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*from discreetsmoke 4.2 release notes

smoke

© 2001 Discreet Logic Inc. All Rights Reserved.

This publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose.

DISCREET LOGIC INC. MAKES NO WARRANY, EITHER EXPRESSED OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY IMPLIED WARRANTIES, OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE, REGARDING THESE MATERIALS AND MAKES SUCH MATERIALS AVAILABLE SOLELY ON AN “AS-IS” BASIS.

IN NO EVENT SHALL DISCREET LOGIC INC./AUTODESK INC. BE LIABLE TO ANYONE FOR SPECIAL, COLLATERAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES IN CONNECTION WITH OR ARISING OUT OF PURCHASE OR USE OF THESE MATERIALS. THE SOLE AND EXCLUSIVE LIABILITY TO DISCREET LOGIC INC., REGARDLESS OF THE FORM OF ACTION, SHALL NOT EXCEED THE PURCHASE PRICE OF THE MATERIALS DESCRIBED HEREIN.

Discreet Logic Inc. reserves the right to revise and improve its products as it sees fit. This publication describes the state of this product at the time of its publication, and may not reflect the product at all times in the future.

AUTODESK TRADEMARKS

3d studio max, 3D Studio VIZ, character studio, fire, flame, flint, frost, inferno, Lightscape, mountstone, smoke, stone, wire , and Discreet, 3ds max, backdraft, Colour Warper, combustion, edit slipstream, jobnet, jobnet producer, multi-master editing, Render Queue, Real-Time Roto, and sparks are registered trademarks or trademarks of Autodesk, Inc./Discreet Logic Inc. in the USA and/or other countries.

THIRD-PARTY TRADEMARKS

All other brand names, product names, or trademarks belong to their respective holders.

GOVERNMENT USE

The software and documentation is provided with RESTRICTED RIGHTS. Use, duplication, or disclosure by the United States Government or any agency, department or instrumentality thereof is subject to the restrictions set forth in the Commercial Computer Software—Restricted Rights clause at FAR 52.227-19 or the Commercial Computer Software—Licensing clause at NASA FAR Supplement 1852.227-86. Manufacturer is Discreet Logic Inc., 10 Duke Street, Montreal, Quebec, Canada, H3C 2L7.

Printed in Canada.

Documentation by: Sarah Blay, Richard Gratton, Jeremy Kerr and Marika Piehler

Edited by: Mylène Pepin

Layout by: Brenda Barrie

Title: smoke 4.2 Release Notes

Part number: 900-70387

Software version: 4.2

Date: July 25, 2001

3

tocTable of Contents

Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5Integration and Installation Guidelines: New Octane2 . . . . . . . . . . . . . . . . . . . . . . . . . 6Integration and Installation Guidelines: Octane to Octane2. . . . . . . . . . . . . . . . . . . . . 7Additional Documentation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Getting More Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8Octane2 Limitations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Viewing Clips on the HD Broadcast Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9No Image Display when Using Input/Output Clip Menus . . . . . . . . . . . . . . . . . 9Framestore Parity (HD only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9smoke -B option Not Available . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Paint Brush Stroke to Broadcast Monitor Delay (SD only) . . . . . . . . . . . . . . . . . 9Safe Area Guide for HD Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Grids and Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10SGI Audio and Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

Octane2 Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10Configuring the Octane2 for SD (601) or HD Clip Transfer. . . . . . . . . . . . . . . . . . . . . 11

Configuring the Octane2 for HD Clip Transfer . . . . . . . . . . . . . . . . . . . . . . . . . . . 12Configuring the Octane2 for SD Clip Transfer . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Configuring Alternative Genlocking for HD Clip Transfer on the Octane2 . . 16

Connecting Discreet Audio with the Octane2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17First-Time Installations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Upgrade Installations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17Wiring Discreet Audio to Octane2 for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Connecting R-series Units for SD (601) and HD Work . . . . . . . . . . . . . . . . . . . . . . . . 19Configuring R-Series Disk Arrays with the Octane2 for SD and HD Work . . . 19

Verifying the System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21DM2 Board Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21R-series Units Hard Drives Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

HD Clip Input and Output with the DM2 Board . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23Improvements and Changes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Archive Slate Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Audio: Sound Disk Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28Audio Support Improvement with BVW 75 VTR (or Compatible) . . . . . . . . . 28Capturing Audio from EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Table of Contentstoc

4

Clip Input Directly to the EditDesk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Clip Naming Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29DVE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29EditDesk Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31Editing: EditDesk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37Editing: Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40Editing: Soft Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44Filter Menu Improvements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47Grid/Guide Improvements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47HDCAM Archiving . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48JLCooper Hot Key for Rotation Axis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Keyer Icon Transparency and Control Point Colours . . . . . . . . . . . . . . . . . . . . . 48Maximum Memory Token . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Paint . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48Project Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Reference Buffer Display Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Serial Port Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Tracking Garbage Mask Vertices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

5

4.2smoke Release Notes

Welcome to the releagse notes for smoke® 4.2 on the Octane2™.

This document describes upgrade requirements as well as

improvements and changes in smoke 4.2.

SummaryThis release introduces support for the SGI™ Octane2 workstation. The Octane2 has a new SD/HD video board called the DMediaPro™ DM2 and a new graphics board called the V12.

This document provides procedures for connecting the Octane2 with the DM2 board for SD (601) and HD work, and also for connecting the R-series units (disk arrays) and Discreet Audio. Information on transferring HD material and enhancements to the software is also included.

NOTE: For users of smoke 4.1, these release notes replace the smoke 4.1 Release Notes.

These release notes provide information on the following:

• “Integration and Installation Guidelines: New Octane2” on page 6

• “Integration and Installation Guidelines: Octane to Octane2” on page 7

• “Additional Documentation” on page 8

• “Getting More Help” on page 8

• “Octane2 Limitations” on page 9

• “Octane2 Components” on page 10

• “Configuring the Octane2 for SD (601) or HD Clip Transfer” on page 11

smoke Release Notes4.2

6

• “Connecting Discreet Audio with the Octane2” on page 17

• “Connecting R-series Units for SD (601) and HD Work” on page 19

• “Verifying the System” on page 21

• “HD Clip Input and Output with the DM2 Board” on page 23

• “Improvements and Changes” on page 27

Integration and Installation Guidelines: New Octane2The following table indicates the hardware integration and software installation tasks required to run smoke 4.2 on an Octane2 and the corresponding documentation.

