Boris Red™ 3GL New Features

Boris Red™ 3GL
New Features
Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
New Text Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
New Leading Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
New Fixed Width Checkbox. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
New Generator Tab for Text Generation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
New Text Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
New Style Hue Parameter in the Text Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Changes to the Text Window Size Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Changes to Scaling Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Working with the Jitter Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Type On Tab Parameter Additions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Changes to the Text on a Path Feature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Additions to the Transform Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Creating Looping Border Animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Understanding Tracking in the Text Window and the Text Tool. . . . . . . . . . . . . . . . . . 11
Auto Update Button Removed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Changes to the Text Window’s Border Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Using Text as a 3D Primitive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Changes to the Style Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Applying Styles to the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Applying Color and Gradient Styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
New Style Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Bump Map Styles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
New Timeline Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Sliding Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Scrubbing Parameter Values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
New Timeline Slider and Buttons. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17
Changes to Timeline Selection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
New Generate Keyframes Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
New QuickTime Source Preview Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
New Timeline Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Scroll to CTI Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Changes to the Reverse Keyframe Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Insert New Tracks at CTI Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Speed Optimization for Static Bitmap Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
New Contextual Reset Handle Command . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
New CTI Behavior . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
Renaming Spline Tracks and Filter Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Changes to the Velocity Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Simultaneously Adjusting Parameters on Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . 22
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New Composite Window Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
New Render Thermometer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
New OpenGL Interactors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Changes to Composite Window Selection. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Scaling the Size of the Composition Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
New Title Safe and Grid Options. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
New User Defined Title Safe Area . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
New Color Parameter Behavior . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
New Color Preview Feature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
Nudging an Object’s Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Aligning Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Distributing Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
New Project Window Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Setting the Representative Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
New Project Window Behavior . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Naming Tracks in the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
Changes to the Export Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27
New Shape and Media Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Support for Larger File Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Working with the Media Files Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Using the Reload Files Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
New Share Movie Checkbox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Creating Looping Border Animations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Importing Illustrator 10 Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Changes to the Gradient Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
Animating Gradients . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Changes to the 3D Extrusion Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Additions to the Textures Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
New Bump Map Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Three New Spline Primitive Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Changes to Spline Object Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Convert to Container Command for Spline Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Change to the Texture Map Default . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Premultiplied White Alpha Default . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Support for Multiple Masks and Alpha Channels for Photoshop Files . . . . . . . . . . . . . 40
Renaming Spline Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Changes to the Camera Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
New Velocity Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Changes to the 3D Extrusion’s Lights Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Improvements to Motion Blur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
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New Interpolation Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
New Reset Interpolation Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
New Jitter Interpolation Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
New Swing Interpolation Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
New Bounce Interpolation Type. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
New Filter Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Correct Non-Square Pixel Rendering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
New Filter Categories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Velocity Remap and Temporal Blur Filters Updated for Avid and Apple Hosts . . . . . . 45
New Boris CONTINUUM Complete Filters in Boris Red . . . . . . . . . . . . . . . . . . . . . . . . . 45
Using CONTINUUM Complete Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Working with the BCC PixelChooser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Working with the new Optical Flow Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Working with the Filter Palette. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Working with the Plugin Filter Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50
Understanding Upstream and Downstream Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Renaming Filter Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52
Creating Keyboard Shortcuts for Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Changes to the Search/Target Tab for the Motion Filters . . . . . . . . . . . . . . . . . . . . . . . 53
New Transform Tab for Motion Stabilizer filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
Changes to the Preferences Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
New Factory Settings and Reset Tab Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Changes to the General Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Changes to the Interface Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Changes to the Import Media Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56
Changes to the Preview Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
Changes to the Render Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Changes to the Local Project Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Changes to Containers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Changes to the 3D Model Renderer Container. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
New 3D Chart Containers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
Working with the Chart Editor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Workflow Improvements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Scrubbing Parameter Values. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
New Controls Window Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
New Modifier keys for Dial controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Mouse Wheel Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
Working with the History Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
New Keyboard Shortcuts and Menu Commands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
New Workspace Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
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New Shortcuts Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
New OpenGL Acceleration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
New OpenGL Acceleration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
New Host and Hardware Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Discontinued Mac Classic OS 9.x Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Discontinued OMF Support. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
Applying Boris Red as a Transition in Final Cut Pro (Version 4.0 Only). . . . . . . . . . . . . 74
New Avid Title Matte Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
New Vegas Video Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Exporting a Media 100 Timeline to the Red Engine. . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Support for Automatic Duck Composition Import. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Working with the Preview to Monitor Feature. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Copyright © 2003 Boris FX, Inc. All rights reserved.
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Introduction
This guide contains information on features that are new to this release of Red. This
document only provides an overview of Red 3GL’s many new features. For more detailed
information, see your Red User Guide.
The Red User Guide is divided into two volumes. Volume I covers effect creation; Volume
II covers Þlters. Both volumes are available as a both a printed book and an online pdf Þle
found on your Red CD-ROM.
The illustrations in the printed Boris Red User Guides appear as grayscale images.
To view an illustration in color, use the UserGuide.pdf on the Boris Red CD-ROM.
New Text Features
The following features and changes have been added to text in Red 3GL For detailed
information on how to use the new text features, see Chapter 7, “Working with Text,” in
Volume I of the Red User Guide.
New Leading Feature
The Text window now offers selection based Leading instead of only applying the Leading
globally. In addition, a Leading parameter has been added to the Transform tab. To access
this tab, select the Face track. The Leading parameter in the Transform tab is applied
globally, but it is animatable.
New Fixed Width Checkbox
A new Fixed Width checkbox appears in the Text window in the Style tab.
This forces the selected text spacing to the same even when the letters change. In addition,
a Fixed Width checkbox has also been added to the Transform tab. To access this tab, select
the Face track.
New Generator Tab for Text Generation
Red 3GL introduces a new Generator tab for text. This feature provides a way to generate
random text, numbers. or text styles. You can lock each letter or number in position
regardless of changes made to neighboring characters. A typical example would be a
timecode or numerical countdown or randomized text that unscrambles to reveal text.
To access the Generator tab in the Controls window, you must select a Text track’s Face
track. The Generator Type menu determines the type of text that is generated. The choices
are User Text, Random Text, Random Numbers and Numbers.
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New Text Tool
A new Text tool has been added to the Tool window. This tool allows you
to type text directly over the image in the Composite window. The Text
tool supports typing in English characters as well as Japanese, Chinese
and Korean. The Text tool is most useful when you want to accurately
position text over a background image. You can use the Style Palette or
the parameters in the Controls window to format the text.
Text Tool
Using the Text Tool
1.
Choose Window > Show Tool window to open the
Tool window, or press Command-6 (Macintosh) or
Control-6 (Windows).
2.
Click to select the Text Tool.
3.
Click in the Composite window where you want to
add text and begin typing.
The text appears in the Composite window, with the
last used text style.
New Style Hue Parameter in the Text Window
Style Hue provides an easy way to affect the color value of all the style elements with a
single parameter. To adjust a complex text style, you might have to adjust the colors on Þve
or six separate parameters. Instead, Style Hue shifts the hue of all color values in the text
style an equal amount. This parameter also provides an easy way to save multiple versions
of a text style so that each style varies in hue.
Style Hue is a downstream process in relation to the other color parameters in the Text
window. It doesn't change the individual values of the parameters it affects, but rather it acts
as a Þlter affecting the Þnal appearance of the overall text style. In other words, if you use
Style Hue to hue shift green text with a purple border 180 degrees, the text will now appear
purple with a green border. However, if you look at the individual parameters, the Fill still
displays as set to green and the Border parameter still displays as set to purple.
When you create a text style, if Style Hue is not set to zero, color parameter
manipulations don't match the text appearance. Leave Style Hue set to zero when
designing text styles. Then adjust Style Hue as a Þnal step to avoid confusion.
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If a text style element has no hue (if it is black, white, or gray), Style Hue has no
affect. If a text style has very little color, the affect is quite subtle. Additionally, the
Style Hue parameter only affects color parameters adjusted within the Text
window (not color parameters adjusted in the Controls window).
Style Hue adjustments
Style Hue= 90 degrees
Style Hue=130 degrees
Style Hue=180 degrees
Changes to the Text Window Size Buttons
You can now modify the behavior of the Size buttons in the Text window. The
Size buttons scale the size of all fonts by integers of 10. This is useful if your text
contains multiple font sizes and you want to scale all sizes up or down equally.
The Size buttons let you scale without changing the size of each individual
character. The left button increases the scale by an integer of 10; the right button
decreases the scale by an integer of 10. Option-clicking (Macintosh) or Altclicking (Windows) either button scales the size of the text characters by an
integer of 1. Shift-clicking either button scales the size of the text characters by
an integer of 100.
Changes to Scaling Text
Now when you scale text, any borders and shadows also correctly resize. In addition, if you
save scaled styles to the Style Palette, the borders and shadows are sized correctly as well.
Working with the Jitter Tab
A new Jitter tab has been added for Text media. The Jitter tab allows you to randomize text
parameters including Position, Angle, Scale, Hue and Opacity. The Jitter parameters are
expressed as a percentage and are applied to individual text characters. If you want to jitter
the stroke and Þll of text separately, you need to create two tracks, one with stroke and one
with Þll. You can also add these parameters in the Type On tab.
The Jitter tab is available for text using the 3D Plane, 3D Line Art Shape or 3D Extrusion
shape. To view this tab, you must select the Face track.
Default Text
Jitter Position adjusted
Jitter Scale adjusted
Jitter Angle adjusted
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Type On Tab Parameter Additions
The Type On tab now features an Apply To menu, an Order menu, Always Visible checkbox,
new Overshoot and Decay parameters, and three new Jitter parameters.
Press the Apply To menu and choose the appropriate option.
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Letter applies the effect to individual characters. This choice behaves the same as the
previous behavior.
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Word applies the effect to individual words. Words are deÞned as characters that are
separated by a space.
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Line applies the effect to individual lines. Lines are deÞned as a group of characters
separated by a carriage return.
No matter which option you choose, the transformations are still applied at the character
level. For example, if you set Scale X to 200, each letter is scaled twice as large, regardless of
the length of the word or line.
The Order menu allows you to control the order in which the text types on. The Type On
Order menu includes the following options:
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Forward types the text on from left to right. This is the same as the existing Red
behavior.
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Reverse allows you to reverse the type on effect so that the text starts typing on from
the left. This replaces the Reverse checkbox.
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Random types the text on randomly.
Click the Always Visible checkbox to force all text characters to remain visible. The Type On
feature applies transformations progressively to text characters within a text page. In the
existing implementation, characters would progressively appear or disappear from the
frame. Selecting the Always Visible checkbox makes characters remain visible while the
transformations are progressively applied. For example, one way to think of this effect is
like “the wave” that crowds perform at football stadiums; the transformation appear to pass
through the page of text. The animatable Type On parameter behaves as the center of the
wave when this checkbox is enabled.
The range of the Overshoot parameter has been increased. The range is now -1000 to 1000.
At a value greater than 100 means that the characters bounce more than once. For example,
if you set the Shift Y and set Overshoot to 300, the letter will bounce three times.
A Decay parameter has also been added to work in conjunction with the Overshoot
parameter. Decay is expressed as a percentage that allows you to exponentially decrease the
Overshoot. For example, you set the Shift Y so that the characters move in from the top of
the frame with an Overshoot of 300. Setting Decay to 50 means that each of the three
bounces will decay by half.
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The three new Jitter parameters are similar to the Jitter parameters in the Jitter tab. When
you apply these parameters in the Type On tab, they are applied progressively to each
character as it types on.
When you apply these parameters in the Jitter tab, they are applied to all characters. When
you set values for these parameters in both the Type On and Jitter tabs, the parameters in
the Type On tab are applied to individual characters until the character is typed on; the
parameters in the Jitter tab are applied after each character is typed on.
You can animate the following Jitter parameters:
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Jitter Position randomizes the position of the individual text characters on the X and Y
axis.
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Jitter Angle randomizes the angle of the individual text characters. Angle distorts test
on the X and Y axes, respectively.
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Jitter Scale randomizes the scale of the individual text characters.
Changes to the Text on a Path Feature
The following new features have been added to Text on a Path effects.
New Behavior for Jittering Text on a Path
Using the parameter in the Jitter tab to jitter text on path offsets the position of the text
relative to the path, rather than absolutely. Place text on a curved or circular path to see how
this feature works.
New Justification of Text on a Path
The Alignment menu in the Path tab allows you to set the justiÞcation of text on path. This
creates a much wider range of design possibilities. JustiÞcation, rather than only adjusting
the position of text on a path also means that you can create settings with centered text that
won't require adjustment if the length of the text string changes. The Alignment menu
includes the following choices.
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Left aligns the text so that each line starts at the beginning of the path. This is the
default and appears similar to Red’s existing behavior.
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Center centers the text on the length of the path.
Right aligns the text so the end of the line matches the end of the path.
Distribute justiÞes the text along the length of the path.
More Changes to Text on a Path
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If you have more than one line of text or more text than the path can accommodate, the
additional text now appears underneath the Þrst line rather than wrapping around the
bottom of the path.
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Additions to the Transform Tab
The Transform tab for Text media now includes several parameters that were previously
only available in the Text window. These parameters act as a toggle; if you change them in
the Controls window, they update in the Text window and vice versa. The following
parameters have been added. For more information on these parameters, see Chapter 7, in
Volume I of your Red User Guide.
Leading is now animatable. Leading adjusts the spacing, in pixels, between multiple lines
of text.
Baseline adjusts the vertical position of the text in relation to the baseline. Decrease this
value to move the bottom of the text below the baseline, or increase this value to raise the
character above the baseline.
The Text Wrap menu controls the position of the text when the text is wider than the screen.
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No Wrap creates an unbroken line of text, allowing you to use the text as a continuous
crawl.
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Wrap creates additional lines of text if the text exceeds the chosen Page Width value.
As a word passes the limit of the Page Width, it moves to the next line. Wrap is on by
default and affects the justiÞcation setting. For example, if you choose Left JustiÞcation
with Wrap on, the text if left justiÞed within the speciÞed Page Width.
To align text horizontally, click a JustiÞcation buttons. You can choose Left, Center, or Right
justiÞcation. The text is justiÞed in relation to the page width and height that you set. This
parameter affects the text globally, regardless of which characters are currently selected.
Center Justification
Right Justification
Left Justification
Force Left Justification
Force Right justification
Force Center Justification
The JustiÞcation buttons in the second row force the text to justify to both margins when you
work with more than one line of text. Force Left JustiÞcation forces all lines of text to justify
and left justiÞes the last line. Force JustiÞcation forces all lines of text to justify. Force Right
JustiÞcation forces all lines of text to justify and right justiÞes the last line.
When the Top down Text checkbox is selected, the text reads vertically, from top to bottom.
Selecting the Right to Left checkbox reading creates text that reads from right to left, instead
of left to right.
The Fixed Letter Width checkbox forces the selected text spacing to the same even when the
letters change. This is useful when you are creating effects with the Generator tab.
