this
back to just YCbCr and click OK, and there
| | 01:54 | we go, we're back to our sequence, and this is
what you would have seen up to EDIUS Version 6.
| | 02:00 | So there's my nested sequence, Title
Sequence, if I look at it, there's the
| | 02:04 | title, right away, that's fine.
| | 02:06 | If I go back, you can see I'm not
getting any alpha, that means these black
| | 02:11 | areas are actually transparent in the
original sequence, but what you would get
| | 02:17 | from the original sequence when you
nest it, would be the equivalent to laying
| | 02:21 | that down onto linear tape,
you'd get a black background.
| | 02:24 | Now, if I go back in and I go into my
Project Settings, and I turn back on that
| | 02:30 | Alpha option, I'm getting the Alpha.
| | 02:34 | This is huge, because it opens up
some incredibly powerful workflows for
| | 02:39 | nesting and compositing and layering
your media, and I want to just highlight a
| | 02:43 | couple of gotchas for you.
| | 02:44 | Now, I've got another sequence here
called Nested Sequence, this is just in my
| | 02:49 | Sequences Folder, and if I just look at
the beginning of this, you can see I've
| | 02:54 | done a pretty ropy job here, but if I
look in my Keyer track area of this
| | 03:00 | clip, and go to my information palette,
you can see I have applied a Chroma
| | 03:04 | key, so here's a shot.
| | 03:05 | It's just a piece of video, with
a wall here and a plant and a sofa, but
| | 03:11 | I've put a Chroma key effect on,
so you can see, there should be some
| | 03:15 | transparency in these dark regions.
| | 03:16 | I'll just move this up to another
track, and just so you can see very
| | 03:20 | clearly what's going on.
| | 03:21 | I am going to go into my Media Folder,
and I'm going to right click, New Clip,
| | 03:25 | I'll put some Color Bars here and say OK,
so it's nice and visible, and I'm going
| | 03:29 | to lay those Color Bars underneath this
clip, so you can see very, very clearly,
| | 03:33 | there are my 1VA track, I've got the
Color Bars and above that, in front of it,
| | 03:37 | I've got this IMG 2171 clip.
| | 03:41 | So, very, very obvious that I've
got some transparency there, however, if
| | 03:46 | we look in the Effects Palette, we just
scroll down here to our Keyers, you can
| | 03:53 | see that I've got Chromakey and Luma
Key and Track Matte, but the Chromakey and
| | 03:58 | the Luma Key, they have a little
exclamation mark next to them in the icon there
| | 04:02 | and you can see in the tooltip,
Alpha channel not supported.
| | 04:06 | Now what that does mean?
| | 04:07 | It doesn't make any sense, because the
very definition of a Chroma key is that
| | 04:12 | it assigns alpha channel values, it's
the same as the luminance key, but what it
| | 04:16 | means is if you nest this sequence
inside another, the alpha channel
| | 04:21 | information generated by this effect,
it's just not going to work, it won't
| | 04:27 | apply, so let's take a look.
| | 04:29 | I've already nested this in my Alpha
Master, and there is the plant shot, and you
| | 04:33 | can see I'm getting that color bar in
the background, so let's go back to that
| | 04:39 | nested sequence, and I'm just going to
right-click on this clip and I'm going to
| | 04:44 | click on Enable/Disable, so it's the 0
key, so I'm disabling this color bar,
| | 04:49 | so I should have transparency.
| | 04:50 | Go back to my Alpha Master, and lo and
behold, I am not getting it, here's my
| | 04:56 | background, it's just a shot from a scene,
this is our Choices film that we shot,
| | 05:01 | and I'm not getting the
alpha, it just doesn't work.
| | 05:04 | So there are some gotchas with
this Nested Sequence Alpha Support.
| | 05:10 | However, there are some good
examples of this feature as well.
| | 05:15 | So here, I've created a very simple
Track Matte key, so if I turn off this
| | 05:20 | Foreground Layout on to V, on my 1VA
track, you can see, I've got just a title,
| | 05:25 | a regular title that I've animated
using the Layouter to have it move around
| | 05:28 | the screen a little bit, so you can
see what's going on, and then in my
| | 05:33 | foreground clip, if I turn this back on,
go to my Information Palette, I'm
| | 05:37 | just going to select this mixer part
of the clip, and there, I've got my Track
| | 05:41 | Matte Key effect, which does not
have an exclamation mark on it and does
| | 05:46 | support nested alpha.
| | 05:47 | So, I've just chosen the alpha from
that title, because if I choose the
| | 05:51 | luminance, it's actually a pretty dark
title, I don't know if you can even see,
| | 05:56 | you can just about make out the outline
of the Choices text there, but if I just
| | 06:00 | set this to Alpha, I can take
the alpha channel from that title.