WARNING: Hardware installation and servicing of the Octane2 platform should only be carried out by an

experienced system administrator or experienced technician.

Task: Documentation:

1. Integrate the hardware • smoke 4.2 Release Notes

• If you are configuring an Octane2 for HD video (using a PCI fibre channel in the PCI card cage) and you are using Discreet Audio, refer to “Connecting Discreet Audio with the Octane2” in the smoke 4.2 Release Notes

• If you are configuring an Octane2 for SD (601) video and you are using Discreet Audio, refer to the Discreet Audio Hardware Configuration Guide

NOTE: If IRIX 6.5.11f is not installed on your SGI workstation, refer to the smoke 4.2 Installation Guide for instructions.

2. Verify the system • “Verifying the System” on page 21 in the smoke 4.2 Release Notes

3. Install smoke • smoke 4.2 Installation Guide

NOTE: The smoke installation process includes getting licenses for and installing smoke, the Discreet Filesystem, and wire.®

4. Configure the Discreet Filesystem and wire

• Discreet Filesystem and Networking Guide

!

Integration and Installation Guidelines: Octane to Octane2

7

❚❘❘

Integration and Installation Guidelines: Octane to Octane2The following table indicates the hardware integration and software installation tasks required to swap an Octane® for an Octane2 workstation that will use the Octane framestore (and any other hardware peripherals). It also provides the corresponding documentation.

WARNING: Hardware installation and servicing of the Octane2 platform should only be carried out by an

experienced system administrator or experienced technician.

Task: Documentation:

1. Back up the contents on the framestore

• The chapter “Archiving” in the smoke User’s Guide

2. Back up smoke resources from the Octane system disk

• “Backing Up Your System Disk” in Appendix A of the smoke 4.2 Installation Guide

3. Disconnect the Octane system N/A

4. Integrate the hardware • smoke 4.2 Release Notes

• If you are configuring an Octane2 for HD video (using a PCI fibre channel in the PCI card cage) and you are using Discreet Audio, refer to “Connecting Discreet Audio with the Octane2” in the smoke 4.2 Release Notes

• If you are configuring an Octane2 for 601 video and you are using Discreet Audio, refer to the Discreet Audio Hardware Configuration Guide

NOTE: If IRIX 6.5.11f is not installed on your SGI workstation, refer to the smoke 4.2 Installation Guide for instructions.

5. Verify the system • “Verifying the System” on page 21 in the smoke 4.2 Release Notes

6. Install smoke • smoke 4.2 Installation Guide

NOTE: The smoke installation process includes getting licenses for and installing smoke, the Discreet Filesystem, and wire.

7. Configure the Discreet Filesystem and wire


8. Restore framestore archives • The chapter “Archiving” in the smoke User’s Guide

9. Restore system-disk backups • The section “Restoring Backed Up Directories and Files” in the smoke 4.2 Installation Guide

!


8

Additional DocumentationRead these release notes in conjunction with the following documentation:

• smoke 4.2 Installation Guide

NOTE: For information on product installation and compatibility issues, refer to the smoke 4.2 Installation

Guide, which replaces any information on these topics found in previous release notes.

• smoke 4.0 User’s Guide

• smoke 4.0 Tutorial

• fire and smoke 4.0 Hot Keys Booklet

• smoke 4.0 Troubleshooting Charts

• Discreet Audio Hardware Configuration Guide


• mountstone® 2.0 Release Notes

• smoke 4.0 Release Notes

• smoke 4.0.1 Release Notes

Getting More HelpIf you encounter difficulties with your hardware and software, contact:

Discreet Customer Support

North America: 1-800-925-6442

International: 514-954-7199 (Country code = 1)

Fax 514-954-7254

E-mail: [email protected]

WWW: www.discreet.com

Octane2 Limitations

9

❚❘❘

Octane2 LimitationsThis section describes several limitations of the Octane2. Most of these limitations occur because the Octane2 does not have the hardware graphics to video path that most other platforms have. Exceptions to this are the framestore parity limitation and SGI Audio limitation.

Viewing Clips on the HD Broadcast MonitorAt HD resolutions, images that you see in the user interface will not appear on the HD broadcast monitor. As a workaround, to see a clip on the HD broadcast monitor you can process it in the Output Clip menu with the No VTR Selected option selected (without outputting it).

To view clips on the HD broadcast monitor using the Output Clip menu:

1. From the Library menu, click Output Clip.

2. Select the clip.

3. In the Device Name box, select No VTR Selected.

4. Click the Process button.

The clip plays on the HD broadcast monitor.

No Image Display when Using Input/Output Clip MenusImages do not appear in the image window when you use the Input Clip and Output Clip menus to perform HD input/output.

Framestore Parity (HD only)At HD resolutions, the parity disk only records parity information after capture in the Input Clip menu. Refer to the Discreet Filesystem and Networking Guide for further information on the parity disk in framestore configurations.

smoke -B option Not AvailableWhen you start smoke with the smoke -B option, the broadcast monitor displays whatever is on the screen. However, this feature is currently not available on the Octane2 platform. Only the image displayed in the image window can be displayed on the broadcast monitor, and only at SD (601) resolution.

Paint Brush Stroke to Broadcast Monitor Delay (SD only)On most platforms, when you draw a paint brush stroke in the Paint module using SD (601), the stroke is dynamically updated on the broadcast monitor. When you use the Octane2, the paint brush stroke is not updated in the broadcast monitor until the stroke is complete.


10

Safe Area Guide for HD WorkWhen working with HD material in smoke 4.2, there is no safe area guide when outputting to an HD monitor from the Player.

Grids and GuidesDuring real-time playback, grids and guides currently do not appear. Grids and guides only appear when playback is stopped.

SGI Audio and SyncWhen doing digital audio I/O, providing a continuous AES signal is essential to ensure stable and reliable performance from the smoke system. The way to achieve this is by locking to an AES signal derived from genlock. Discreet recommends normalizing your digital audio patch bays with a -20 dBFS AES tone derived from genlock. When doing I/O, lock directly to an AES source coming from a device which has genlock support and is receiving house sync (such as a Digi Beta).