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The Font menu list all fonts available on your system. Set the font size using the Font Size
menu or by typing a custom font size. The Font Size menu retains the three most recently
used custom font sizes.
Creating Looping Border Animations
The range of the Stroke Begin and Stoke End parameters in the Border tab for text have been
renamed Border Begin and Border End. You can now enter values from -1000 to 1000. This
allows you to create looping border animations. Border Begin and Border End adjust the
percentage of the border that is stroked at each frame in the timeline, allowing you to create
animated border effects. These values are measured as a percentage of the complete border.
For example, if Border Start is set to 0 and Border End is set to 50, the Þrst half of the border
is stroked. If Border Start is set to 50 and Border End to 100, the second half of the border is
stroked. These parameters have no affect if the selected borders are not stroked.
Text Border effect with Border End animated from 0 to 100.
Frame 7
Frame 20
Frame 29
The Border Offset dial control works in conjunction with Border Begin and Border End
parameters to select a portion of the border and animate it around the text or spline.
Text Border effect with Border Offset animated from 0 to 2 degrees
Frame 7
Frame 20
Frame 29
Understanding Tracking in the Text Window and the Text Tool
Tracking controls the global horizontal spacing of the characters in a text effect. The Tracking
parameter in the Transform tab behaves differently, depending on whether the text was
created with the Text tool or in the Text window.
When you create text with the Text tool, the tracking honors the justiÞcation that is set in the
Transform tab. When you create text in the Text window, the tracking is applied with center
justiÞcation. In the examples below, the top line of text was created with the Text tool, the
bottom line was created in the Text window. Both tracks are left justiÞed. When an animated
tracking effect is created, the top text tracks out to the left, while the bottom text tracks in
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both directions. If you want to track to the right or left using text that was created in the Text
window, select the text with the Text tool and move it slightly. Then set the justiÞcation in
the Transform tab. The Tracking now uses the justiÞcation.
Tracking= 0
Tracking= 25
Tracking= 50
Auto Update Button Removed
The Auto Update button has been removed from the Text window. If you need to view
updating text, you should use the Text tool.
Changes to the Text Window’s Border Tab
The Glow Edge Style in the Text window’s Border tab has been renamed Radial to more
accurately describe what it does. This change also appears in the Border tab in the Controls
window for Text, Spline Primitive and Spline Object media.
Using Text as a 3D Primitive
You can include tracks that use the 3D Sphere, 3D Plane, Cylinder, Cube, and Page Turn
shapes in a 3D Container that uses the 3D Model Renderer. When you include these shape
tracks in a 3D Model Renderer Container, the track is called a 3D Primitive. This means that
you can apply Materials, Textures, Reßection Maps and Bump Map parameters to text that
uses the 3D Plane shape. For example, you can apply a Bump Map to a Text track that uses
the 3D Plane shape.
To easily create 3D primitives, select the appropriate tracks in the timeline. Then
click the Add 3D Model Container button in the timeline.
When you use a 3D Primitive shape, the Texture track is selected by default. To use a
material instead, deselect the Texture track checkbox in the Texture tab. 3D Primitives only
include a single material which is set in the Materials tab. You cannot map different
materials to each Face.
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Changes to the Style Palette
The following features and changes have been added to the Style Palette in Red 3GL For
detailed information on how to use these new features, see Chapter 2, “The User Interface,”
in Volume I of the Red User Guide.
Applying Styles to the Timeline
You can now apply styles from the Style Palette directly to a text track in the timeline by
selecting the Shape track. This means that you can Shift-select multiple tracks and update
the styles for all of them at once. Style modiÞer checkboxes in the Style Palette window are
respected. Any animatable Fill, Border, and Shadow parameters are left unchanged.
Applying Color and Gradient Styles
You can now apply a Color or Gradient style to text. The style is applied to the text Þll.
New Style Editor
You can edit styles directly in the Style
Palette using the Edit Selected Style button.
This applies to Gradient, Color, Natural,
Spline, Material, Bump Map, Extrusion and
Brush styles.
For example, if you select a Color style and
click the Edit Selected Style button, the
system color picker opens. This button dims
if no style is selected. If you select a Gradient
style and click the Edit Selected Style button,
the Gradient Editor opens. Make the
appropriate changes and click OK.
Edit Selected
Style button
Selected style
The Style Editor appears when you add new Material, Extrusion, Brush, Color, Gradient
and Spline styles.
Bump Map Styles
You can now save Bump Maps styles in the Materials tab in the Style Palette.
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New Timeline Features
The following changes and new features have been added to the timeline. For more
information, see Chapter 2, “The User Interface” in Volume I of the Red User Guide.
Sliding Tracks in the Timeline
You can now slide tracks in the Boris Red timeline by selecting the Shape track and dragging
to the left or right. Sliding allows you to move a track horizontally in the timeline. Unlike
slipping, sliding can change the duration of a track. In the following example, the Video 1
track has two keyframes.
In this example, the Video 1 track was dragged to the right. Its position in the timeline has
changed, but its duration remains the same.
In the following example, the Video 1 track has three keyframes. Opacity is 0 in the Þrst
keyframe and 50 at the second keyframe.
In the following example, the Video 1 track is selected and dragged to the left, shortening
the track. The Þrst keyframe is now offscreen. Although the Þrst keyframe is not visible in
the timeline, any parameters set in this keyframe still apply. If you drag the track back, the
keyframe is still in the track. So, the Opacity still animates to 50, so the Þrst frame of the
effect has an Opacity of approximately 20.
Command-clicking (Macintosh) or Control-clicking (Windows) slides the selected
track(s) but not any nested tracks.
Resizing Velocity Curve tracks
Velocity curve tracks are now resizable.
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Sliding while Preserving the Keyframe Time
You can use the slide feature to change a track’s duration while preserving the relative
positioning of the keyframes. This is equivalent to changing the duration of an effect with
the Keep Keyframe Time preference selected. However, sliding allows you to change the
duration of individual tracks. In the following example, the Video 1 track has a three second
duration.
If you want to shorten the Video 1 track to one second while preserving the relative
positioning of the keyframes, deselect all the keyframes. Then press the Command
(Macintosh) or Control (Windows) key and drag the left most keyframe to the right. The
track’s duration changes and the keyframes are repositioned.
Sliding while Preserving the Keyframe Time
You can use the slide feature to change a track’s duration while preserving the relative
positioning of the keyframes. This is equivalent to changing the duration of an effect with
the Keep Keyframe Time preference selected. However, sliding allows you to change the
duration of individual tracks. In the following example, the Video 1 track has a three second
duration.
If you want to shorten the Video 1 track to one second while preserving the relative
positioning of the keyframes, deselect all the keyframes. Then press the Command
(Macintosh) or Control (Windows) key and drag the left most keyframe to the right. The
track’s duration changes and the keyframes are repositioned.
Understanding the Difference between Sliding and Slipping Tracks
Sliding differs from slipping a track in the timeline. Slipping allows you to maintain a
track’s duration but change its contents to earlier or later material from the source media.
For example, your track is two seconds and the media for the track is an imported movie
with a three second duration. Slipping allows you to use a later or earlier section of the
movie. Sliding changes the position of the track in the timeline and can also change a track’s
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duration. To slide a track, you drag the Shape track; to slip a track, you drag the Face track.
Slipping has no affect on any keyframes in the track; sliding moves keyframes and can even
move them out of the timeline.
For more information on slipping, see Chapter 3, “Working with Media” in your
Red User Guide.
Moving Tracks Vertically in the Timeline
Now that you can slide tracks vertically in the timeline, the procedure for moving tracks up
or down has changed slightly. You have to select a track on the left side of the timeline or in
an empty area in the right side of the timeline. To reposition the track, drag it to the desired
location. As you drag the track, a thick line appears as a visual indicator of the track’s
position. When you release the mouse button, the track moves to the new position. For
example, in the illustration below if you want to move the Video 1 track below the Video 2
track, you can select the track in the two indicated positions.
Select Video 1 here.
You can also select Video 1 here.
Overwriting and Merging Keyframes
When you slide a master keyframe over another master keyframe, the values in the
keyframes merge. For example, in the illustration below, Opacity and Spin values were set
at the Þrst keyframe. The second keyframe has values for Opacity, Position Y, Scale X and Y
and Pivot Y.
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When you drag so that the second master keyframe overwrites the Þrst master keyframe,
the values merge. For parameters where both master keyframes had a value, the master
keyframe now uses the value from the second master keyframe; these values overwrite the
values for the Þrst keyframe. For parameters like Spin where the second master keyframe
did not have a value set, the master keyframe uses the value from the Þrst keyframe.
Scrubbing Parameter Values
You can now scrub the numerical values for a parameter. For example, enter 50 as the
Opacity value and press Return (Macintosh) or Enter (Windows). Press the numerical Þeld
and drag to the left or right. The value adjusts as you drag.
New Timeline Slider and Buttons
A new slider at the bottom of the timeline allows you to resize the display to zoom in on the
contents of the timeline or to zoom out to view an overview of your entire composition. This
provides arbitrary timeline resolutions. Dragging the slider to the extreme left displays the
entire timeline. Dragging the slider to the right expands the display, centered around the
CTI. This increases the scale so that you see less of your composition.
This feature replaces the menu that allowed you to set the timeline resolution in
frames/seconds. The Size to Fit button still displays the entire timeline. The MagniÞcation
button still zooms in on a one-second section, centered around the CTI. The new Scroll to
CTI button centers the Timeline window around the CTI.
You can also Shift-click the Size to Fit button or the MagniÞcation button to scale the display
up or down by ten percent. You can also access these commands via the contextual menu by
Control-clicking the timeline (Macintosh) or Right-clicking (Windows).
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.
Scroll CTI button
Size to FIt button
Zoom In button
Slider
Changes to Timeline Selection
You can now Shift-select to drag multiple keyframes in the timeline.
You can now Shift-select to slide multiple timeline tracks. Sliding allows you to move a track
horizontally in the timeline. For more information on sliding, see “Sliding Tracks in the
Timeline” on page 14.
New Generate Keyframes Command
You can easily create random keyframes with the new Generate Keyframes command. To
use the Generate Keyframes command, you must select two or more keyframes in the
timeline then choose Track > Generate Keyframes.
When you select master keyframes, this command generates empty keyframes equally
spaced between the two extreme keyframes in the selection.
When you select parameter keyframes, this command applies a Wiggle value displacement.
This helps you to simulate more realistic motion by adding random changes to any
parameter over time.
Keyframe Generator Preferences
As part of the Generate Keyframes feature, the
following new Keyframe Generator options were
added to the Preview tab in the Preferences
window.
Count sets the number of keyframes that are generated between the selected keyframes.
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Wiggle sets the wiggle value displacement, expressed as a percentage.
The Interpolation menu sets the interpolation type that the command uses. Choose Linear,
Decelerate, Accelerate or Ease In/Out.
New QuickTime Source Preview Monitor
Option-click (Macintosh) or Alt-click (Windows)
Preview
the Preview icon in a movie track to open a
QuickTime Source Preview controller. Press the
Shift key in addition to the other keys to make the
controller window half size. Shift-Option-click (Macintosh) or Shift-Alt-click (Windows) to
open a half size Preview monitor.
The Preview window shows the movie track’s content, including the track’s shape and
source media with any nested Þlters or masks.
Use the J, K and L keys to control playback. L plays forward at normal speed, J plays
backwards at normal speed and K stops playback. Pressing L or J again, plays at quarter
speed forward or backwards, respectively.
When you work on a single track in a complex composition, you can preview the
isolated element more rapidly by closing the Composite window and opening a
Preview window for the track.
New Timeline Buttons
Several new buttons have been added to the Timeline window. The Add Extruded
Pencil button creates a new track in the timeline with Spline Object as the media
type and 3D Extrusion as the shape. When you click this track, the Tool window
opens with the Pencil tool selected. This allows you to create freeform threedimensional shapes.
The Show Mask Tracks button provides the same functionality as the Show Mask
Tracks checkbox in the Interface tab of the Preferences window. You can use this
button to hide all Mask tracks in the timeline if you do not plan to use them. The
top button at right shows the mask tracks off, the lower button shows the mask
tracks on. Red 3GL supports unlimited numbers of masks/alpha.
The Open Library Browser button, in the bottom row of timeline buttons, opens the
Library Browser.
The Global Motion Blur button toggles the visibility of motion blur on and off for
all tracks in the timeline. Motion Blur can slow previewing and rendering. This lets
you apply motion blur without displaying it in the Composite window. The top
button at right shows motion blur off; the lower button shows motion blur on.
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When Global Motion Blur is off, all track appear without motion blur in the Composite
window and in the rendered output. Turning off the visibility of motion blur speeds
preview time.
The Global Motion Blur button also affects all compositions in the Render Queue.
Be sure to restore the visibility of motion blur before rendering or motion blur will
not be used in your rendered effects.
The Hold Parameter Values button lets you toggle Hold Parameter Values on and
off. The top button at left shows Hold Parameter Values off (the default); the lower
button shows Hold Parameter Values on. For more information on Hold Parameter
Values, see your Red User Guide.
The Add 3D Chart button creates a new 3D Chart Container in the timeline. See
“New 3D Chart Containers” on page 63 for more information.
To easily create 3D Primitives, select the appropriate tracks in the timeline. Then
click the Add 3D Model Container button in the timeline. This nests the selected
tracks in a 3D Container that uses the 3D Model Renderer.
Scroll to CTI Button
Click the Scroll to CTI button at the bottom of the timeline or type Command-, (Macintosh)
or Control-, (Windows) to center the Timeline window around the CTI. You can just press
comma if the Timeline window is selected. For example, if you have a long composition in
your timeline, you may not want to display the entire timeline. Clicking this button will
center the timeline display around the CTI. If you want to view another section of the
timeline without moving the CTI, use the horizontal scroll bar.
You can also access this command via the contextual menu by Control-clicking the timeline
(Macintosh) or Right-clicking (Windows).
Changes to the Reverse Keyframe Command
The Reverse Keyframe command has been expanded. The Reverse Keyframes command
allows you to reverse the positions of two or more adjacent keyframes in the timeline. When
you reverse keyframes, the parameter values at each keyframe switch. To select multiple
keyframes, Shift-click each keyframe. For more information on this command, see Chapter
2, “The User Interface” in your Red User’s Guide.
You can now select entire tracks, including any nested tracks to reverse. When you select a
track or multiple tracks, the command works as if you had selected all keyframes within the
tracks.
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Insert New Tracks at CTI Option
You can insert an existing composition into the composition in your timeline. When you
insert a composition, the composition is added above the tracks in the timeline. The tracks
in the Project window remain unchanged.
A new checkbox appears in the Interface tab in the Preferences window. When the Insert
New Tracks at CTI checkbox is selected, any new tracks that you create start at the current
position of the CTI. For example, your timeline includes a three second composition and the
CTI is one second into the effect (time 00:00:01:00). With this checkbox selected, if you create
a new track, the track starts at time 00:00:01:00 and is two seconds in duration. With this
checkbox deselected, the track starts at time 00:00:00:00 and is three seconds in duration.