| | 06:03 | I'll go back to my Alpha Master and
if I drag through a little bit, you can
| | 06:07 | see, there we go, that's the
Choices text cutting out that video, works
| | 06:13 | absolutely perfectly.
| | 06:15 | Now this is a really big deal, because the
Track Matte Effect is a very powerful one.
| | 06:19 | If you want to, you can use the Track Matte
Effect with a clip defining its own alpha.
| | 06:25 | If I go back to our Nested Sequence,
for example, and I'll just have a go at
| | 06:30 | this, I'm going to take this clip, drag
it later in the sequence, I am holding
| | 06:34 | down the Control key now to make a
copy, there it is, I'll do this again,
| | 06:38 | tracking it down, making a copy.
| | 06:40 | In the foreground, I'm going to get
rid of that Chroma key, so select it, hit
| | 06:45 | Delete, just turn that
layer off for a second, actually.
| | 06:48 | In the background, I'm now going to
get rid of that Chroma key, so again, I'm
| | 06:53 | clicking on the mixer part of the clip,
select the Chroma key, hit Delete, and
| | 06:57 | instead, under my Effect, I'm just going
to Color Correction, and I'm going
| | 07:02 | to choose -- let's go for YUV curve,
and I'm going to use the YUV curve
| | 07:07 | effect, let's pull this on screen for
you, to really crank up the Luma and pull
| | 07:13 | down the shadows here. Now I'm doing
this very, very roughly, but you can see,
| | 07:18 | I've got very strong dark regions and
very strong light regions. I can possibly
| | 07:21 | even bring that even tighter.
| | 07:23 | So, now, I'm getting a pretty hard edge,
if I wanted to soften that, I could add
| | 07:29 | a bit of a soft focus or a blur effect,
but now I'm going to my Effects list, go
| | 07:35 | to Track Matte, throw that onto the
mixer here, better turn the layer on, I
| | 07:40 | suppose, as well, and now we've got this
rather interesting effect, where we're
| | 07:44 | getting partial transparency.
| | 07:47 | Just if I turn on my Track Matte
settings here, you can see if I Invert, you can
| | 07:53 | see what's happening, I'm going to
invert this, so I'm seeing the leaves and the
| | 07:57 | sofa, not a perfect clip, but at
least it will illustrate the point.
| | 08:01 | If I now go back to my Alpha Master,
and I may need to just move this over a
| | 08:08 | little bit, because I need to trim out
that little nested sequence, you can see
| | 08:14 | this region of diagonal lines is
telling me that there's no media here, so I
| | 08:18 | can just snap back to the end of the
visible media, and if I just click through
| | 08:23 | towards the end, there we go, I'm
getting the results of my Track Matte key.
| | 08:27 | So what I've done in my nested sequence
is I've taken a clip that has no alpha
| | 08:32 | at all, I've duplicated it, I've
turned one layer into a super high contrast
| | 08:37 | version of itself, this the bottom,
the lower layer here, and then in the
| | 08:41 | foreground version of the clip, I've
just assigned the Track Matte key effect.
| | 08:46 | Now the Track Matte key will use
whatever is below the clip as a reference, and
| | 08:51 | of course I'm using the same
clip, the two items are lined up.
| | 08:54 | So the combination of high contrast and
the Track Matte key is giving me a key
| | 08:59 | with media that has no alpha originally,
so it's kind of a workaround, it's not
| | 09:03 | quite the same as a Chroma key,
but it will do something for you.
| | 09:06 | Another good piece of use is that
the Mask Effect is also supported, and
| | 09:11 | you'll notice this isn't even a mixer
effect, this goes on the video part of
| | 09:16 | the clip, but the mask effect can
generate alpha, it can make regions of your
| | 09:20 | picture transparent.
| | 09:21 | If I go into this Mask Effect I've
already applied, you can see I've got a very
| | 09:25 | simple triangle I've created and I've
keyframed it to animate across the screen.
| | 09:30 | And I've set my outside,
| | 09:31 | outside my selected
region is set to Opacity 0.
| | 09:34 | So now, if I go back to my Master,
you can see -- if I can locate that
| | 09:40 | section, there we go.
| | 09:41 | I've got this animated mask.
| | 09:42 | Again, very very powerful, a whole
new workflow that's available to you,
| | 09:48 | because EDIUS 6.5 supports, in
certain contexts, using the Alpha channel for
| | 09:55 | nested sequences.