On the Octane, it is possible to use the Video Clock setting in the Audio Preferences with SGI audio when obtaining audio from a source other than a VTR. However, on the Octane2, using this option with 601 video might cause undesirable results, and is therefore not supported.

If you are performing audio I/O from a device other than a VTR and you want to use the Video Clock option, you may need an external converter unit to properly re-lock your audio to genlock.

Octane2 ComponentsThe Octane2 platform introduces the new V12 graphics board and the new DMediaPro DM2 video board. This section describes these two new boards and the required Video Breakout Box (VBOB).

Basic knowledge of UNIX and computer hardware in a professional video/film production environment is assumed throughout the information pertaining to the Octane2.

Visit techpubs.sgi.com for further technical and installation information on the V12 graphics board, the DMediaPro DM2 video board, and the VBOB.

V12 — New graphics board located in the upper two XIO module slots (A and B) on the Octane2. This board supports a 24-inch monitor (1920 x 1200) and provides the connection for genlocking.

DMediaPro DM2 — New video board located in the lower right XIO module slot on the Octane2. A VBOB must be connected and the DMediaPro DM2 drivers and subsystems must be installed for the DM2 to function properly. Refer to your SGI DMediaPro™ DM2/DM3 Board Owner’s Guide.

Video Breakout Box (VBOB) — A box that converts serial digital video signals to the LVDS format used by the DMediaPro DM2.

Configuring the Octane2 for SD (601) or HD Clip Transfer

11

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Configuring the Octane2 for SD (601) or HD Clip TransferThe illustrations and descriptions in this section provide typical SD (601) and HD configurations. More specific cases are not illustrated.

SD (601) and HD setups are depicted separately but the VBOB connections for SD (601) and HD can be combined to create a setup that supports both simultaneously. The following components are represented in these illustrations:

• Octane2

• Video Breakout Box (VBOB)

• VTR

• Monitor

• Sync Generator(s)

Octane2

R L

INOUT

2 1 Ch

ann

el 0

Lin

k U

pLi

nk

Up

Ch

ann

el 1

GenLock

Swap Ready

LINK A

LINK B

IN

OU

T

DIGITAL

P2P1

V12 Graphics board

DMediaPro DM2 Video board

SGI XIO Fibre Channel board

PCI Fibre Channel ports


12

Configuring the Octane2 for HD Clip TransferThis section details a typical HD setup for the Octane2. For an alternative genlocking configuration to the one described and illustrated, see “Configuring Alternative Genlocking for HD Clip Transfer on the Octane2” on page 16.

To configure the Octane2 for HD clip transfer:

1. First power down and unplug the SGI. Then power down and unplug the Video Breakout Box (VBOB) and other peripheral devices. Finally, unplug the R-series units (disk arrays).

2. Connect LVDS A and LVDS B on the VBOB to LVDS A and LVDS B on the Octane2 using two LVDS cables.

3. Connect the Genlock on the V12 board of the Octane2 to an NTSC/PAL Sync Genlock OUT on your NTSC/PAL Sync Generator using a BNC cable.

4. Connect a terminator to the right HD Genlock on the VBOB.

5. Connect an HD Out 1 on the VBOB to the IN 1 port on your HD VTR (or 4:4:4 Video Player/Recorder) with a BNC cable. For HD 4:4:4 also connect an HD Out 2 on the Video Breakout Box to the IN 2 port on your HD 4:4:4-capable recorder with a BNC cable.

6. Connect an HD In 2 on the VBOB to the OUT 2 port on your HD VTR (or 4:4:4 Video Player/Recorder) with a BNC cable. For HD 4:4:4 also connect an HD In 2 on the VBOB to the OUT 2 port on your HD 4:4:4-capable player with a BNC cable.

7. Connect the left SD Genlock on the VBOB to an NTSC/PAL Sync Genlock OUT on your NTSC/PAL Sync Generator with a BNC cable.

8. Connect the right SD Genlock to the left HD Genlock on the VBOB with a BNC cable.

9. Connect the available HD Out 1 on the VBOB to the IN port on your HD monitor with a BNC cable.

10. Connect Serial Port 1 on the Octane2 to the RS- 422 machine control port on your VTR (or 4:4:4 Video Player/Recorder) using an RS-422 cable.

11. Proceed with “Connecting Discreet Audio with the Octane2” on page 17.


13

❚❘❘

HD Monitor Octane2

NTSC/PAL Sync Generator

Generic HD VTR or4:4:4 Video Player/Recorder

I0

LVDS ALVDS A

TMDS ATMDS A

TMDS BTMDS B

LVDS BLVDS B

Present

HDGenlock

Timing OutTiming Out

HD Out

HD Out

HD In

HD In1

2

1

2

Present

SDGenlock

SD Out

SD Out

SD In

SD In1

2

1

2

RS-232

RS-422

A B

C D

1

2

GP I/O

Video Breakout Box (VBOB)

R L

INOUT

2 1 Cha

nnel

0

Link

Up

Link

Up

Cha

nnel

1

GenLock

Swap Ready

LINK A

LINK B

IN

OU

T

DIGITAL

LVD

S BLV

DS A

In In

Out Out

Serial Port 1

Genlock

LVDS A

LVDS B

NTSC/PAL SyncGenlock Out

LegendOnly for 4:4:4 HD

Typical Octane2 HD Setup

IN

RS-422 Machine Control

Syn

c G

en

Syn

c G

en

Term-inator


14

Configuring the Octane2 for SD Clip TransferThis section details a typical SD setup for the Octane2.

To configure the Octane2 for SD clip transfer:

1. First power down and unplug the SGI. Then power down and unplug the Video Breakout Box (VBOB) and other peripheral devices. Finally, unplug the R-series units (disk arrays).

2. Connect LVDS A and LVDS B on the VBOB to LVDS A and LVDS B on the Octane2 using two LVDS cables.

3. Connect the Genlock on the V12 board of the Octane2 to an NTSC/PAL Sync Genlock OUT on your NTSC/PAL Sync Generator using a BNC cable.