When this checkbox is selected, items dragged from Project window or inserted from the
Library Browser also start at CTI. Filters also start at the CTI when this option is selected.
This command does not work when you work with Constant or Hold interpolation types,
since these interpolation types apply the same value on the start and end keyframes. Since
most interpolation types are not symmetric in time (with the exception of Linear), this
command does not exactly reverse an effect. However, you can use this command and then
Þne-tune the keyframes to reverse an effect.
Speed Optimization for Static Bitmap Images
Bangkok includes speed optimization for static bitmap shapes. This means that tracks that
use the 3D Plane shape and do not animate will render and preview more quickly. If you
add a Þlter to a track that uses the 3D Plane shape, you should add the Þlter downstream if
the track does not animate and upstream if the track includes animation to take advantage
of this optimization.
For more information on upstream and downstream Þlters, see Chapter 4,
“Creating Effects” in your Red User Guide.
New Contextual Reset Handle Command
A new Reset Handle command has been added to the Timeline contextual menu. To access
this command via the contextual menu, select a parameter keyframe and Control-click
(Macintosh) or Right-click (Windows) the timeline.This command will re-initialize bézier
handles for that keyframe. This is useful if a handle is lost due to out of scale display.
New CTI Behavior
In previous versions of Red, clicking the timeline ruler moved the CTI to that position.
However, if you were to keep the mouse button down and slide back and forth, the CTI
would not follow. You would have to release the mouse button and click directly on the CTI
thumb. Clicking the ruler still moves the CTI to the indicated timecode, but you can
continue to drag back and forth without releasing the mouse button.
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Renaming Spline Tracks and Filter Tracks
You can now rename Spline Object and Spline
Primitive tracks in the timeline. You can also
rename Filter tracks. When you create Spline Object
tracks that include multiple paths, you can rename
the nested path tracks. These tracks are
automatically named Spline Object 1, Spline Object
2 and so on. The example at right shows a Spline
Track that includes two paths. The second Path
track was renamed.
To rename a track, select the appropriate track and choose Track > Rename Track. Type a
name or edit the existing name and press Return (Macintosh) or Enter (Windows). You can
also click the track name, press Return or Enter, type the new name and press Return or
Enter again.
Changes to the Velocity Curves
Velocity curve tracks are now resizeable.
Simultaneously Adjusting Parameters on Multiple Tracks
You can now apply parameter changes to multiple tracks. For example Shift-select multiple
tracks and set the Opacity to 50. Multiple tracks can only be selected on the same nesting
level. You cannot select multiple Face or Media tracks that are not nested within the same
Shape track. This feature can be used in the following situations.
•
Multiple Shape tracks that are nested on the same level. For example, three Shape
tracks in the timeline or two Shape tracks in the same container.
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Multiple Filter tracks
Multiple Spline Objects that are nested in the same path
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New Composite Window Features
The following changes and new features have been added to the Composite window. See
Chapter 2, “The User Interface” in Volume I of the Red User Guide for more information.
New Render Thermometer
The Render thermometer provides a visual indication that Red is working in the
background. When you create complicated effects (such as extruded text or multilayered
effects) that cause Red to update slowly, the Render Thermometer shows you that Red is still
working.
The Rendering thermometer displays on the bottom of the Composite window and updates
as Red renders frames.
Render Thermometer
New OpenGL Interactors
The OpenGL Interactors provide on-screen controls that allow you to manipulate an object’s
position, scale and rotation. See “New OpenGL Acceleration” on page 69 for details.
Changes to Composite Window Selection
You can now Shift-select to move multiple objects in the Composite window.
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Scaling the Size of the Composition Window
If you press the Shift key and choose a Scale setting, the Composite window zooms to
exactly Þt the image. This feature also works with the Magnifying tool and the mouse wheel.
New Title Safe and Grid Options
The Controls button in the Composite window displays on-screen controls that
allow you to position attributes such as light sources and targets. You can now access the
Title Safe and Grid displays by pressing the Controls button and choosing the appropriate
control from the menu. Previously you could only display these controls by choosing
Preview > Mark and then choosing the appropriate control from the submenu that appears.
New User Defined Title Safe Area
Two new setting have been added to the Preview tab in the Preferences window. Action Safe
% and Title Safe % allow you to specify the size of the Action Safe/Title Safe area. You can
display Action Safe/Title Safe boundaries in the Composite window to ensure that your
titles and images are not cut off or distorted when viewed on a television monitor. The inner
bounding box represents the Title Safe area. The outer bounding box represents the Action
Safe area.
New Color Parameter Behavior
All Color parameters now use Constant as the default interpolation. This is true no matter
what you set as your default interpolation. To animate Color parameters, you must
explicitly set the interpolation by pressing the Interpolation Field and choosing an
interpolation from the menu that appears.
New Color Preview Feature
You can now preview a color in the Composite window before committing to it. This feature
works with all color picker controls. Click the eyedropper in the Controls window and drag
over the color ramp. Press C to preview the color in the Composite window. You can
preview as many colors as you want. Press V to commit to the previewed color, or press
Return (Macintosh) or Enter (Windows). To cancel and leave the color unchanged, press
Escape.
Until you commit to the color by pressing V, or pressing Return (Macintosh) or
Enter (Windows), the color is not applied even though it appears in the Composite
window.
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Nudging an Object’s Position
You can now use the Left and Right Arrow keys to nudge the position of objects in the
Composite window. Only the Position parameters are affected; no other XY parameters are
affected. Use Shift-Right key or Shift-Left Arrow key to nudge by 10 points. You can also
Shift-select multiple objects and works nudge the objects simultaneously. Each nudge is a
separate action in the History Palette or when you use the Undo command.
Aligning Objects
The Align Selected menu allows you align two or more objects
in the Composite window. The example at right shows the
original composition with four separate objects.
1.
To align objects, Shift-select two or more tracks in the
timeline (or their corresponding images in the Composite
window).
2.
Choose Track > Align Selected.
3.
In the hierarchical menu, choose Top, Bottom, Left, Right, Horizontal or Vertical.
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Top aligns the top edge of each object to the top edge of the object that is highest.
Bottom aligns the bottom edge of each object to the bottom edge of the object that
is lowest.
Left aligns the left edge of each object to the left edge of the leftmost object.
Right aligns the right edge of each object to the right edge of the rightmost object.
Horizontal aligns the center of each object horizontally to the object that is closest
to the center of the Composite window.
Vertical aligns the center of each object vertically to the object that is closest to the
center of the Composite window.
Aligned Bottom
Aligned Left
Aligned Horizontal
Aligned Vertical
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Distributing Objects
c
The Distribute Selected menu is similar to the Align Selected
menu except that it requires at least three objects. The two
extreme objects are distributed so that if Þve objects are
selected, the two extreme objects do not move and the other
three are distributed evenly between them. The example at
right shows the original composition with four separate
objects.
b
a
d
1.
To distribute objects, Shift-select three or more tracks in the timeline (or their
corresponding images in the Composite window).
2.
Choose Track > Distribute Selected.
3.
In the hierarchical menu, choose Top, Bottom, Left, Right, Horizontal or Vertical.
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Top moves the objects up or down so that the top edge of each object is evenly
distributed between the top edge of the two extreme objects. In the example above,
objects a and d are the extreme objects.
Bottom moves the objects up or down so that the bottom edge of each object is
evenly distributed between the bottom edge of the two extreme objects. In the
example above, objects a and c are the extreme objects.
Left moves the objects left or right so that the left edge of each object is evenly
distributed between the left edge of the two extreme objects. In the example above,
objects a and d are the extreme objects.
Right moves the objects left or right so that the right edge of each object is evenly
distributed between the right edge of the two extreme objects. In the example
above, objects a and b are the extreme objects.
Horizontal moves the objects horizontally (only) so that their centers distribute
evenly between the centers of the two extreme objects. The two extreme object’s
centers are leftmost and rightmost on the screen. In the example above, objects a
and c are the extreme objects.
Vertical moves the objects vertically (only) so that their centers distribute evenly
between the centers of the two extreme objects. The two extreme object’s centers
are highest and lowest on the screen. In the example above, objects a and d are the
extreme objects.
Distributed Bottom
Distributed Right
Distributed Horizontal
Distributed Vertical
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New Project Window Features
The following changes and new features have been added to the Project window. See
Chapter 2, “The User Interface” in Volume I of the Red User Guide for more information.
Setting the Representative Frame
The composition uses the frame at the CTI as the representative frame in the Project
window. If you want to change the representative frame, drag the composition from the
Project window to the timeline, position the CTI and save the composition again.
New Project Window Behavior
When you drag tracks from the Project window to the timeline, the tracks now use the 3D
Plane shape. In previous versions, the tracks created Media tracks without corresponding
Shape controls. If you want to replace existing tracks in the timeline, drag the track from the
Project window to the Media track nested inside a track in the timeline. The new media
replaces the existing media.
If you import EPS Þles into the Project window, after you drag the track to the
timeline, you should press the Shape icon and choose 3D Line Art from the menu.
This will preserve the EPS Þle’s vector shape. Using the 3D Plane shape converts
the EPS to a bitmap, which will show aliased edges if you increase the scale.
If the Insert New Tracks at CTI checkbox is selected, the inserted tracks start at the current
position of the CTI. If this option is deselected, the tracks start at the beginning of the
timeline. For more information on this option, see “Insert New Tracks at CTI Option” on
page 21.
Naming Tracks in the Project Window
You can now rename and delete items in the Project window via the contextual menu. To
access the contextual menu, Control-click (Macintosh) or Right-click (Windows).
Changes to the Export Dialog Box
The controls in the Export dialog box are now always enabled. If you change a setting from
one of the presets, the window will automatically set the render setting to Custom. This
makes it easier to export with settings that are based on a particular preset.
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New Shape and Media Features
The following changes and new features have been added to the timeline. For more
information, see Chapter 3, “Working with Media” and Chapter 5, “Working with Shapes”
in Volume I of the Red User Guide.
Support for Larger File Sizes
Red 3GL can now import images that are up to 16,000 pixels by 16,000 pixels.
Working with the Media Files Window
You can choose Window > Media Files Window to open the Media Files window at any
time. The Media Files window lists all external Þles that appear in your project. External
Þles include Still Image Files, EPS Þles, and Movie Þles that are in your project.
You can use the Media Files window to locate all Þles related to a project. This is
useful when you Þnish a project and want to delete Þles from your system.
Relinking Media Files
Boris Red uses path names to Þnd the location of the external media Þles used in an effects
setting. When you open a settings Þle whose external media Þles are unavailable or cannot
be located, the Media Files window opens, allowing you to replace or search for missing
media used in saved settings Þles. The names of any missing Þles appear in italics in the
window. Beginning in Red 3GL, Þle names only appear once. So if you have an effect that
uses multiple instances of a Þle, you only have to relink it once.
This allows you to recreate an effect using a different Þle. For example, you create a complex
effect using an imported movie. You would now like to recreate the effect using a different
movie. Instead of manually importing the Þle into each affected track, simply relink the new
movie Þle to the original Þle. All instances of the movie are replaced to recreate the effect.
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To locate a missing Þle:
1.
Select the Þle you want to replace by clicking its name.
2.
Click Search to search for the missing Þle or Replace if you know the location of the
missing Þle. Click Reveal to reveal the Þle’s location on your hard drive and select the
Þle.
3.
A dialog box opens that lets you locate the missing Þle. Choose the Þle you want to use,
then click Open.
4.
Repeat these steps for any other missing Þles that appear in the Media Files window.
5.
When you Þnish, click Done in the Media Files window.
Using the Reload Files Command
The Reload Files command allows you to update all occurrences of imported still image and
EPS Þles. For example, you create a complex effect that uses an imported EPS Þle in multiple
tracks. You need to make a change to the Þle. The easiest way to update all occurrences of
the Þle is to use the Reload Files command.
You can also use this command to recreate an effect using a different Þle. For example, you
create a complex effect using an imported still image Þle. You would now like to recreate the
effect using a different Þle. Instead of manually importing the Þle into each affected track,
simply assign the new Þle the same name as the original Þle and follow the steps below to
recreate the effect.
When you use this command on EPS or PSD Þles that have been separated into their original
layers using the Convert to Container command, the command attempts to recreate the
layers. However, you could have problems if the updated Þle has a different number of
layers. For example, if the updated Þle is missing a layer, the previous layer is used. For
more information, see the Release Notes on your Boris Red CD.
1.
Place the EPS or still image Þle in the directory where the Þle was located when you
originally imported it. The Þle must use the exact same name as the original Þle.
2.
If you are not sure where the Þle was originally located, choose Window > Media Files
Window to open the Media Files window.
The Media Files window lists all external Þles that appear in your project, along with
their directory path.
3.
Choose File > Reload Files.
All external media Þles in your project are updated.
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New Share Movie Checkbox
The Movie Media tab now includes a Share Movie checkbox. If you select this checkbox and
import the same Movie Þle multiple times, any changes to the Start Time, Clip Head and
Clip Tail parameters are applied globally to all instances of the movie.
Creating Looping Border Animations
The range of the Border Begin and Border End parameters in the Border tab have been
extended. The sliders now go from -200 to 200. You can also enter values from -1000 to 1000.
This allows you to create looping border animations. These parameters are found in the
Border tab for Text, Spline Object and Spline Primitive tracks.
Importing Illustrator 10 Files
Red now supports Þles created in Adobe Illustrator version 10 and earlier. RED can import
EPS Þles in RGB or CMYK formats. However, images imported in CMYK may exhibit slight
color shifts. When using text in Illustrator, you should convert the outlines to vectors using
the Type > Create Outlines command.
When saving Þles in Illustrator 10, gradient information may be lost and be replaced by a
solid color. If this happens, try saving the Þle in Illustrator version 9 or 8 format and reimporting.
For more information on working with EPS Þles, see Chapter 3 in Volume I of your
RED User Guide.
Changes to the Gradient Media
A gradient is a graduated blending of two or more colors. Gradients can be used in a
number of ways in Boris Red. You can use a gradient as source media, such as for a
background or to map to text. Since gradients include an Alpha parameter, you can use
gradients as input for a number of Þlters that use custom gradient tracks. For example, some
particle effects use wipe gradient tracks to determine the order in which particles break off,
and displacement Þlters can use gradients to determine the amount of displacement each
pixel undergoes. In addition, gradients can be used as PixelChooser tracks in many Þlters.
The Gradient media type allows you to create, animate, and save gradients, and to load
previously created gradients. You can use the gradient media type’s Color Stops tab to set
the colors and transparency levels in the gradient, the shape and direction of the gradient,
and the gradient’s steepness—that is, how quickly each color changes to the next color. To
access the Color Stops tab, select the Face track.
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Red 3GL introduces the ability to animate gradient parameters including Color, Alpha,
Position and Midpoint. The Gradient tab now includes new parameters and a larger
gradient bar. To display the Gradient tab, assign Gradient media to a shape track and click
its Face track in the timeline. These parameters are described in the following sections.