| | Collapse this transcript |
| Which effects support alpha channels?| 00:01 | Once you start working with Alpha and
Nested Sequences in EDIUS 6.5, you'll
| | 00:06 | discover just a world of new
workflows available to you.
| | 00:10 | It's a very, very powerful
approach and you're also going to come up
| | 00:15 | against this barrier of trying to
find effects that support the Alpha
| | 00:19 | Channel information.
| | 00:21 | If you look down the Effects list,
you'll notice that several of the effects
| | 00:25 | have this exclamation mark on them, which is a
warning that Alpha Channel is not supported.
| | 00:30 | In practice, you'll find that
sometimes you can get away with it, and certain
| | 00:35 | combinations of effects and Alpha
Channel information will work, but you'll also
| | 00:40 | find some that just make no sense at all.
| | 00:42 | It just isn't coded;
| | 00:43 | it just isn't designed to
support that combination of effects.
| | 00:47 | You'll notice that all of the Color
Correction effects are fine, I've got a lot
| | 00:51 | of system presets here, but you can see
my 3-Way Color Correction, which is the
| | 00:54 | new 10-bit Color Correction tool, is there.
| | 00:56 | I've got my YUV Curves which is great.
| | 00:59 | Things like Anti Flicker for working
with interlaced media where you've got
| | 01:03 | information that's in one
field and not in the other.
| | 01:06 | That's not supported, you'll get
some funny results with that one.
| | 01:09 | Moving down the list you can see
things like Emboss, Loop Slide, the Median
| | 01:13 | Filter, and so on, and so on.
| | 01:15 | A lot of these don't support
the Alpha Channel information.
| | 01:19 | The Smooth Blur will, which can be
pretty useful when you're working with
| | 01:22 | things like the Track Matte effect
and things like the Tunnel Vision and
| | 01:26 | Strobe, they just won't. And the
important ones are if you look down the list
| | 01:30 | here, you can see my Blend modes are
all fine, but the Track Matte key works,
| | 01:35 | Chroma key and Luma key will not.
| | 01:38 | Interestingly, as well, you'll notice
that the Chrominance filter, one of
| | 01:42 | my absolute favorites, but in the case
of the Chrominance filter, and for that
| | 01:46 | matter, in the case of the Chroma key,
you can set those effects to display
| | 01:51 | their Alpha Channel.
| | 01:53 | If I, for example, go to my Nested
Sequence here, and let's just pull out a copy
| | 02:00 | of this clip and let's take off our
Track Matte, I'm just going to select this
| | 02:06 | and hit the Delete key.
| | 02:07 | Now if I put something like Chroma key
on here, of course, this is exactly the
| | 02:12 | wrong kind of clip to apply a Chroma
key to, but if I go into the Chroma key
| | 02:16 | effect, let's pull these settings on
screen here, you'll see one of my options
| | 02:22 | is Key display, and if I turn on the
Key display -- I'll just pull this out of
| | 02:26 | the way a little, you can see the resulting key.
| | 02:29 | This is my Alpha Channel
displayed as a black and white image.
| | 02:32 | Now of course, I can then go on to use
this, I can do the same thing with the
| | 02:37 | Chrominance effect as my Track Matte key.
| | 02:41 | You may get some funny results.
| | 02:43 | What you may find is that the Chroma
key effect, because it does not support
| | 02:47 | alpha at all, it won't be usable as a
Track Matte key, but if you nest the
| | 02:52 | clip in another sequence, then of
course, you're getting the result of that
| | 02:56 | sequence and you can use it.
| | 02:58 | I found better results using -- if just
click OK here and turn this off, go back
| | 03:04 | to my Effects, go back to
Chrominance, here we go.
| | 03:09 | This is a video effect, so it's
produced from a different part of the media.
| | 03:13 | If I go in here, I can make a
selection Show key, that's not much of a
| | 03:18 | selection, is it, but you get the idea.
| | 03:20 | I'm now seeing a black and white image
generated from the video part of my clip,
| | 03:25 | and I can use that as a
Track Matte key for the clip.
| | 03:29 | For myself in getting familiar with
using the new Alpha Channel Support in
| | 03:33 | EDIUS 6.5, I found these combinations
of the Track Matte key and the Alpha
| | 03:38 | Channels views for things like Chrominance and
Chroma key, or even Luma key for that matter.
| | 03:43 | I've found these to be very, very useful
as successful workarounds for the limited
| | 03:48 | range of Alpha channel
support for nested sequences.
| | 03:51 | Nonetheless, even though those
limitations exist, it's a fantastic development
| | 03:56 | for EDIUS 6.5, and I encourage you to
explore and experiment and discover what
| | 04:01 | you can do with this new creative freedom.
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