4. Connect a terminator to the right HD Genlock on the VBOB.

5. Connect an SD Out 1 on the VBOB to the IN 1 port on your SD (601) VTR (or 4:4:4 Video Player/Recorder) with a BNC cable. For SD 4:4:4 also connect an SD Out 2 on the VBOB to the IN 2 port on your SD 4:4:4-capable recorder with a BNC cable.

6. Connect an SD In 2 on the VBOB to the OUT 2 port on your SD (601) VTR (or 4:4:4 Video Player/Recorder) with a BNC cable. For SD 4:4:4 also connect an SD In 2 on the VBOB to the OUT 2 port on your SD 4:4:4-capable player with a BNC cable.

7. Connect the left SD Genlock on the VBOB to an NTSC/PAL Sync Genlock OUT on your NTSC/PAL Sync Generator with a BNC cable.

8. Connect the right SD Genlock to the left HD Genlock on the VBOB using a BNC cable.

9. Connect the available SD Out 1 on the VBOB to the IN port on your SD (601) monitor with a BNC cable.

10. Connect Serial Port 1 on the Octane2 to the RS-422 machine control port using an RS-422 cable.

11. Proceed with “Connecting R-series Units for SD (601) and HD Work” on page 19.


15

❚❘❘

SD Broadcast Monitor Octane2


I0

TMDS ATMDS A TMDS BTMDS B

LVDS ALVDS A LVDS BLVDS B

PresentPresent

HDHD

GenlockGenlock

Timing Out

HD Out HD In

1

2

1

2

PresentPresent

SDSD

GenlockGenlock

SD OutSD In

1

2

1

2

RS-232RS-232

RS-422RS-422

A B

C D

1

2

GP I/OGP I/O


R L

INOUT

2 1 Ch

ann

el 0

Lin

k U

pLi

nk

Up

Ch

ann

el 1

GenLock

Swap Ready

LINK

ALIN

K B

IN

OU

T

DIGITAL

LVD

S BLV

DS A

In In

Out Out

Serial Port 1

Genlock

LVDS A

LVDS B

RS-422 Machine Control


LegendOnly for 4:4:4 SD

Typical Octane2 SD Setup

IN

LVDS A LVDS BGeneric SD (601) VTR or4:4:4 Video Player/Recorder

Syn

c G

en

Syn

c G

en

Terminator


16

Configuring Alternative Genlocking for HD Clip Transfer on the Octane2This section details an alternative genlocking configuration to the genlocking configuration described and illustrated in “Configuring the Octane2 for HD Clip Transfer” on page 12.

NOTE: The alternative genlocking configuration does not apply for SD configurations.

To configure the Octane2 to use a Tri-Level Sync generator:

1. Set up the typical Octane2 configuration for HD except for the Genlock connections as described in “Configuring the Octane2 for SD (601) or HD Clip Transfer” on page 11.

2. Connect the left SD Genlock on the Video Breakout Box (VBOB) to an NTSC/PAL Sync Genlock Out on your NTSC/PAL Sync Generator using a BNC cable.

3. Connect another NTSC/PAL Sync Genlock Out to the Genlock on the V12 board on the Octane2 using a BNC cable.

4. Connect a terminator to the right SD Genlock on the VBOB.

5. Connect the left HD Genlock on the VBOB to the Tri-Level Sync Genlock Out on the Tri-Level Sync Generator using a BNC cable.

6. Connect another Tri-Level Sync Genlock Out to Genlock IN on the HD VTR using a BNC cable.

7. Connect a terminator to the right HD Genlock.

8. Proceed with “Connecting Discreet Audio with the Octane2” on page 17.


I0

LVDS A

LVDS A

TMDS A

TMDS A

TMDS B

TMDS B

LVDS B

LVDS BPresent

HDGenlock

Timing Out

HD Out HD In

1

2

1

2

Present

SDGenlock

SD OutSD In

1

2

1

2

RS-232

RS-232

RS-422

A B

C D

1

2

GP I/O



Typical Alternative Genlock Setup for HD (Octane2)

SY

NC

GE

N

SG

4424

SG4424LP HDTV Sync Generator

Divisor Out 1-2: HD Tri Level SyncNTSC PALPower

Loop

NTSCREF

Ref Input

Loop

PALREF

Out 4Out 3

VID VID

Out 6Out 5

VID VID

1 1 1.001

Out 2Out 1

VID VID

Out 3: SD Analog Sync 625i / 48Out 4: SD Analog Sync 525i / 60Out 6: Field 1 Line 1 Align Pulse

Lock

Tri-Level Sync Generator

Tri-Level SyncGenlock Out

Terminator

To Genlock INHD VTRTo Genlock

on V12

Syn

c G

en

Syn

c G

en

Terminator

Connecting Discreet Audio with the Octane2

17

❚❘❘

Connecting Discreet Audio with the Octane2Use this section along with the Discreet Audio Hardware Configuration Guide. This section replaces the “Wiring Overview” section in chapter 5 of the Discreet Audio Hardware Configuration Guide.

You need to use the configuration in this section if:

• You are using smoke with an Octane2

• Your system is configured for HD (there are PCI fibre channel boards in the PCI card cage)

• Your audio system is not yet configured

Note to HIPPI Users with HD Configurations

On an Octane2 system configured for HD, there are not enough PCI slots to install both Discreet Audio and PCI HIPPI boards. Therefore, you must use the built-in 100 Base/T Ethernet port for wire networking.

First-Time InstallationsIf you are installing smoke for the first time, follow all of the instructions in the Discreet Audio Hardware Configuration Guide, except for the following:

• Do not install the SCSI board as described in chapter 3 of the Discreet Audio Hardware Configuration Guide because the SCSI board is no longer used.

• Do not use the Wiring Overview diagram in chapter 5 of the Discreet Audio Hardware Configuration Guide. Use the wiring overview diagram in these release notes instead.

Upgrade InstallationsIf you are upgrading your smoke system from an Octane, remove the SCSI board from the PCI card cage and then use the wiring diagram in these release notes. All other wiring configurations are the same as your current setup.

Wiring Discreet Audio to Octane2 for HDOnce all of the hardware components have been installed and configured as described in the Discreet Audio Hardware Configuration Guide, use the following diagram to ensure all wiring is correct.