The Gradient tab now includes sliders for Position and Midpoint. Because of these sliders,
the Value Þeld has been removed from the tab. You can adjust the Position and Midpoint
values using the sliders or by typing a value and pressing Return (Macintosh) or Enter
(Windows). You can also drag the color stops or midpoints on the Gradient Editor. Note that
a midpoint is associated with the color stop to the left; when you select a midpoint, the
associated color stop is also selected.
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Selected Midpoint
Associated Color Stop is also selected.
When you select a color stop and click the
Animate Gradient checkbox, the timeline
now automatically displays the parameter
tracks for that color stop. You no longer have
to click multiple disclosure triangles.
In addition, all parameters now appear in the
timeline, including the Gradient Type menu.
A new Repeat Stops parameter has been added to allow you to repeat the gradient pattern.
Repeat Stops = 1
Repeat Stops =5
Repeat Stops =10
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Repeat Stops values less than 1 allow you to gradually animate the number of color stops.
Repeat Stops = 1
(Repeat Stops =.75
Repeat Stops =.5
New Scale Stops Parameter
The new Scale Stops parameter allows you to scale all stops to the left or to the right. In a
static gradient this lets you better position the point of interest in a texture map.
Try animating Scale Stops, especially on a Radial gradient, to create a hole which appears to
dilate. This is also an interesting effect on a Revolve gradient. Scale Stops works well with
the Repeat stops parameter.
New Random Seed Parameter
If Random Seed is greater than 0, the colors for each stop are replaced with random samples.
You can ßicker the colors in time by animating this new parameter. Use Random Seed for a
quick way to create a colorful gradient-- add Repeat Stops for increased effect. This
parameter is recommended for use with the Linear, Radial and Revolve Gradient types.
New Red/Green/Blue Cycle Parameters
These parameters will cycle through the full range in the respective channel starting with
original value for that stop. This gives you a quick way to change or animate all color stops
without randomization.
New Loop Parameter
The Loop parameter moves all stops to the right in a looping motion. Loop is mostly useful
as animation but may also be a nice complement to the Scale function.
New Revolve Gradient Type
Red 3GL includes a new Revolve Gradient type, A Revolve gradient
emanates from a center point. By animating the Angle parameter, you
can create a clock wipe type of gradient effect. To create a Revolve
gradient, choose Revolve from the Type menu.
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The Revolve gradient type includes the following parameters.
Center X determines the location of the gradient center on the X axis. This value scales as a
percentage in which 0 represents the left edge of the frame, 50 represents the middle, and
100 represents the right edge of the frame. Negative values move the center out of the image
frame on the left side. Values above 100 move the center out of the image frame on the right.
Center Y determines the location of the gradient center on the Y axis. This value scales as a
percentage in which 0 represents the top edge of the frame, 50 represents the middle of the
frame, and 100 represents the bottom edge of the frame. Negative values move the center
above the image frame. Values above 100 move the center below the image frame.
Center X=50, Center Y=50
Center X=75, Center Y=25
Angle adjusts the direction in which the colors blend across the screen when using a Revolve
gradient.
Angle=90°
Gradient Angle=120°
Animating Gradients
Red 3GL has the ability to animate gradient parameters including Color, Alpha, Position
and Midpoint.
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The gradient editor adjusts the locations of the start and end colors in the gradient. The start
and end colors are represented by the color stops. Each color stop sets the point at which
the gradient reaches a pure color. Each pair of color stops has a midpoint between them,
which indicates the point at which the start and end color are equally blended.
Animating Color Stops
1.
To animate a color stop, click to select the Animate Gradient button in the Gradient tab.
2.
Click a color stop to select it. When a color stop is
selected, its point turns black. An unselected color stop
has a clear point. A color stop must be selected to
animate it.
3.
In the timeline, click the disclosure
triangle next to the Gradient’s Face
track, then click the disclosure triangle
next to the Media track.
Unselected
Selected
The controls for the selected Color Stop
appear in the timeline.
If no color stop is selected or if the
Animate Color Stops checkbox is not
selected, these controls do not appear.
4.
You can now animate the following
color stop parameters:
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Color sets the color of the selected stop. Click the color chip to access the system
color picker.
Alpha sets the transparency of the selected stop. At the default value of 255, the
gradient is totally opaque. At 0, the gradient is fully transparent. Intermediate
values produce varying degrees of transparency.
Position sets the color stop’s position on the gradient editor. This value is
expressed as a percentage—a value of 100 represents the right edge of the gradient
editor, and a value of 0 represents the left edge of the gradient editor.
Midpoint sets the value of the midpoint’s position between the selected color stop
and the color stop occupying the next position to the right. This value is expressed
as a percentage—a value of 50 represents the midpoint between the two color
stops.
By default, all parameters use Constant interpolation. This preserves the gradient
as you add color stops. To animate the parameters, you must change the
interpolation.
For more information on setting keyframes and adjusting parameters, see your
Red User Guide.
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Changes to the 3D Extrusion Shape
The following changes have been made to the 3D Extrusion Shape.
Extruding Media
Now when you extrude a media track, Red maintains the Front Face color that you have set.
For example, you create a Spline Primitive or Text track, using the 3D Plane shape. You set
the color to a lime green. Then you change the Shape type to 3D Extrusion. In previous
versions of Red, the lime green color was replaced by the default gray Plastic material. If you
wanted to reset the Front Face to a lime green, you had to do this in the Materials tab.
When you extrude a track, the four Faces are assigned the default Plastic material. However,
the color that you selected remains assigned to the Front Face using a Constant
interpolation. The other three faces (Extrusion, Bevel and Back) use the default gray color
for the Plastic material. To use the color that you selected on all Faces, simply set the Face
Count menu to 1.
For more information on the 3D Extrusion shape and the Materials tab, see Volume
I of your Red User Guide.
Additions to the Textures Tab
The Textures tab for the 3D Extrusion shape has some new parameters.
Texture Opacity sets the opacity of the applied texture. Values less than 100 allow you to
blend the applied texture with the underlying material. Materials are set in the Materials
tab. See Chapter 5 in your Red User Guide for more information.
When the Set Alpha to Opacity checkbox is selected, the alpha channel values of the applied
texture also set the opacity value of the underlying material. Areas where the alpha channel
value is 0 are transparent and the underlying material is not visible. When this checkbox is
deselected, the Opacity setting in the Materials tab sets the opacity of the underlying
material and the Texture Opacity parameter sets the opacity of the applied texture.
For more information on the 3D Extrusion shape and the Textures tab, see your
Red User Guide.
New Bump Map Tab
A new Bump Map tab has been added for 3D Extrusion tracks in Red 3GL. The Bump Map
tab is used to create three dimensional detail on an image based on luminance information
in an image. The luminance value of each pixel of the image creates height, with brighter
pixels creating more height. You can create the bump map from a procedural texture or you
can use a media Þle.
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You also can apply bump maps to 3D Sphere, 3D Plane, Cylinder, Cube, and Page Turn
shapes tracks. To do this, you must place these tracks in a 3D Container that uses the 3D
Model Renderer. When you include one of these shape tracks in a 3D Model Renderer
Container, it is called a 3D Primitive. This means that you can apply Bump Map parameters
to two dimensional shapes. For example, you can apply a Bump Map to a Text track that
uses the 3D Plane shape. For more information, see “The 3D Model Renderer” on page 412
of Volume I of the Red User Guide.
Bump maps can be combined with Materials and Texture tracks as shown in the following
illustrations
Material with no Bump Map
Material with Rock Bump Map
Rock Bump Map with Texture
For more information on the 3D Extrusion shape and the Bump Map tab, see
Chapter 5 “Working with Shapes,” in Volume I your Red User Guide.
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Three New Spline Primitive Shapes
Three new option have been added to the Spline Primitive shape, a Grid, a Line and an Area
Chart. The Spline Primitive media type allows you to quickly create spline objects in basic
shapes. You can drag these shapes into Mask tracks to quickly create masks or transitions.
Grid produces a grid–shaped spline. When you click the
Grid tab, the following controls are available in the
Shape tab.
Columns and Rows set the number of grid lines along
the X and Y axes, respectively. By default the grid
includes eight columns and six rows.
Spacing X and Spacing Y scale the distance between
lines along the X and Y axes, respectively. These
parameters are scaled as percentages of the grid’s
original width or height. To scale the size of entire grid,
use the Scale parameter in the Position tab.
Shift X and Shift Y position the grid lines on the X and Y axis respectively. The values are
relative: they indicate the number of pixels that the line is offset from its starting position.
Selecting the Hide Top, Hide Bottom, Hide Left and/or Hide Right checkboxes hide the
corresponding extreme lines.
Skew X and Skew Y distort the lines along the horizontal and vertical axes, respectively.
Start X and Start Y allow you to set the starting position of the lines along the horizontal and
vertical axes, respectively. This allows you to create lines that are shorter than full length.
End X and End Y allow you to set the ending position of the lines along the horizontal and
vertical axes, respectively. This allows you to animate lines or create lines that are shorter
than full length.
When you work with the Grid spline primitive, the controls in the Fill tab have no
affect. Grids cannot be Þlled.
Line Spline Primitive Shape
Line produces a line-shaped spline. When you click the
Line tab, the following controls are available in the Shape
tab.
Start X and Start Y allow you to set the starting position
of the line along the horizontal and vertical axes,
respectively.
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End X and End Y set the ending position of the line along the horizontal and vertical axes,
respectively.
Use the Edge Width parameter in the Border tab to set the width of the line. For
information, see “Working with the Border Tab” on page 542 in Volume I of the
Red User Guide.
When you work with the Line spline primitive, the controls in the Fill tab have no
affect. Lines cannot be Þlled.
Area Chart Spline Primitive Shape
The Area Chart shape is most useful when it is used with
3D Chart Containers. However, you can use it to create
freeform polygons, for example a triangle. The easiest
method to adjust this shape is to work with the onscreen
controls. When you click the Area Chart tab, the
following controls are available in the Shape tab.
Points sets the number of points which create the
polygon. The polygon must include a minimum of three
points and a maximum of sixteen.
The numbered X and Y parameters set the position of each point on the X and Y axis
respectively. Because it can be difÞcult to determine which parameters correspond to each
numbered point, it is recommended that you adjust the position of points by using the
onscreen Position Point controls.
The parameters in the other tabs are the same for all Spline Primitives. For more
information, see Chapter 8, “Working with Splines” in Volume I of your Red User
Guide.
Changes to Spline Object Media
The following changes have been made spline objects:
•
When Spline Primitives, EPS Þles or Text are converted to Spline Objects, they are now
selected in the Composition window.
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The bounding box no longer disappears when the Preview windows is deactivated.
Now when you choose a Spline Object track in the timeline, the track is selected in the
Composition window.
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Convert to Container Command for Spline Objects
When you create multiple spline objects on a single track, you can now use the Convert to
Container command to transform each spline shape into its own track. This allows you to
easily animate splines individually at the track level. However, you can still animate the
splines globally at the container level. To convert a spline track, select the track in the
timeline and choose Track > Convert to Container.
Change to the Texture Map Default
The default Map Method for texture tracks has been improved. While Tile is still the default,
the image now maps directly to the image at its native size. You can use the Tile Size X and
Tile Size Y parameters to increase the number of tiles.
Premultiplied White Alpha Default
The Still Image Alpha Channel default option has been changed to Premultiplied White to
better support Photoshop Þle import. This option is found in the Import Media tab in the
Preferences window.
This change will not impact existing projects using the Straight Alpha option. This change
will also not impact images imported with straight alpha, but should eliminate the need to
manually change to Premultiplied White.
Support for Multiple Masks and Alpha Channels for Photoshop Files
Previous versions only supported a single alpha channel in imported Photoshop Þles. Red
now supports unlimited numbers of masks/alpha.
Renaming Spline Tracks
When you create Spline Object tracks that include
multiple paths, you can rename the nested path
tracks. These tracks are automatically named Spline
Object 1, Spline Object 2 and so on. The example at
right shows a Spline Track that includes two paths.
The second Path track was renamed.
To rename a track, select the appropriate track and
choose Track > Rename Track. Type a name or edit
the existing name and press Return (Macintosh) or
Enter (Windows). You can also click the track name,
press Return or Enter, type the new name and press
Return or Enter again.
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Changes to the Camera Tab
The Camera tab for 3D Extrusion shapes now offers Depth of Field parameters which allows
you to apply a motion blur to elements that are outside of the camera’s focal range.
Choose On from the Depth of Field menu to turn on these parameters. When Off is chosen,
the other parameters do not appear in the tab.
The Quality menu controls the quality of the Depth of Field blur. This is basically an antialiasing level control. Choose Low, Medium or High. There is a signiÞcant rendering cost to
using High.
Focal Length sets the distance between the camera and the focal point. If the object is at the
focal point, it appears in focus. As it moves away from the focal point, it loses focus.
Depth Of Field sets the cameras depth of Þeld. If you increase or decrease this parameter,
the focal range from the focal point is increased or decreased.
The Sample # menu sets the number of samples that are taken. Higher values take longer to
preview and render but provide smoother blurring.
New Velocity Parameter
The Animation tab allows you to jitter Spline Objects. You can vary their positions over time,
or use this tab to create animated writing effects. A new Velocity parameter has been added
to this tab.
Velocity allows you to control the speed of the Jitter X and Jitter Y parameters. Jitter X and
Jitter Y vary the positions of each control point along the X and Y axis, respectively. Higher
values produce more jitter, and increase the amount that the position varies from frame to
frame.
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Changes to the 3D Extrusion’s Lights Tab
Changes have been made to the Lights tab that works with the 3D Extrusion shape. The tab
now includes three types of lights, Point, Spot and Distant.
Click one of the three numbered light tabs to adjust the controls for that light. Select the
checkbox next to the tab to turn on a light. Leave the checkbox deselected to turn off the light
source. Deselecting these options turns off the lights. Viewing each light individually can be
useful if you want to work with one light at a time. Each tab contains the following controls.
Improvements to Motion Blur
Motion Blur can now be applied to all shapes and containers. Motion blur can also be
applied to Þlters, Gradient and Natural media by precomposing the Filter or Natural media
track and applying motion blur to the precomposition. This means that you can apply
motion blur to the movement of synthetic media. For more information on precomposing,
see Volume I of your Red Users Guide.
Motion Blur Tabs in all Shapes and Containers
Each shape or container has a Motion Blur tab, whose contents depend on the type of
renderer being used. The only exception is a 3D Container nested inside a 3D Container that
uses the Z Space or 3D Model renderer. In this instance the 3D Container does not render
any of its objects independently, and thus does not have motion blur.
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New Interpolation Features
Boris Red now includes four new interpolation types, Reset, Jitter, Swing and Bounce. For
more information, see Chapter 4, “Creating Effects” in Volume I of the Red User Guide.
New Reset Interpolation Type
A new Reset choice appears at the bottom of the interpolation menu. Unlike None which
resets the keyframe value, Reset affects the parameter globally across the entire track. In that
sense, Reset works like the Reset button at the bottom of the Controls window. However,
instead of resetting the entire tab, the Reset interpolation type only resets a single parameter.
Earlier versions of Red include a similar technique which you might want to continue using
if you tend to adjust your parameters in the timeline tracks instead of the Controls window.
To use the older method, select an individual parameter track (for example, Position X in the
Transformations tracks), and press Command-R (Macintosh) or Control-R on (Windows).
New Jitter Interpolation Type
The new Jitter interpolation type allows you to randomly vary any parameter over time.
This interpolation type can be adjusted in the timeline using Bézier handles, just like the
Ease In/Out interpolation type.
The Þrst handle sets the outgoing phase and amplitude and the second handle sets the
incoming phase and amplitude. This interpolation method will produce a repeatable
jittering or stuttering effect.
Until you adjust a parameter’s value curve using the bézier handles, this
interpolation will behave exactly as if it were Ease In/Out. You must adjust the
handles to create the jittering effect. For more information on working with bézier
handles, see Chapter 4, “Creating Effects,” in your Red User Guide.
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New Swing Interpolation Type
The Swing interpolation type is similar to Jitter except that a sine function is used to produce
a smooth periodic value curve with variable phase and amplitude. Again, the Þrst handle
sets the outgoing characteristics of the curve and the second handle sets the incoming
characteristics of the curve.
Until you adjust a parameter’s value curve using the bézier handles, this
interpolation will behave exactly as if it were Ease In/Out. You must adjust the
handles to create the swing effect. For more information on working with bézier
handles, see Chapter 4, “Creating Effects,” in your Red User Guide.
New Bounce Interpolation Type
The Bounce interpolation type is based on the function of the Text Type On controls. This
interpolation type includes three aspects, acceleration, overshoot and decay. In the timeline
implementation, acceleration is controlled by the Þrst bézier handle and overshoot and
decay by the second bézier handle. The Bounce moves in the direction of the original value.
Until you adjust a parameter’s value curve using the bézier handles, this
interpolation will behave exactly as if it were Ease In/Out. You must adjust the
handles to create the bounce effect. For more information on working with bézier
handles, see Chapter 4, “Creating Effects,” in your Red User Guide.
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New Filter Features
The following new features and changes were added to Þlters in Boris Red 3GL. Filters are
documented in Volume II of the Red User Guide.
Correct Non-Square Pixel Rendering
Red now correctly renders non-square pixels for the Bulge, Ripple, and Wave Þlters. Note
that some hosts render square pixels in Draft mode. When working with non-square pixel,
the Draft mode preview will appear slightly different from the Þnal render.
New Filter Categories
The categories in the Filters menu have changed to accommodate new Þlters and to provide
consistency with the categories in Boris CONTINUUM Complete. The new categories are as
follows.
The Color and Blur categories have been combined into a single Color and Blur category.
The Distortion category is renamed Distortion and Perspective and most of the Particle
Þlters were moved here. The Keying category is renamed Keys and Matte. A new Effects
category has been added and the existing Light and Noise Þlters were moved to this
category. A new Generators category replaces the Nature category. The Motion and Time
categories remain unchanged except for the addition of new Þlters.
Velocity Remap and Temporal Blur Filters Updated for Avid and Apple Hosts
A limitation using time Þlters in previous versions of Red has been corrected for Avid and
Apple Final Cut Pro hosts.
The source media for Red’s Velocity Remap and Temporal Blur Time Þlters previously
needed to be Movie media (QuickTime, AVI) rather than host video Þles if you wanted to
render within your host application. Now if you use host video Þles in the timeline as source
media for these Þlters, they appear correctly inside Red, and will render correctly in the host
after applying and quitting Red.
New Boris CONTINUUM Complete Filters in Boris Red
Boris CONTINUUM Complete (BCC) is a package of over 100 Þlters. Unlike Boris Red,
Boris CONTINUUM Complete works in the native application interface. So if you were to
install BCC in After Effects, you would work directly in the Effect Control window instead
of in a custom interface. A subset of new and existing BCC Þlters are included with Red.
These Þlters are designated by the “BCC” preÞx before the Þlter name.
These Þlters vary slightly in their functionality, as documented in Volume II of the User
Guide. Many of the BCC Þlters have contextual controls implemented. This means that
parameters that do not apply are dimmed or display as “unused” in the Controls window.
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BCC Þlters are not mappable to the Add Favorite Filter buttons in the timeline. However,
you can access them via the Filter Palette.
For detailed information on how to use each new BCC Þlter, see the Volume II of
the Red User Guide.
The following new BCC Þlters have been added to Red 3GL.
New Color and Blur Filters
BCC Boost Blend, BCC Colorize, BCC Composite, BCC Fast Blur, BCC Motion Blur, BCC
Radial Blur, BCC Spiral Blur, and BCC Super Blend, and BCC Z-Blur.
New Distortion and Perspective Filters
BCC Twirl
New Effects Filters
BCC Cartooner, BCC Colorize Glow, BCC DeNoise, BCC Dust and Scratches, BCC Emboss,
BCC Film Damage, BCC Film Grain, BCC Glow, BCC Glow Edges, BCC Light Zoom, BCC
Match Grain and BCC Multi Shadow.
New Generator Filters
BCC Brick, BCC Bump Map, BCC Rock and BCC Steel Plate.
New Keys & Matte Filters
BCC Glow Matte, BCC Light Matte, BCC Light Wrap, BCC PixelChooser, BCC Star Matte,
and BCC Wire Remover.
New Time Filters
BCC Jitter, BCC Jitter Basic, BCC Looper, BCC Posterize Time, BCC Time Displacement, BCC
Trails and BCC Trails Basic.
Using CONTINUUM Complete Presets
Boris CONTINUUM Complete has the ability to Load and Save Presets.
Presets are only compatible with the Þlter in which they were created. For example,
if you attempt to load a Cartooner preset into a Blur Þlter, the preset is ignored.
The PixelChooser Þlter can load presets that were saved from another Þlter's
PixelChooser.
NOTE for Macintosh users only: The presets folder contains a Þle with the
extension “.rsrc.” This Þle is dimmed when you Load or Save presets using the
Presets folder and should not be removed.
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Copying Presets to Your System
Copy presets to the BCC Presets folder on your system. See the Release Notes on your Boris
CONTINUUM Complete CD for the correct location of the folder for your host application
and operating system. You can also save your own Presets to this folder. Presets must have
“.bcp” as an extension and must have more than three characters other than the “.bcp”
extension.
Note: Inside the BCC Presets folder, each Þlter has its own folder. Place the preset
inside the folder of the Þlter it was made.
Loading and Saving Presets
The Load and Save controls are available in each Þlter. These
buttons allow you to save Þlter settings independent of the
media, project, or composition. You can then load these settings
for future use. This feature allows you to save favorite Þlter
settings and apply them to multiple projects.
Loading Effects
To load a previously saved Þlter settings Þle, you must Þrst apply the same Þlter to your
media. Click the ”L” or Load button. A dialog box allows you to select and load a Þle. The
saved parameter settings are recalled and applied to your effect.
Saving Effects
After you apply a BCC Þlter and adjust the Þlter parameters to your satisfaction, you can
save the parameter settings by clicking the “S” or Save button. A dialog box allows you to
name and save the Þle.
Each Þlter has its own settings Þles folder. It is strongly recommended that you
save the Þles in the default location on your computer. Otherwise, the Þlter may
not be able to locate them when you are trying to load a settings Þle.
Saving a BCC setting using the Save button stores the parameters as they are set at
the Þrst keyframe; it does not store keyframes. Animations saved as settings
appear static when you load them.
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Working with the BCC PixelChooser
The BCC Þlters that are included with Red have their own PixelChooser, which is organized
into three tabs. This PixelChooser includes some additional parameters that are not
available in the PixelChooser tab found with RED’s native Þlters. In addition, the BCC
PixelChooser allows you to save and load presets and includes online help Þles.
Working with BCC PixelChooser Presets
After you apply a Þlter and adjust the BCC PixelChooser parameters, you can save and load
settings using the Preset menu in the BCC PixelChooser parameter group. Unlike the other
BCC presets which are only compatible with the Þlter in which they were created,
PixelChooser presets allow you to move parameters between Þlters. For example, you can
load a BCC PixelChooser preset created in the BCC Twirl Þlter into a BCC Glow Matte Þlter.
Loading BCC PixelChooser Presets
1.
Apply the appropriate Þlter to your media.
2.
Click the Load button (“L”) directly below the
PixelChooser banner.
3.
A dialog box opens that allows you to select the Þle to load. Choose the appropriate
effect and click Save or press Return (Macintosh) or Enter (Windows).
Click to Load a preset effect
The saved parameter settings are recalled and applied to your effect.
Saving BCC PixelChooser Parameters as Presets
1.
2.
Apply the appropriate Þlter to your media and adjust the
PixelChooser parameters.
Click to Save a preset effect
Click the Save button (“S”) directly below the
PixelChooser banner.
A dialog box opens that allows you to select the Þle to load. Choose the appropriate
effect and click Save or press Return (Macintosh) or Enter (Windows).
Working with the new Optical Flow Filter
An Optical Flow Þlter has been added to the Time Þlter category. The Optical Flow Þlter
estimates the motion between two frames of video and renders an intermediate frame that
interpolates the motion. The synthesized frame contains a mixture of the previous and next
frames, each distorted by an amount determined by the optical ßow estimation. With this
Þlter, you can smoothly slow down or speed footage, and/or create a frame rate conversion.
Optical Flow synthesizes frames needed to complete the effect instead of blending adjacent
frames like most retiming applications do. In essence, Optical Flow manufactures whole
frames out of thin air. Optical Flow analyzes the frames before and after the current frame
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to determine which pixels are moving from one frame to the next, and calculates how long
a gap it needs to span. Then, only the pixels which are moving are synthesized, repositioned
and composited into the new frame. The intervening information is created by warping (or
morphing) the two frames, making an estimation on where each individual pixel should be
at every new in-between point.
Another instance when you can use Optical Flow, is in retiming graphics, where there is
rarely enough detail to permit even a little frame blending to sacriÞce the kind of clarity that
broadcast graphics require.
Optical Flow generally produces smoother animations than the Velocity Remap Þlter. To
achieve a quality synthetic frame, all motion is recorded, then the recorded speed of each
moving pixels as well as the pixel color value is used to generate a frame which is sharp and
free any of the blurriness usually associated with frame blending.
For detailed information on using the new Optical Flow Þlter, see Volume II of the
Red User Guide.
Working with the Filter Palette
The Filter Palette allows you to view all Þlters in
the current Þlter set, to switch between Þlter sets
and to search for a speciÞc Þlter.
Opening the Filter Palette
Choose Window > Filter Palette or press
Command-5 (Macintosh) or Control-5 (Windows).
Applying Filters from the Filter Palette
Use one of the following methods to apply a Þlter
from the Filter Palette.
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Drag the Þlter from the Filter Palette to the
appropriate track in the timeline.
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Select the appropriate track in the timeline and double-click the Þlter in the Filter
Palette. If no track is selected, the Þlter is applied directly to the timeline.
Finding Filters
To Þnd a speciÞc Þlter, type the Þlter name in the Find window and press Return
(Macintosh) or Enter (Windows).
To view a speciÞc Þlter set, choose the Þlter set name from the Set menu. Filter sets are
created in the Plugin Filter Manager window. For information, see “Creating Filter Sets.”
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Working with the Plugin Filter Manager
In addition to Red’s many native Þlters, many third-party Adobe After Effects Þlters plug
into Boris Red. The Plugin Filter Manager allows you to turn Þlters on or off. You can use
the Plugin Filter Manager to shut off the Þlters that you don’t need.
For example, you might have several
Þlm Þlters that you only use on a
speciÞc project. Shutting off Þlters when
you don’t need them keeps the Filters
menu from becoming cluttered and
helps streamline your workßow.
To turn Þlters on and off, choose
Window > Plugin Filter Manager. Click
a Þlter’s checkbox to turn it on or off.
Click Done when you Þnish.
Creating Filter Sets
You can create custom Þlter sets. For example save the Þlters that you need for a speciÞc
project.
1.
Choose Window > Plugin Filter Manager.
2.
In the Plugin Filter Manager window, choose All Filters from the Current Filter Set
menu.
3.
Click the Duplicate Set button. A dialog window appears.
4.
Type a name for the new Þlter set and click OK.
5.
Choose the Þlter set that you created from the Current Filter Set menu.
6.
Turn the appropriate Þlters on and off.
7.
Click Done when you Þnish.
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Understanding Upstream and Downstream Filters
There are two ways to apply a Þlter to a shape effect: upstream and downstream. These
terms refer to the order in which the Þlter is processed in relation to the shape itself.
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An upstream Þlter is applied to the shape’s face and processed before the shape
transformations occur. An upstream Þlter only affects one portion of the shape, that is,
one of the shape’s faces.
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A downstream Þlter is applied to the shape and processed after the shape
transformations occur. A downstream Þlter affects the entire shape and all of its faces.
Beginning with Red 3GL, when you apply a Þlter to a shape track, the Þlter is automatically
applied upstream. That is, it is applied to the face track. The face track is automatically
expanded and the Þlter track is selected. When you apply a Þlter to a shape with multiple
faces, the Þlter is applied to the front face; the other faces remain unÞltered.
There are some exceptions to this behavior. When you work with 3D Line Art and 3D
Extrusion shape tracks, the new Þlter is added downstream. Since 3D Containers do not
include face tracks, the Þlter is also added downstream. The Motion Tracker is also an
exception.
Understanding Filters and OpenGL
Filters are applied upstream to take advantage of Red’s OpenGL acceleration. Boris Red’s
OpenGL hardware acceleration speeds previews. OpenGL is a cross-platform standard that
dramatically improves the speed and interactivity of previews. In Draft mode, you should
see dramatically speeded manipulations of 3D Plane tracks, Spline Objects, Spline
Primitives, and 3D Extrusion tracks. For more information on OpenGL, see Chapter 2, in
Volume I of the Red User Guide.
Anything applied to the face of a track, such as Þlters, appears in the Composite window
when you work in Accelerated Draft mode, even if it is a non-accelerated object. In OpenGL
mode, non-accelerated objects do not appear when you use the on-screen interactors. Nonaccelerated objects include Þlters. As you adjust the interactors, the Composite window
displays the message “Accelerated Draft Preview” to indicate that you are not seeing all
objects. When you release the mouse button, the Composite window displays all objects.
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Any downstream Þlters (animated or static) will slow playback. However, any
interaction is accelerated since the Þlters are not displayed.
•
Upstream Þlters are optimized to provide better performance. If upstream Þlters do not
animate, playback and interaction are accelerated. The Þlters remain visible, even if the
Shape track animates.