NOTE: After wiring audio, proceed with “Connecting R-series Units for SD (601) and HD Work” on page 19.


18

2

Serial cable (Export Timecodeto slave device)

SCSIconnector

Sound Disk Octane2

PCI card cage

SCSI cable

USP Board

PCI Fibre Channel Boards

Digital audio cable

SCSI Port

In Out

In

Out

Word Clock

110

S/P DIF

Analog Inputs

AES/EBU Out Analog Outputs3-4

1-2

1-25-67-8

3-45-67-8

12345678

12345678

Sonic I/O

In Out

To channel 1 In

To channel 1 Out

To channel 2 In

To channel 2 OutDigital I/O Adapter

AES Audio Source (Digital VTR, DAT Recorder, Professional CD Player)AES 1/2 AES 3/4

TerminatorTo other AES audio sources

From other AES audio sources

AES/EBU In

Discreet Audio to Octane2 for HD

Connecting R-series Units for SD (601) and HD Work

19

❚❘❘

Connecting R-series Units for SD (601) and HD WorkThe R-series disk arrays are 16 drive units with either 9, 18 or 36 GB drives. The R-series units provide the necessary capacity for SD(601) and HD work. SD (601) work requires one R-series unit while HD work requires two R-series units.

Configuring R-Series Disk Arrays with the Octane2 for SD and HD WorkThe following section details the R-series disk array configuration for SD and HD work when using the Octane2. Refer to the diagram on the following page as you carry out the procedure below.

NOTE: Two R-series units are necessary for HD work while one R-series unit is sufficient for SD work.

To configure R-series units (disk arrays) on the Octane2 (HD and SD):

1. First power down and unplug the SGI. Then power down and unplug the Video Breakout Box (VBOB) and other peripheral devices. Finally, power down and unplug the R-series units.

2. Connect the Octane2 to the VBOB, broadcast monitor, sync generator, and VTR for either SD (601) or HD work as described in “Configuring the Octane2 for HD Clip Transfer” on page 12 or “Configuring the Octane2 for SD Clip Transfer” on page 14.

3. For both SD and HD work, an R-series unit is connected to the SGI XIO Fibre Channel board located in the lower left SGI XIO slot on the Octane2. Connect the Host port of the upper R-series sub-unit to one of the ports of the XIO Fibre Channel board using a host cable. Connect the Host port of the lower R-series sub-unit to the available port of the same XIO Fibre Channel board using another host cable. For SD setups, go to step 5.

4. For HD setups you need an additional R-series unit. The additional R-series unit is connected to the two PCI Fibre Channel ports located in the PCI card cage. Connect the Host port of the upper R-series sub-unit to one of the PCI Fibre Channel ports using a host cable. Connect the Host port of the lower R-series sub-unit to the other PCI Fibre Channel port using another host cable.

5. Plug in the R-series sub-units and power them up. Wait about 60 seconds for all the drives of the R-series unit(s) to spin up and then power up your SGI and other peripheral devices.


20

Octane2

R L

INOUT

2 1 Ch

ann

el 0

Lin

k U

pLi

nk

Up

Ch

ann

el 1

GenLock

Swap Ready

LINK A

LINK B

IN

OU

T

DIGITAL

P2P1

10

STATUS

FAN GRN REDGOOD GOOD ON OFFBAD GOOD OFF ON

GOOD BAD ON ON

PS

HOSTLOOP B

DAISY-CHAINHOSTLOOP A

DAISY-CHAIN

HOSTLOOP B


DAISY-CHAIN

10

STATUS


GOOD BAD ON ON

PS

10

STATUS


GOOD BAD ON ON

PS

10

STATUS


GOOD BAD ON ON

PS

10

STATUS


GOOD BAD ON ON

PS

HOSTLOOP B


DAISY-CHAIN

HOSTLOOP B


DAISY-CHAIN

10

STATUS


GOOD BAD ON ON

PS

10

STATUS


GOOD BAD ON ON

PS

10

STATUS


GOOD BAD ON ON

PS

R-series Unit R-series Unit

LegendOnly required for HDHD=2 R-series unitsSD=1 R-series unit

PCI Fibre Channel ports

SGI XIOFibre Channel Ports

Octane2 R-series Unit Setup for SD and HD

Verifying the System

21

❚❘❘

Verifying the SystemThis section describes a test to verify the DM2 board and a test to verify the hard drives in the R-series disk array(s).

Before running these tests, see “Integration and Installation Guidelines: New Octane2” on page 6 or “Integration and Installation Guidelines: Octane to Octane2” on page 7 to ensure you are ready to verify the system.

DM2 Board TestThe following command provides feedback that indicates whether or not the SGI recognizes the DM2 video board.

To verify that the SGI recognizes the DM2 board:

1. Log in to the system.

2. In a UNIX shell, type:

hinv -c video

You should receive the following feedback:

XT-DIGVID Multi-standard Digital Video: controller 0, unit 0, version

0x0

This line confirms that the SGI sees the DM2.

Troubleshooting

If you do not receive the feedback shown in step 2, check the following:

• All VBOB cables are fastened tightly and to the correct ports.

• All DM2 cables are fastened tightly and to the correct ports.

If problems still persist after step 2, contact Discreet Customer Support using one of the methods listed in “Getting More Help” on page 8.

R-series Units Hard Drives TestThe following verification determines whether or not all drives in your R-series units (disk arrays) are recognized by your SGI.

To verify that all the drives are recognized on your R-series unit(s):

1. Log in to the system.

2. Use a version of the hinv command to view all controllers and hard disk drives connected to your system. Type:

hinv -c disk


22

A listing of all controllers and hard disks attached to your system appears. If the information returned is not similar to the following example, see “R-series Units Hard Drives Test” on page 21.

The following example is for an SD setup of an R18 unit. Each sub-unit is connected to a separate port on an SGI XIO Fibre Channel board on the Octane2 platform:

Integral SCSI controller 0: Version QL1040B (rev. 2), single ended

Disk drive: unit 1 on SCSI controller 0





Integral SCSI controller 3: Version Fibre Channel AIC-1160, revision 2









Integral SCSI controller 4: Version Fibre Channel AIC-1160, revision 2








Disk drive: unit 8 on SCSI controller 4.