•
Animated upstream Þlters slow playback performance. However, they provide
accelerated interaction, even if the Shape track animates. If you add a Þlter to a 3D
Plane track, you should add the Þlter upstream to take advantage of this optimization.
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In this example, the Ripple Þlter is nested
within the Front Face track, and only affects
that face. (In the example, the front face of
the cube is spun to the left.)
Ripple applied upstream
In this example, the Ripple Þlter is a
downstream Þlter. The Ripple track is
nested within the cube track, and so it
affects the entire shape.
Ripple applied downstream
Renaming Filter Tracks
You can now rename Þlter tracks in the timeline. To rename a track, select the appropriate
track and choose Track > Rename Track. Type a name or edit the existing name and press
Return (Macintosh) or Enter (Windows). You can also click the track name, press Return or
Enter, type the new name and press Return or Enter again.
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Creating Keyboard Shortcuts for Filters
You can set custom keyboard shortcuts for any Boris Red menu commands. You can then
save the shortcuts as a Þle that you can transfer to any Red system. The window displays
the current shortcut for each menu command. You can create a shortcut for any menu
command, even if the command does not already have a shortcut assigned. For example,
you could create a shortcut to apply the BCC Spiral Blur Þlter. For information on this
feature, see Chapter 2 in Volume I of the Red User Guide.
Changes to the Search/Target Tab for the Motion Filters
The Search/Target tabs for the Motion Tracker, Motion Stabilizer and Corner Pin Tracker
Þlters now include color swatches and eyedroppers to set the Tracker colors. For
information about these new features see Volume II in your Red User Guide.
New Transform Tab for Motion Stabilizer filter
The Motion Stabilizer Þlter now includes a new Transform tab that allows you to choose
how to calculate the tracker data when you work with more than one tracker.
For more information on the Motion Stabilizer Þlter, see Volume II of your Red
User Guide.
The Transformations menu lets you choose how to apply the tracker data.
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XY Motion Only stabilizes on the X and Y axis only. This is the existing behavior and
works even if you only use a single tracker. If you have multiple trackers, the Motion
Stabilizer will stabilize to the average of the trackers, using the Weight that you set in
the Search/Target tab.
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Rotation and Scale takes rotation and scale into account when stabilizing. You set two
tracker points and the Motion Stabilizer will not only move the image on the X and Y
axis, but will also scale or rotate to simultaneously stabilize both points. When you
choose this option, the two Tracker menus set the two Motion Trackers to which you are
stabilizing. In general, you only need to use two Trackers when using this option, but
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you may want to set more than two if you aren’t sure which will provide the best
motion tracking data. These menus were formerly called the Pivot Point menu and the
Angle/Scale Point menu.
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Changes to the Preferences Window
The following additions and changes have been made to the Preferences window. For ore
information, see Chapter 2, “The User Interface,” in Volume I of the Red User Guide.
New Factory Settings and Reset Tab Buttons
Each Preferences window tab now includes a Factory Settings button and a Reset Tab button.
Clicking the Factory Settings button resets the settings in all
Preferences window tabs to the default value.
Clicking the Reset Tab button resets all values in the current
Preferences window tab.
Changes to the General Tab
The following changes were made to the General tab.
Project Options
The Project Options in the General tab now
include a Project Size menu. This menu allows
you to quickly set project dimensions as well as
FPS and the pixel ratio for the most common
video formats.
When you choose a Project Size from the menu, the Width and Height options update to
match. If you choose Custom, you can manually enter a Width and Height in pixels. The
Project options include the following choices:720 x 486 NTSC D1, 720 x 480 NTSC DV, 640 x
480 NTSC Square Pixels, 640 x 486 NTSC Square Pixels, 720 x 540 PAL D1 Square Pixels, 720
x 576 PAL D1 DV, 720 x 576 PAL D1 DV Square Pixels, 1380 x 720 HDTV, 1920 x 1080 HDTV,
320 x 240 Medium Size and 160 x 120 Small Size.
Some video boards support additional aspect ratios. If you are using a different aspect ratio,
choose Custom from the Project Size menu and enter the appropriate Width and Height (in
pixels) for the project. If you choose Custom, you also have to manually enter the FPS.
Show Mask Checkbox
The Show Mask checkbox has been removed from the General tab since this functionality is
available by clicking the new Show Mask button in the timeline.
Force Update with Option/Alt Key Checkbox
The Force Update with Option/Alt Key checkbox now appears in the Render tab and has
been renamed the Update Preview with Option/Alt Key checkbox.
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Changes to the Interface Tab
An new Ask for New Style Name checkbox appears in the Interface tab. When selected, the
Style Palette automatically opens a dialog box where you can name a newly created style
and click OK. When Ask for New Style Name is not selected, the style is assigned the name
“New Style.”
A new Text Tool Creates menu determines what shape is used by default when you create a
text track using the Text tool. Instead of creating text in the Text window, you can use the
Text tool to type text directly over the image in the Composite window. The choices are 3D
Plane, 3D Line Art and 3D Extrusion.
An new Insert New Tracks at CTI checkbox appears in the Interface tab. When selected, any
new tracks that you create start at the current position of the CTI. For example, your timeline
includes a three second composition and the CTI is one second into the effect (time
00:00:01:00). With this checkbox selected, if you create a new track, the track starts at time
00:00:01:00 and is two seconds in duration. With this checkbox deselected, the track starts at
time 00:00:00:00 and is three seconds in duration. When this checkbox is selected, items
dragged from Project window or inserted from the Library Browser also start at CTI. Filters
also start at the CTI when this option is selected.
Select the Mouse Wheel Zoom checkbox to allow you to use a mouse wheel. If your mouse
does not have a wheel, this preference has no affect.
•
In the Composite window, use the mouse wheel to adjust magniÞcation. Hold the
cursor over a position in the Composite window and use the wheel to zoom the
position. The magniÞcation uses the cursor position as the new center point. If you
press the Shift key, the Composite window zooms to exactly Þt the image.
•
On the left side of the timeline, use the mouse wheel to scroll tracks up and down. Press
the Shift key to double the scrolling amount.
•
On the right side of the timeline, use the mouse wheel to move the CTI by one frame.
Press the Shift key to move 10 frames. Press Option (Macintosh) or Alt (Windows) to
scroll to the next or previous keyframe on the selected track. Press Command
(Macintosh) or Control (Windows) to scroll the display without moving the CTI.
The Favorite Filter menus have been reorganized to match the new Filter menu organization.
See “New Filter Categories” on page 45 for details.
Changes to the Import Media Tab
The following changes were made to the Import Media tab.
The Still Image Alpha Channel menu default option has been changed to Premultiplied
White to better support Photoshop Þle import. This change will not impact existing projects
using the Straight Alpha option. This change will also not impact images imported with
straight alpha, but should eliminate the need to manually change to Premultiplied White.
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Changes to the Preview Tab
The following changes were made to the Preview tab.
Action Safe % and Title Safe % allow you to specify the size of the Action Safe/Title Safe
area. You can display Action Safe/Title Safe boundaries in the Composite window to ensure
that your titles and images are not cut off or distorted when viewed on a television monitor.
The inner bounding box represents the Title Safe area. The outer bounding box represents
the Action Safe area.
External Monitor Output Options
You can output video to an external monitor through a Firewire converter box or through
supported video hardware connected to your system. This feature is not available with all
host applications. See the Release Notes on the Boris Red CD for more information and a list
of supported hardware.
Choose your Firewire Converter box or Video hardware board from the Device menu. The
Device menu displays all the supported hardware connected to your system.
Choose an option from the Mode menu if applicable. For example, if you are using a
Firewire Converter box, you can choose PAL and NTSC formats from the Mode menu.
Timeline Colors Options
The following options are available.These options allow you to customize the colors used in
the Boris Red user interface. Click the color chip to open the system color picker and choose
the desired color.
Background sets the color of the timeline background.
Selection sets the color of selected tracks in the timeline’s track controls (the left side of the
timeline).
Keyframe sets the color of keyframes.
Shape Track sets the color of Shape tracks on the right side of the timeline.
Media Track sets the color of the Media tracks nested inside Shape tracks.
Container Track sets the color of 3D Containers and Title Containers.
Filter Track sets the color of Þlter tracks on the right side of the timeline.
Keyframe Generator Options
Count sets the number of keyframes that are generated between the selected keyframes
when you use the Generate Keyframes command.
See “New Generate Keyframes Command” on page 18 for more information on
the Generate Keyframes command.
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Wiggle sets the wiggle value displacement, expressed as a percentage. Wiggle only applies
when you generate keyframes on a parameter track, not on a shape track.
The Interpolation menu sets the interpolation type that the command uses. Choose Linear,
Decelerate, Accelerate or Ease In/Out.
Changes to the Render Tab
The following additions have been made to the Render tab in the Preferences window. The
Render tab provides options for enabling hardware acceleration, interpreting Þeld
information, and several other controls related to effect rendering.
When the Accelerated Draft Preview checkbox is selected, and you work in a hardware
OpenGL mode, any Þlters and other non-accelerated objects are not visible while you move
the CTI or adjust parameters. For example, when you work with this option selected, if you
use a bump map with 3D text, the bump map is not displayed in the Composite window.
OpenGL is a type of hardware acceleration designed to improve speed when working with
3D models. This is true whether the Composite window is set to Draft or High Quality. This
greatly speeds previews in hardware OpenGL mode. This checkbox has no affect in
software-only mode. Deselect this checkbox to disable this mode and display Þlters and
other non-accelerated objects. See “New OpenGL Interactors” on page 23 for more
information on working in OpenGL mode.
Unless your OpenGL hardware is not supported, it is recommended that you leave
this checkbox selected.
The Update Preview with Option/Alt Key checkbox now appears in the Render tab. This
checkbox formerly appeared in the General tab. When the Update Preview with Option/Alt
Key checkbox is not selected, the Composite window updates whenever the CTI moves or
a parameter is adjusted. When this option is selected, the Composite window only updates
after you Þnish moving the CTI or adjusting a parameter. You must press the Option key
(Macintosh) or Alt Key (Windows) to force the Composite window to update continuously
as you move the CTI or adjust a parameter. Selecting this option can speed your workßow
because you do not need to wait for frames to render while you move the CTI. It also allows
you to update the Composite window continuously when needed by pressing the Option
or Alt key.
You can also press the Caps Lock key to disable rendering of the image in the
Composite window. For more information, see Volume I of your Red User Guide.
The OGL Acceleration menu offers the following options. Choose any option except Off to
enter hardware OpenGL mode. You can also adjust this option by choosing Preview >
OpenGL Mode and then choosing the appropriate option from the submenu.
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Off disables the OpenGL hardware acceleration. This provides the slowest
performance. When you choose Off, your system only offers software OpenGL
acceleration. You should only choose this option if your system does not include a
supported OpenGL card. You can use the Test OpenGL Hardware button to determine
if your system includes a supported card. See the next section for details.
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On, no texture caching enables the OpenGL hardware acceleration but not the texture
caching.
•
On, some texture caching enables the OpenGL hardware acceleration and a limited
amount of texture caching. Try this setting if the recommended setting generates
garbage images.
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On, Max. texture caching provides the best performance and is the recommended
setting. OpenGL is only used for previews and interaction. OpenGL does not accelerate
the Þnal rendering of images.
Clicking the Test OpenGL Hardware button displays a window with speciÞcs of the
OpenGL hardware and drivers that are installed on your system. The Þrst time you install
Boris Red, your hardware is automatically tested to determine if your system meets the
minimum requirements to use the OpenGL hardware acceleration. The recommended
OpenGL requirements and supported cards appear in the InstallGuide.pdf on your Boris
Red CD. If your system does not meet the requirements, the OpenGL Acceleration menu is
automatically set to Off and a message is displayed. However, you can manually
reconÞgure this menu to see if your hardware will work.
If you want, click the Copy to Clipboard button to copy this information to your system
clipboard. This allows you to print or email this information. When you Þnish, click OK to
close the window.
Changes to the Local Project Tab
The following additions have been made to the Local Project tab in the Preferences window.
New Field Rendering Preference Name
Render Fields as Frames has been renamed Better Quality Field Rendering. The
functionality has not changed. This preference is described below.
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Better Quality Field Rendering sets the rendering optimization and is selected by default.
This improves the appearance of effects that include alpha channels. However, if you are
creating an effect that does not include an alpha channel, for example, blurring a single
video track, deselecting this option will decrease rendering time.
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When Better Quality Field Rendering is selected, Boris Red optimizes the rendering for
quality. This ensures that computer-generated graphics or text animate smoothly. For
effects that include edging, an alpha channel or DVE moves, you should turn on this
option to ensure the highest quality edges. Turning on this option takes more time to
render, but will generally correct any problems with jitter or rough edges on effects.
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When Better Quality Field Rendering is not selected, Boris Red optimizes the rendering
for speed. This is appropriate if you are creating effects such as color or blur Þlters that
do not include hard alpha edges. Turning off this option renders almost twice as fast
with no apparent image quality difference. This rendering mode is also suitable for
processing images for web or graphics applications.
Always select the Better Quality Field Rendering option when rendering any
animation that uses computer-generated text or graphics.
Changes to the Generate Color Safe Output Preference
The Generate Color Safe Output checkbox in the Local Project tab of the Preferences window
is now renamed Generate Safe Levels. When this preference is selected, the black and white
levels are limited to the NTSC/PAL safe range of 16-235.
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Changes to Containers
The following changes and new features have been added to the Containers. See Chapter 6,
“Working with 3D Containers” in Volume I of the Red User Guide for more information.
Changes to the 3D Model Renderer Container
You can now include tracks that use the 3D Sphere, 3D Plane, Cylinder, Cube, and Page Turn
shapes in a 3D Container that uses the 3D Model Renderer. When you nest these shapes in
a 3D Model Renderer Container, they are called 3D Primitives. This means that you can now
apply Materials, Textures and Bump Map parameters to two dimensional shapes. For
example, you can apply a Bump Map to a Text track that uses the 3D Plane shape.
For more information on the 3D Model Renderer Containers, see Chapter 6 in
Volume I of your Red User Guide. For more information on Bump Maps, see
Chapter 3 in Volume I of your Red User Guide. .
To easily create 3D Primitives, select the appropriate tracks in the timeline. Then
click the new Add 3D Model Container button in the timeline. This nests the selected
tracks in a 3D Container that uses the 3D Model Renderer.
This also means that you can scale 3D Sphere, Cylinder or Page Turn tracks in a 3D
Container using separate Scale X, Scale Y and Scale Z parameters. This allows you to create
more arbitrary shapes. When these shape tracks are not in a 3D Model Container, the 3D
Sphere shape only includes a Scale X parameter; Cylinder and Page Turn tracks only include
Scale X and Scale Y parameters.
In addition, when you place a 3D Sphere, Cylinder or Page Turn track in a 3D Container
using the 3D Model renderer, a new Smoothness parameter appears in the Controls
window. This parameter is found in the corresponding Sphere, Cylinder, or Page Turn tab.
Smoothness adjusts the number of polygons used to create the faces of the shape. Increasing
this value increases the number of polygons, which smooths jagged edges and decreases
banding. However, increasing this value increases render time proportionately.
When the Cylinder shape is in a 3D Model Container, a new Height Segment parameter
appears in the Cylinder tab. This sets the number of segments in height direction. In some
cases for better accuracy (for example, when using texture maps, increasing the scale or
intersecting with other shapes), you may want to increase this value. However, increasing
this value increases render time proportionately.
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Original 3D Plane Image
Same Image as 3D Primitive
Same Image with Rock Bump Map
Same Image with BitMap Bump Map
A 3D Sphere in a 3D Container that uses the 3D
Model Renderer now correctly receives cast
shadows, as shown in the example at right.
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New 3D Chart Containers
The 3D Chart Container allows you to import tab or comma delimited data to create a chart
using Spline Primitive shapes. You can export this format from any database or spreadsheet
program. Instead of importing chart data, you can also enter chart data information
manually into the Chart Editor. You can create four different types of charts, a bar graph, a
pie chart, a line graph or an area chart. Charts are animatable, using the parameters in the
Animation tab. Charts can be either two dimensional or three dimensional.
Creating a 3D Chart Container Chart
The following are the basic steps for creating a chart.
1.
Click the Add 3D Chart button in the timeline or choose Track > New Chart
Container. The chart is created over an alpha channel. Tracks lower in the
timeline are visible in the background.
2.
Double-click the Chart track in the timeline to open the Chart Editor. Import a tab
delimited Þle or enter your data in the Chart Editor. See “Working with the Chart
Editor” on page 64 for more information.
3.
Select the Chart track in the timeline. In the Chart tab in the Controls window, click the
appropriate tab on the left to set the chart type. The choices are Bar Graph, Pie Chart,
Line Graph or Area Chart. See “Working with the Chart Tab” on page 420 of Volume I
of the Red User Guide for details.
4.
Bar Graph
Pie Chart
Line Graph
Area Chart
Use the Chart, Values, Legend, 3D Style, Position, Motion Blur, Shadow and Composite
tabs to format your chart. See the following sections for details. If you like, use the
parameters in the Animation tab to animate your chart. See “Working with the
Animation Tab” on page 433 In Volume I of the Red User Guide for details.
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Working with the Chart Editor
Use the Chart Editor to import chart data from a text Þle, add or delete rows and columns
for a chart. Instead of importing chart data, you can choose to enter chart data information
manually into the Chart Editor.
The 3D Chart Container supports tab or comma delimited Þle formats. You can export this
format from any database or spreadsheet program.The Þle extension does not matter. For
example, if you create a chart in Microsoft Excel, save the chart in either Text (Tab Delimited)
or CSV (Comma Delimited) format. Do not save the chart using the Microsoft Excel
workbook format. The 3D Chart Container automatically rejects invalid data.
1.
Double-click a Chart track in the timeline to open the Chart Editor or select a Chart
track in the timeline and choose Window > Chart Editor.
The Chart Editor appears.
2.
Adjust the parameters as follows.
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3.
Click the Import Chart Data icon to import tab or comma delimited data. A dialog
box allows you to navigate to the appropriate Þle. Select the Þle and click Open.
Alternatively, you can type chart data directly into the Chart Editor instead of
importing data.
Click the Add Row icon to add a new row below the selected row.
Click to select a row, then click the Remove Row icon to delete the selected row.
Click the Add Column icon to add a new column to the left of the selected column.
Click to select a column, then click the Remove Column icon to delete the selected
column.
When you Þnish, click the Save Changes icon to close the Chart Editor and apply the
data to your 3D Chart or click the Cancel icon to close the Chart Editor without
applying your changes.
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Workflow Improvements
The following workßow improvements have been added to Red 3GL.
Scrubbing Parameter Values
You can now scrub the numerical values for a parameter. For example, enter 50 as the
Opacity value and press Return (Macintosh) or Enter (Windows). Press the numerical Þeld
and drag to the left or right. The value adjusts as you drag.
New Controls Window Interface
The Controls window features a new look. The parameter names, sliders and dials were
redesigned to provide a more streamlined interface. The functionality has not changed.
New Modifier keys for Dial controls
When using the mouse on dial controls, you can now use the following modiÞers:
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Press the Shift key to round the marks on the dial controls to the nearest 45 degrees.
Press Control (Windows) or Command (Macintosh) to round the marks on the dial
controls to the nearest 10 degrees.
Press Shift-Control (Windows) or Shift-Command (Macintosh) to round the marks on
the dial controls to the nearest 5 degrees.
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Press Shift-Control (Windows) or Shift-Command (Macintosh) and use the mouse
wheel to round the marks on the dial controls to the nearest 45 degrees.
When tracking with a mouse wheel on dial controls, you can now use the following
modiÞers:
•
Use the mouse wheel with no modiÞer keys to move the dial controls in 1 degree
increments.
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Press the Shift key and use the mouse wheel to round the marks on the dial controls to
the nearest 10 degrees.
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Press Control (Windows) or Command (Macintosh) and use the mouse wheel to round
the marks on the dial controls to the nearest .1 degrees.
Mouse Wheel Support
Support for mouse scroll wheels has been added on both Macintosh and Windows
platforms.
Select the Mouse Wheel Zoom checkbox in the Preference’s Interface
tab to allow you to use a mouse wheel. If your mouse does not have
a wheel, this preference has no affect.
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In the Composite window, use the mouse wheel to adjust magniÞcation. Hold the
cursor over a position in the Composite window and use the wheel to zoom the
position. The magniÞcation uses the cursor position as the new center point.
•
On the left side of the timeline, use the mouse wheel to scroll tracks up and down. Press
the Shift key to double the scrolling amount.
•
On the right side of the timeline, use the mouse wheel to move the CTI by one frame.
Press the Shift key to move 10 frames. Press Option (Macintosh) or Alt (Windows) to
scroll to the next or previous keyframe on the selected track. Press Command
(Macintosh) or Control (Windows) to scroll the display without moving the CTI.
Working with the History Palette
The History Palette provides a history of all the
actions that you have made in the timeline and
Controls window. You can use this window to undo
back to a speciÞc change by clicking that change in
the History Palette. To open the History Palette,
choose Window > Show History Palette.
The number next to the action or event corresponds
to the number of undo events that are available. The
action in bold is the current event and is also displayed in the Composite window. Events
in italics have been undone but are available for you to redo when you select them.
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New Keyboard Shortcuts and Menu Commands
Many existing commands have been added to menus. and new Keyboard shortcuts have
been assigned for buttons. This allows you to create keyboard shortcuts for these commands
using the Shortcuts window. See “New Shortcuts Window” on page 67 for details. A PDF
Keyboard Shortcuts list also appears on your Red CD-ROM.
New Workspace Menu
The Workspace menu allows you to save the display of your workspace, including the
arrangement and size of windows. For example, you may want to save a workspace with
the Project window closed so that you can expand the Timeline window.
To save a workspace, arrange your windows as you want them. Choose Windows >
Workspace > Save. In the dialog box that appears, type a name for your workspace and click
OK. The Workspace name now appears in the Workspace submenu.
To switch between workspaces, choose Windows > Workspace > workspace name. To return
to the default workspace, choose Window > Workspace > Snap All Home or press
Command-; (Macintosh) or Control-; (Windows).
New Shortcuts Window
You can now set custom keyboard shortcuts for Boris Red menu commands. You can then
save the shortcuts as a Þle that you can transfer to any Red system. The Shortcuts window
displays the current shortcut for each menu command.
Many existing commands have been added to menus. This allows you to create
keyboard shortcuts for these commands using the Shortcuts window.
1.
Choose File > Shortcuts. The Shortcuts window appears.
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2.
Click to select a command on the left side of the window. The commands are organized
by menu.
3.
Enter the desired shortcut on the right side of the window. You can enter a Key or a
combination of a Key and ModiÞers.
4.
Click Save after you enter the appropriate shortcut. Choose Clear to clear a shortcut.
5.
When you Þnish entering shortcuts, click OK to save your changes. The changes do not
take affect until you quit and relaunch Red.
Saving Shortcuts as a File
You can save your keyboard shortcuts as a Þle that you can use to transfer your settings to
other Red systems.
1.
Click the Save Shortcuts button.
2.
In the dialog box that appears, type a name for the shortcut and navigate to the folder
where you want to save the preset.
3.
Click Save.
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Loading Shortcuts Files
You can save your shortcuts as a Þle that you can use to transfer your settings to other Red
systems.
1.
Click the Load Shortcuts button.
2.
Navigate to the appropriate Shortcuts Þle and click OK.
The changes do not take affect until you quit and relaunch Red.
Restoring the Default Shortcuts
1.
Click the Restore Defaults button.
2.
In the conÞrmation dialog box that appears, click OK.
The changes do not take affect until you quit and relaunch Red.
New OpenGL Acceleration
Boris Red’s OpenGL hardware acceleration speeds previews. OpenGL is a cross-platform
standard that dramatically improves the speed and interactivity of 2D and 3D previews. In
Draft mode, you should see dramatically speeded manipulations of 3D Plane tracks, Spline
Objects, Spline Primitives, and 3D Extrusion tracks.
In OpenGL mode, you will not see non-accelerated objects when you use the on-screen
interactors. Non-accelerated objects include Þlters, masks, bump maps, reßection maps, cast
shadows, apply modes, cropping and opacity. Depending on the complexity of your effect,
you may not see lights and texture tracks. As you adjust the interactors, the Composite
window displays the message “Accelerated Draft Preview” to indicate that you are not
seeing all objects. When you release the mouse button, the Composite window displays all
objects. If you need to see all objects, press the Alt or Option key while you interact.
When you work in High quality, the Composite window switches to Draft while you use the
on-screen interactors. When you release the mouse button, the Composite window returns
to High quality. The interactors appear semi-transparent to indicate when you are working
in software OpenGL mode when you are in High quality.
Three sets of on-screen interactor controls allow you to position, scale and rotate tracks. The
interactors appear in the Composite window when you select a track in the timeline. You
can hide and display the interactors by pressing the G key. You can also hide and display
the interactors by choosing Preview > OpenGL Interactors > Show Interactor. A checkmark
appears in the menu when this option is selected.
Use the following methods to work with the OpenGL acceleration:
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Clicking an image but not an interactor allows freeform positioning, scaling and
rotation.
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Clicking an interactor’s axis constrains movement, scaling and rotation to that axis. In
the onscreen interactor controls, red represents the X-axis, green represents the Y-axis
and blue represents the Z-axis.
•
The interactors work in conjunction with the Rotation Order menu in the Position tab.
See “Working with the Position Tab” on page 311 for more information.
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Clicking outside a selected object deselects it.
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The interactors appear semi-transparent to indicate that you are working in software
OpenGL mode; they appear opaque in hardware OpenGL mode.
Using Position X, Position Y and Position Z in the Position tab instead of an interactor,
behaves as if OpenGL were not activated. The results appear as if you were dragging
the Position Point to move in the same plane as the screen. See page 71 for details.
The ends of the interactors change to let you know which mode you are using.
Positioning Objects
X-axis
Y-axis
With the Composite window active, pressing the
letter W allows you to position the selected object.
This default mode is indicated by arrows at the
ends of the interactors. You can also enter this
mode by choosing Preview > OpenGL Interactors
> Transform Interactor. A checkmark appears in
the menu when this option is selected.
Dragging the green interactor moves the track on
the X axis; the red interactor moves the track on
the Y axis; the blue interactor moves the track on
the Z axis. The corresponding Position X, Y or Z
values update in the Controls window as you drag
the interactor around the screen. To reposition a
track in multiple axes, select the image instead of
the interactor and drag the image in any direction.
Z-axis
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When you are not in OpenGL mode, you can use the Position Point to reposition objects.
Unlike the Position Point, the Transform mode allows you to position objects in Z-Space.
However, unless your computer does not include an appropriate OpenGL card, you will see
signiÞcantly enhanced performance if you work in OpenGL mode.
Position Point
OpenGL Off
Open GL Interactors
OpenGL On
You can also use the Left and Right Arrow keys to nudge the position of objects in the
Composite window. Only Position parameters are affected; no other XY parameters are
affected. Use Shift-Right Arrow key or Shift-Left Arrow key to nudge by 10 points. You can
also Shift-select multiple objects and nudge the objects simultaneously. Each nudge is a
separate action in the History Palette or when you use the Undo command.
Rotating Objects
With the Composite window active, pressing E
allows you to spin, tumble and rotate the selected
object.This mode is indicated by circles at the ends
of the interactors. You can also enter this mode by
choosing Preview > OpenGL Interactors > Rotate
Interactor. A checkmark appears in the menu when
this option is selected.
Dragging the green interactor spins the track
around the X axis; the red interactor tumbles the
track on the Y axis; the blue interactor rotates the
track around the Z axis. The corresponding Tumble
X, Spin Y or Rotate Z values update in the Controls
window as you drag the interactors. Clicking an
object allows freeform rotation, as if rotating a ball.
Y-axis
X-axis
Z-axis
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If you tumble, spin or rotate an object using the
onscreen interactors, you can then move the object
on that axis. In the example at right, the words
“Vector Text” were rotated using the Spin and
Tumble interactors. The darker arrows show the
positioning of the text using the Position X and Y
parameters in the Controls window (Position Z
points directly at the viewer). The lighter arrows
show the positioning using the on-screen
interactors in Transform mode. See the previous
section for information on positioning objects.
Understanding the Rotation Order
Tumble X, Spin Y, and Rotate Z are calculated in a particular order which often affects the
results. A user selectable rotation order makes it possible to change the rotation order to
enable a particular desired effect more easily. This also makes it possible to easily match the
results of a rotation effect created in another application that uses a different rotation order.
When you are creating static rotations, the rotation order is not important; the Þnal image
will match the appearance in the Composite window. The rotation order becomes important
when you create animated rotations. The rotation order is set in the Rotation Order menu in
the Position tab. See “Working with the Position Tab” on page 311 for more information.
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Scaling Objects
With the Composite window active, pressing R allows you to scale the selected object. This
mode is indicated by cubes at the ends of the interactors. You can also enter this mode by
choosing Preview > OpenGL Interactors > Scale Interactor. A checkmark appears in the
menu when this option is selected.
Dragging the green interactor scales the track on the Y axis; dragging the red interactor
scales the track on the X axis. This mode does not include a blue interactor since you cannot
scale on the Z axis. The corresponding Scale values update in the Controls window as you
drag the interactors.
However, when you nest tracks inside a 3D Container, a blue interactor does appear,
allowing you to scale on the Z axis. For more information on 3D Containers, see Chapter 6.
Clicking an object instead of an interactor allows you to simultaneously scale the X and Y
axis to maintain the object’s aspect ratio.
Scaled on the X-axis
Scaled on the Y-axis
Even with the Interactors displayed, you can still use the Shape control to scale the image.