HD Clip Input and Output with the DM2 Board

23

❚❘❘

Troubleshooting

If a drive is missing from the inventory in step 2, check the following:

• Ensure that all cables are connected securely and correctly.

• Make sure that all drives are seated firmly in the enclosure.

If a drive is defective, contact Discreet Customer Support using one of the methods listed in “Getting More Help” on page 8.

HD Clip Input and Output with the DM2 BoardThis section describes how to transfer HD clips using the DM2 I/O board for the Octane2 platform. This board allows you to perform real-time, uncompressed, full bandwidth HD I/O in smoke, as well as SD (601) clip transfer.

NOTE: To perform SD clip transfer, follow the procedure described in “Inputting Clips from a VTR” and

“Outputting Clips to a VTR” in the smoke 4.2 User’s Guide.

You can input and output clips in the following resolutions with the DM2 board:

To use any of these resolutions for clip transfer, define a project with the appropriate resolution using one of the provided template configuration files.

For information on software and driver installation, see the smoke 4.2 Installation Guide.

Configuration File

Make sure that the HD VTR you are using is defined in the VTR KEYWORD section of the init.cfg configuration file. Currently, several HD VTRs are supported:

• Panasonic® HD D5 VTRs AJ-D580B/HDP500 and AJ-HD2700

• Sony™ HDW-500 HDCAM VTR

• Sony HDW-F500 HDCAM VTR

• Phillips D6 VooDoo

Format Resolution Scanning Supported Framerates Timing

NTSC 720 x 486 Interlaced 29.97 Hz PAL/NTSC

PAL 720 x 576 Interlaced 25 Hz PAL/NTSC

720p 1280 x 720 Progressive 59.94 Hz

1080i 1920 x 1080 Interlaced 25 and 29.97 Hz

1080p 1920 x 1080 Progressive 23.976, 24 and 25 Hz

1080PsF 1920 x 1080 Progressive 23.976, 24 and 25 PsF


24

Generating Proxies for HD Material

When you capture HD material, you need to decide if you want to generate proxies during capture and store them on the framestore. When working with HD clips, you should make your proxies the size of NTSC images (this is the default setting). Proxies are principally used when playing clips in the Big Player. When playing clips in the Full Screen Player, the actual HD images are used. If you do not generate the proxies, smoke must rescale the HD images to fit in the Big Player, which cannot be done in real time.

Also note that the generation of HD image proxies between each EDL event (or, when using the Input Clip menu, after capture) is done at approximately 13 fps as a post process. An exception to this is systems with eight CPUs; on these systems, proxies are generated in real time.

To generate proxies, set the Proxies box in the Framestore Setup menu to Proxies Stored and use the default size.

To leave out proxy generation, set the Proxies box in the Framestore Setup menu to Proxies Not Stored.

HINT: One solution is to generate proxies at some point after capture when the machine is not being used

(for example, overnight). To do this, capture the material with the Proxies option set to Proxies Not Stored.

When you are ready to generate, set it to Proxies Stored. Note that this generates proxies for all frames in the

partition that do not have them.

Inputting HD Material

Use the Input Clip menu to input source material from the HD VTR. The procedure for transferring HD clips to smoke 4.2 is similar to the procedure for transferring SD (601) resolution clips. Follow the instructions in “Inputting Clips from a VTR” in the “Clip Input and Output” chapter of the smoke User’s Guide, noting the differences as outlined in the following section.

Input Clip Menu

The Input Clip menu buttons are the same as described in “Inputting Clips from a VTR” in the “Clip Input and Output” chapter of the smoke User’s Guide. They are simply rearranged to allow the full display of a 1920 x 1080 image.

Pre/Post Gain buttonCurrent Timecode Duration Timecode

In-Timecode Out-Timecode In and Out 2:3 Sequence frames

HD Clip Input and Output with the DM2 Board

25

❚❘❘

Engineering Menu Options

This section describes options on the Engineering menu specific to the DM2 board. It also describes the usage of other options that differ for HD input and output.

NOTE: For information on 24p mastering options (the 2:3 Removal and 2:3 Insertion buttons), see “24p

Mastering Engineering Options” in the “24p Mastering” chapter of the smoke User’s Guide.

Format box — Select the format (image size and timing) you want to use for input and output of clips with the DM2 board.

Input and Output Connection — These boxes provide two options for input and output connections: Serial 4:2:2 (with YCrCb-to-RGB colourspace) and Serial Dual 4:4:4 (no color space conversion).

The required settings are:

All other combinations are currently unsupported by the board.

Colourspace — This box provides colour space conversion options for both input and output. However, in this version of the DM2 board software, two colour space conversion methods are used for input and output—Normal RGB and Full-Range YUV. The other options are not currently available. Refer to “Colourspace” in the “Clip Input and Output” chapter of the smoke User’s Guide for a description of Normal RGB and Full Range YUV colour conversions.

Output Sync — Use this box to select the reference signal that you are using to synchronize the SGI and the VTR when outputting clips to the VTR. This option is described in “Output Sync” in the “Clip Input and Output” chapter of the smoke User’s Guide.

NOTE: When you are inputting clips, the software uses the signal associated with the incoming images as

the reference source.

I/O Connection Colourspace

4:2:2 with conversion Serial 4:2:2 Normal RGB

4:4:4 without conversion Serial Dual 4:4:4 Full Range YUV

Output Sync box

Input Connection box

Colourspace box

Output Connection box

Format box Current Timecode


26

Outputting HD Clips

Use the Output Clip menu to output HD clips to supported HD VTRs. The procedure for outputting HD clips from smoke 4.2 is similar to the procedure for outputting 601 video resolution clips. Follow the instructions in “Outputting Clips to a VTR” in the “Clip Input and Output” chapter of the smoke User’s Guide, noting the differences as outlined in the following section.

Output Clip Menu

The Output Clip menu buttons are the same as described in “Outputting Clips to a VTR” in the “Clip Input and Output” chapter of the smoke User’s Guide. They are simply rearranged to allow the full display of a 1920 x 1080 image.

Audio Level LED Lights — Because of space constraints, Gain fields and single LED lights are used instead of faders to set a gain offset.

The LED light colours indicate the same signal ranges as the colours on faders. You can set the ranges for colours in the Meters section of the Audio Preferences menu.

Enable the Gain lock buttons to apply the identical offset to pairs of audio tracks.

Split Screen — The screen sample below shows the placement of Split Screen buttons in the HD Clip Output menu:

Duration Timecode Start offset Current Timecode

In-Timecode Out-Timecode In and Out 2:3 Sequence frames

Gain Level LED lights

Channel Selection boxes

Gain fields

Gain Lock buttons

Split OrientationOutput Clip Position

Output Clip Percentage

Improvements and Changes

27

❚❘❘

Improvements and ChangesThis section documents improvements and changes to smoke that were implemented with version 4.1. These improvements and changes are not documented in the smoke 4.0 User’s Guide, nor are they accounted for in the Tutorial. They include:

• “Archive Slate Information” on page 28

• “Audio: Sound Disk Utility” on page 28

• “Audio Support Improvement with BVW 75 VTR (or Compatible)” on page 28

• “Capturing Audio from EDLs” on page 28

• “Clip Input Directly to the EditDesk” on page 29

• “Clip Naming Conventions” on page 29

• “DVE” on page 29

• “EditDesk Library” on page 31

• “Editing: EditDesk” on page 37

• “Editing: Timeline” on page 40

• “Editing: Soft Effects” on page 44

• “Filter Menu Improvements” on page 47

• “Grid/Guide Improvements” on page 47

• “HDCAM Archiving” on page 48

• “JLCooper Hot Key for Rotation Axis” on page 48

• “Keyer Icon Transparency and Control Point Colours” on page 48

• “Maximum Memory Token” on page 48

• “Paint” on page 48

• “Project Management” on page 49

• “Reference Buffer Display Options” on page 50

• “Serial Port Management” on page 50

• “Text” on page 50

• “Tracking Garbage Mask Vertices” on page 52

• “User Interface” on page 52

NOTE: Other changes and improvements are documented in the smoke 4.0 and 4.0.1 Release Notes.

However, hardware configuration and installation information in this release note supersedes information

on these topics provided in previous release notes.


28

Archive Slate InformationWhen you create a VTR Archive, the following information now appears on the archive’s slate:

• The name of the workstation on which the archive was created.

• The name of the Discreet application used to create the archive.

• The version of the Discreet application used to create the archive.

Audio: Sound Disk UtilityWhen you run the Sound Disk Utility on smoke with Discreet Audio, you can now use two new commands:

HINT: For more information on running the Sound Disk Utility, see Chapter 7, “Formatting the Audiostore,”

in the Discreet Audio Hardware Configuration Guide.

Audio Support Improvement with BVW 75 VTR (or Compatible)Audio tracks 3 and 4 are now supported with the BVW 75 VTR (or compatible) in smoke 4.2 when using the Output Clip menu.

Capturing Audio from EDLsBy default, audio is captured for each event only as specified in the EDL. If you enable Capture All Audio in the Auto-Capture menu, however, you can define the number of audio tracks captured for all sources that have audio. When Capture All Audio is enabled, you enable the audio track buttons to define the number of audio tracks generated for all sources with audio.

Use the Command: To:

delete unused partitions

Delete all partitions that do not contain referenced audio clips. You are prompted to confirm the deletion of all such partitions.

list partitions Generate a list of all partitions detected on the audio store. This includes partitions that do not contain referenced audio clips.

Audio Track buttons

Capture All Audio button


29

❚❘❘

This is useful when you want to capture sources from tapes that have a different number of audio tracks, but you want to work with sources that have the same number of audio tracks. For example, if you enable tracks A1 and A2, sources captured from a tape with a single audio track (A1) will be generated with two audio tracks (A1 and A2).

NOTE: The Capture All Audio button does not affect sources in the EDL that have no associated audio.

Clip Input Directly to the EditDeskWhen you use the F9 key from the EditDesk to open the Input Clip menu, clips captured from a VTR are now recorded directly to the EditDesk. Once the clips are in the Source Area, you must save them to a clip library.

Clip Naming ConventionsWhen you use the Load and Join option to load multiple sources from the clip library to the EditDesk, the name for the joined source is the prefix “JOIN-” followed by the name of the first selected source.

DVEThese improvements apply to tools you use to assemble multilayer composites using DVE. For information on extracting soft effect mulitracks for loading into DVE, see “Extracting Soft Effects to DVE” on page 40.

3ds max Textures Saved with DVE Setups3ds max™ texture files are now saved with the DVE setup file, rather than only being linked to the setup file. This makes restoring these setups more reliable.

NOTE: Make sure you save your 3ds max texture files with a file name no longer than eight characters;

otherwise, the Action setup will not be able to relink the texture file.

Default DVE Animation Length

When you load clips into DVE and there are no existing settings (for example, following a Reset All/Delete All), the length of the DVE animation is automatically set to the length of the longest clip. The same default length applies if you click Reset All.

Saving DVE Multitracks

DVE multitrack clips are now saved with:

• The in and out point timecode of the back clip

• The audio associated with the back clip

• The timecode of the back clip


30

Removing DVE Multitrack Setups

When you remove a multitrack setup using Remove in the Load Setup menu, the associated clips are now removed with the setup. If the associated clips are kept in a read-only clip library, a message appears prompting you to confirm or cancel the removal.

Setting Light Colour

To set the colour of a light in DVE, you can click the light’s corresponding colour box. The colour picker appears for you to set the colour.

Field Rendering Supported for Crop, Blur, Softness

You can now render animated crop, blur, and softness effects in fields in addition to frames.

Surface Filtering

Hardware surface filtering, which softens the surface slightly to eliminate potential aliasing artifacts, is now enabled in DVE. In the DVE | Surface menu toggle the Filtering button to enable or disable surface filtering. When disabled, the image is slightly sharper, but there is greater potential for artifacts to appear.

Light colour box

Filtering button


31

❚❘❘

EditDesk LibraryThe EditDesk consists of three principal areas: the Source Area, the Record Area, and the smoke or fire® menu. The EditDesk Library optimizes the use of an otherwise relatively small area by allowing for access to multiple instances of Source Areas (green entries) and Record Areas (red entries).

Improvements to the EditDesk Library make managing sources for your project easier than ever. This section suggests a workflow that you can use to take advantage of the EditDesk Library’s new organizational advantages.