Drag the corners to adjust the X and Y scale simultaneously to preserve the aspect ration.
Drag any side handle to scale the image on that axis.
Alternatively, you can use the Scale X and Scale Y parameters in the Position tab to scale an
object. See Volume I in the Red User Guide for more information on these parameters.
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New Host and Hardware Features
The following features and changes have been added to host integration in Red 3GL For
detailed information on how to use these new features, see Appendix B, “Working with
Hosts,” in Volume I of the Red User Guide.
Discontinued Mac Classic OS 9.x Support
Boris Red 3GL no longer supports Mac OS™ Classic 9.x. The only Macintosh operating
system supported in Red 3GL is Mac OS X.
Discontinued OMF Support
Boris Red 3GL no longer supports importing movies in Avid’s OMF format. Instead, import
the movies as a QuickTime reference. See your Avid documentation for details.
Applying Boris Red as a Transition in Final Cut Pro (Version 4.0 Only)
Beginning with Version 4.0, Final Cut Pro allows you to apply plug-ins as transitions.
However, color space issues can occur when applying plug-ins as a transition. FCP 4.0 does
not support YUV color space for plug-ins. So Red transitions render in RGB. This may cause
visible color shifts when you create transitions in a YUV project. To correct this problem, see
“Rendering Final Cut Pro Effects in RGB” on page 74. When you apply Red as a Þlter, color
shifts are not an issue.
If you are working with an older version of Final Cut Pro, a workaround is available. See
“Applying Boris Red as a Transition in Older Versions of Final Cut Pro” on page 574 in
Volume I of the Red User Guide.
1.
Click to select an edit point between two clips in your sequence. Alternatively, you can
position the Canvas or Timeline playhead at the desired edit point.
2.
Choose Video Transitions from the Effects menu, then choose Boris > Boris Red
Transition from the submenu.
3.
Click the Red banner in the Controls tab in the Viewer. This opens the Red interface.
4.
To exit the Red interface, click Cancel to exit without applying changes or Apply to exit
and apply changes. Render a Red effect the way you would any other effect in FCP.
Rendering Final Cut Pro Effects in RGB
1.
Choose Settings from the Sequence menu.
2.
In the Sequence Settings window, click the Video Processing tab.
3.
Click to enable the Always Render in RGB checkbox.
4.
Click OK to save your changes.
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New Avid Title Matte Effect
A new Boris Red Title-Matte Effect has been added to the list of Red effects in Avid’s Effect
Palette. This option allows you to easily apply Red effects to an Avid title or imported matte
key. You can apply effects directly to titles or images with alpha channels just as you would
to clips. For example, if you have a bin with saved titles, you could apply a Þlter to the titles
in Red.
Avid Title with Red 2D Particles
Avid Title with Red Perspective and Shadow
Adding a Title-Matte Effect
1.
Edit an Avid title or matte key into the Avid timeline.
2.
Open the Avid Effect Palette and select Boris Red 3GL AVX from the Effect categories.
3.
From the list of available Red 3GL effects, drag the Boris Red Title-Matte Effect to the
title or matte key in the Avid timeline.
Drag onto the Title or
matte key in the Avid
timeline
Dragging the Title-Matte effect onto an Avid title or matte key is a destructive
process which replaces the title or matte key. Removing a Title-Matte effect will
remove the title’s nested alpha channel. To remove a Title-Matte effect and
preserve the title or matte key, use the Undo command instead of the Remove
Effect command.
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4.
Click the Other Options button in the Avid
Effect Editor to launch the Red Interface and
create your effect.
If the title or matte key looks blocky when
Red opens, open the V1 track in the
timeline and click to select its Face track. In
the Host Media tab, set the Key menu to
Straight Alpha. This should happen
automatically but in some instances you
may need to do it manually.
Click to open the Red Interface.
Replacing a Title-Matte Effect
Since a title is replaced by dragging the Title-Matte effect, in order to re-edit a title with a
Title-Matte effect (for example to change the text or a font) you must save the Title-Matte
effect while you are in Red (in the File menu). Remake the Avid title and reapply it to the
Avid timeline over the older title. Drag a Red Title-Matte effect to the new title. In Red, open
the saved effect and apply it to the new title.
New Vegas Video Integration
Beginning with Version 3GL, Boris Red supports Sony Digital Pictures Vegas ™ version 3.0
and later. Apply Red as a transition or a video effect.
By default, Vegas caches every video frame. This results in effects not displaying
correctly after re-editing. To disable the Vegas cache, open the Vegas Preferences
from the Options menu. Click the Video tab and set Dynamic RAM Preview max
(MB) to 0.
The Red timeline will not display updated host video frames while launched
inside Vegas. Only the current video frame the cursor is parked in Vegas on will be
displayed in Red’s timeline. This limitation of Vegas’s architecture does not impact
rendering.
Applying Boris Red as a Transition
Boris Red displays in the list of available transitions in the Vegas Transitions window and
can be applied as a transition the same way you apply any native transition in Vegas.
The Red timeline will not display updated video frames while launched inside
Vegas. Only the video frame at the cursor location is displayed in Red’s timeline.
This limitation of Vegas’s architecture does not impact rendering effects.
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1.
Drag the Boris Red Transition to the crossfade between two video events or to the fadein or fade-out region of a video event.
The Event Effects window opens.
2.
Click the Launch Boris FX Button to open the Red interface.
The cursor must be placed within the effect for video to display in Red. Place the
Vegas cursor on the Þrst frame of the transition to display the Þrst frame in Red.
Otherwise the frame where the cursor is stopped in Vegas displays in Red.
3.
In the Red Timeline window, set the Duration to match the
duration of your Vegas effect by typing a new value in the
Duration Þeld and pressing Enter.
If the Red transition duration does not match the Vegas
transition duration, the rendered Vegas transition will
appear different than when you create it in Red.
Set the Red duration to
match the Vegas duration.
4.
Choose Edit > Preferences to open the Preferences window.
5.
In the General tab in the Preferences window, set the Project Options to match the
project size, FPS and aspect ratio that you are using in Vegas. Click OK to close the
Preferences window.
6.
You can now open settings from the Keyframe Library or create your own custom
effect.
7.
When you Þnish creating your transition effect, press the Apply or Cancel button to
either apply the effect to Vegas or cancel and leave the transition unchanged.
Applying Boris Red as a Video Effect
Boris Red appears in the list of available video effects in the Video FX window and can be
applied as a video effect the same way you apply any native video effects in Vegas.
The Red timeline will not display updated video frames while launched inside
Vegas. Only the video frame at the cursor location displays in Red’s timeline. This
limitation of Vegas’s architecture does not impact rendering effects.
1.
Drag the Boris Red video effect from the Video FX window to an event or track. The
Event Effects window opens.
2.
Click the Launch Boris FX Button to open the Red interface and create your effect.
Place the Vegas cursor on the Þrst frame of the effect to display the Þrst frame in
Red. Otherwise the frame at the Vegas cursor location displays in Red.
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3.
In the Red Timeline window, set the effect duration to match
the duration of your Vegas effect by typing a new value in the
Duration Þeld and pressing Enter.
If the Red effect duration does not match the Vegas effect
duration, the rendered effect in Vegas appears differently
than when you preview it in Red.
Set the Red duration to
match the Vegas duration.
4.
Choose Edit > Preferences to open the Preferences window. In the General tab in the
Preferences window, set the Project Options to match the project size, FPS and aspect
ratio that you are using in Vegas. Click OK to close the Preferences window.
5.
You can now open settings from the Keyframe Library or create your own custom
effect. When you Þnish creating your effect, press the Apply button or Cancel button to
either apply the effect to Vegas or cancel and leave the event or track unchanged.
Exporting a Media 100 Timeline to the Red Engine
You can now export your Media 100 timelines directly to the Red Engine.
1.
Copy the Media100ProjectImporter Þle into your “BorisPlugins” folder.
This Þle should be located on your Media 100 install CD, in the Media 100 After Effects
Plug-in folder.
2.
Choose Export to....After Effects from the Media 100 File menu.
The Þle that you export from Media 100 has a “.M1A” extension.
3.
Launch the Red Engine and choose File > Import. Navigate to the Þle that you exported.
The Red timeline changes to the M1A Þle.
Support for Automatic Duck Composition Import
Red supports Automatic Duck composition import. This allows you to import your timeline
from an After Effects, Avid or Final Cut Pro host system into the Red Engine. Automatic
Duck's Automatic Composition Import plugin lets you import an Avid® OMF®
Composition, including all your media and clips. Supported effects are translated and
recreated, and your timeline is recreated as a composition in Boris Red. In addition, your
media and composition are added to the Project window.
For more information on Automatic Duck, see your Automatic Duck
documentation or visit www.automaticduck.com.
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The following features are supported for Automatic Duck import.
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Importing OMF® Compositions from both Macintosh and Windows hosts.
Video and audio tracks
Submaster effects
Color tracks
Project size and Project FPS
Track names
Composite modes
Position and Opacity
Still Image Files
Motion effects
Dissolves
Picture in Pictures (scales to 50%, an Automatic Duck limitation)
Superimpose effects (Opacity to 50%--an Automatic Duck limitation)
Flip, Flop and Flip Flop effects
For more information on Automatic Duck, see your Automatic Duck
documentation or visit www.automaticduck.com.
Importing OMF Compositions
1.
Make sure that the Automatic Duck plugin appears in the “boris plugins” folder.
2.
Export an OMF 2.0 Composition Þle from your Avid, After Effects or Final Cut Pro
system.
3.
Launch Boris Red.
4.
Choose the appropriate command from the File menu in Boris Red. (Do not choose the
Import command.) If Automatic Duck is not properly installed, these commands are
not available.
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Import Avid OMF as Composition
Import Avid DV OMF as Composition
Import Final Cut OMF as Composition
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The Automatic Duck Composition Import window appears.
5.
Navigate to the appropriate OMF File.
6.
Choose the appropriate command from the Separate Fields menu.
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Off leaves the Þeld separation feature off.
Upper Field First sets the Þeld separation to upper Þeld Þrst. Use this setting if you
need to calculate each Þeld of interlaced video separately and your OMF media
came from an NTSC ABVB-based Avid or from any PAL Avid system.
Lower Field First sets the Þeld separation to lower Þeld Þrst. Use this setting if you
need to calculate each Þeld of interlaced video separately and your OMF media
came from an NTSC Meridien-based Avid or NTSC Xpress DV system.
Choose the appropriate command from the Audio Tracks menu.
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Ignore disregards any audio clips in the OMF.
Add Normally adds any audio clips tin the OMF to your composition. Just as each
video clip is assigned to a track, each audio clip is assigned to a track. If you have
a lot of audio clips, you could end up with a lot of tracks in your composition
dedicated to audio.
Place in Subcomp is not currently implemented in Red. Choosing this option
behaves the same as the Add Normally option.
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8.
Choose the appropriate command from the Effect Translation menu.
When Automatic Sequence Export creates a representation of your sequence in OMF, it
inserts information describing effects and clip characteristics. Automatic Composition
Import then translates this information from the OMF Þle to create the appropriate
results in Red. When importing, you can decide what level of translation you want.
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9.
Off ignores any effects in the timeline. Media is imported and the timeline is
constructed to match your exported sequence, but no effort is made to recreate any
effects.
Transitions Only imports the timeline and any transition effects.
Best Estimate - No Markers attempts to import the timeline and all effects.Any
references to unsupported effects are lost.
Best Estimate - With Markers attempts to import the timeline and all effects. Red
will place a user mark with a comment identifying the name of any unknown
effects. The markers are especially useful for the effects that Automatic
Composition Import does not support.The effect will not translate, but the user
mark on the clip identiÞes the effect that had been applied.
Click the Import button. Your timeline is recreated as a composition and your media
and composition are added to the Project window.
Working with the Preview to Monitor Feature
You can now output video to an external monitor through a Firewire converter box or
through supported video hardware connected to your system. You can output media at any
project size and immediately view your working frame without rendering the timeline.
For a list of supported hardware and hosts, see the Release Notes PDF on your Red
CD-ROM.
Once the hardware is connected, choose Connect to Monitor from the Preview menu.
Commands in the Preview menu allow you to set the video display. You can output media
at any project size and immediately view your working frame without rendering the
timeline. See the Release Notes for a list hardware limitations.
When you choose Display Frame on Monitor from the Preview menu or click the
Display Frame to Monitor button in the upper-right corner of the Composite window,
the image displays on the external monitor, using the Resolution and Quality settings
speciÞed in the Composite window.
When you choose Display HQ on Monitor from the Preview menu, the image displays on
the external monitor, using the Full Resolution and High Quality settings, regardless of the
Resolution and Quality settings in the Composite window. When you choose Auto-Update
Monitor from the Preview menu, every frame of your effect previews to the external video
monitor connected This allows you to drag the CTI in the timeline and view updating
frames. This option is not available in some host applications or system conÞgurations.
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Once the hardware is connected, conÞgure the Red Preferences to use this feature. See the
next section for details.
Enabling Preview to Monitor
To enable the Preview to Monitor feature, launch the Red 3GL and open the Preferences
window.
Preview to Monitor is only available in the Red 3GL Engine. and is not available in
Red 3GL within your host application.
1.
Choose File > Preferences (Windows) or Boris Red > Preferences (Macintosh).
2.
Click to select the Preview tab.
3.
In the External Monitor Output section, choose
your Firewire Converter box or Video
hardware board from the Device menu.
The Device menu displays all the supported
hardware connected to your system.
4.
Choose an option from the Mode menu if applicable. For example, if you are using a
Firewire Converter box, you can choose PAL and NTSC formats from the Mode menu.
5.
Click OK to save your settings and exit the Preferences window.
The Preview to Monitor preferences will be saved and applied to all Red projects
unless your Red 3GL preference Þle is rebuilt.
Displaying Frames in your External Monitor
Commands in the Preview menu allow you to set the video display:
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When Connect to External Monitor is selected in the Preview menu, Preview to
Monitor is enabled and the following three options in the menu become available:
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When you choose Auto-Update Monitor from the Preview menu, every frame of your
effect previews to the external video monitor. This allows you to drag the CTI in the
timeline and view updating frames. The image displays on the external monitor, using
the Resolution and Quality settings speciÞed in the Composite window.
Enabling Auto-Update Monitor will slow Red since every frame is updated in the
external monitor.
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When you choose Display Frame on Monitor from the Preview menu or click the
Display Frame to Monitor button in the upper-right corner of the Composite
window, the current frame displays on the external monitor, using the Resolution
and Quality settings speciÞed in the Composite window.
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When you choose Display HQ Frame to Monitor from the Preview menu, the image
displays on the external monitor, using Full Resolution and High Quality settings,
regardless of the Resolution and Quality settings in the Composite window.
Disconnecting Preview to Monitor
To disconnect Preview to Monitor (for example if you want to connect another device to
your video board while editing with Boris Red), exit Red. When you relaunch Red, the
external monitor is not connected until you choose Connect to External Monitor in the
Preview menu.
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