Controlling the Display of the EditDesk Library

The EditDesk Library appears on the left or right side of the Source Area. Use the following procedures to toggle the visibility of the EditDesk Library and set the side of the screen on which you want the EditDesk Library to appear:

• Press CTRL and swipe the side of the screen to toggle the visibility of the EditDesk Library.

• If you CTRL-swipe the side of the screen opposite the EditDesk Library, the EditDesk Library switches sides.

NOTE: Working with the EditDesk Library does not affect Source and Record Focus.

Working With Multiple Sources

When you capture clips from a VTR or another clip I/O device, you capture them to the current Source Area or to a clip library. To work with clips captured to a clip library, you must load them to the Source Area. Because the Source Area is the starting point for almost all the clips you work with, you often have to keep track of many sources in a single Source Area. Using the EditDesk Library, you can create multiple Source Areas and sort clips into them as needed. For example, you can separate sources according to the scenes in which they are used, or sort types of shots to make it easier to find what you want when you need a specific shot.

You can also create multiple Record Areas for your edited clips and create folders to sort Source and Record Areas.


32

Working with Multiple Source Areas

You can create any number of Source Areas to hold the clips that you use for each scene. By default, the EditDesk has one Source and one Record Area. When the EditDesk Library contains multiple Source and Record Areas, you can sort clips in them gesturally. In this scenario, all clips are in the default Source Area.

To create Source Areas:

1. From the New Folder box, select New Source Area.

The sources in the default Source Area disappear, and a new Source Area entry appears in the EditDesk Library. You view no sources in the Source Area because the new Source Area is empty.

2. Type a name for the new Source Area in the Name field.

HINT: To activate the EditDesk Library Name field for the currently selected item, you can press ALT+9.

3. Repeat steps 1 and 2 as required.

EditDesk Library Source Area

New Folder box


33

❚❘❘

4. To view the sources belonging to the default Source Area, click the Default Source Area entry. Notice each entry indicates the number of clips it contains.

To move clips from one Source Area to another:

1. Show the Source Area that contains the clip that you want to move.

2. Drag the clip over the destination EditDesk Library entry.

The clip now belongs to the destination Source Area entry.

3. To view the moved clip, select the destination Source Area in the EditDesk Library.

HINT: You can also press F (COPY) to move a copy of a clip from one Source Area to another.

Source Areas and the Clip Library

You can save a Source Area to the current clip library. Simply select the Source Area entry in the EditDesk Library, and then save it as usual. If the Source Area you want to save already exists in the clip library, you are prompted to Add or Replace it.

Destination box


34

When you load a Source Area from the clip library, you set the destination using the Destination box:

Working with Multiple Record Areas

As with Source Areas, you can create multiple Record Areas to sort the multitrack clips you are editing. Each Record Area can contain any number of clips.

To create a Record Area:

1. From the New Folder box, select New Record Area.

Clips in the default Record Area disappear, and a new Record Area entry appears in the EditDesk Library. You view no sources in the Record Area because the new Record Area is empty.

2. Type a name for the new Record Area in the Name field.

To move clips from one Record Area to another:

1. Show the Record Area that contains the clip that you want to move.

2. Drag the clip over the destination EditDesk Library entry.

The clip now belongs to the destination Record Area entry.

3. To view the moved clip, select the destination Record Area in the EditDesk Library.

HINT: You can also press F (COPY) to move a copy of a clip from one Record Area to another.

Record Areas and the Clip Library

You can save a Record Area to the current clip library. Simply select the Record Area entry in the EditDesk Library, and then save it as usual. If the Record Area you want to save already exists in the clip library, you are prompted to Add or Replace it.

When you load a Record Area from the clip library, you set the destination using the Destination box:

Select: To:

EditDesk Library Add a Source Area entry to the EditDesk Library.

Source Area Load the clips to the current Source Area on the EditDesk. No new EditDesk Library entries are created.

Record Area Load the clips to the current Record Area on the EditDesk. No new EditDesk Library entries are created.

Select: To:

EditDesk Library Add a Record Area entry to the EditDesk Library.

Source Area Load the clips to the current Source Area on the EditDesk. No new EditDesk Library entries are created.

Record Area Load the clips to the current Record Area on the EditDesk. No new EditDesk Library entries are created.


35

❚❘❘

Working with Multiple Source and Record Areas

You can move or copy clips between Source Areas, between Record Areas, or between Source and Record Areas. To control Source and Record Area display, use the EditDesk Library: simply select the Source Area and Record Area entries that you want to view. Note the following EditDesk Library behaviour:

• In the EditDesk Library, the current Source and Record Area entries are lighter than the others.

• The most recently selected entry is highlighted with a yellow outline.

• Selecting entries does not affect Source and Record Focus.

EditDesks and the Clip Library

In terms of clip management, an EditDesk is a combined Source and Record Area. You can save an EditDesk to the clip library. Simply select a Source and Record Area in the EditDesk Library, and then save the EditDesk as usual. If the EditDesk you want to save already exists in the clip library, you are prompted to Add or Replace it.

An EditDesk entry in the clip library is a dark blue entry that contains a Source Area entry (green) and Record Area entry (red).

When you load an Edit Desk from the clip library, you set the destination using the Destination box:

Working with Folders in the EditDesk Library

At the very top of the EditDesk Library is a grey default top-level folder entry. To better organize multiple Source and Record Areas, however, you can create nested folders.

To create a nested folder:

1. From the New Folder box, select New Folder.

2. Type a name for the new Folder in the Name field.

When you create a new folder, its destination in the EditDesk Library depends on the currently selected entry:

• If the top-level folder is the current selection (highlighted yellow), then the new folder appears at the bottom of the EditDesk Library.

Select: To:

EditDesk Library Add a folder entry to the EditDesk Library. The folder contains the Source and Record Areas belonging to the EditDesk.

EditDesk Add the source clips to the current Source Area and record clips to the current Record Area. No new EditDesk Library entries are created.

Source Area Load all clips to the current Source Area on the EditDesk. No new EditDesk Library entries are created.

Record Area Load all clips to the current Record Area on the EditDesk. No new EditDesk Library entries are created.


36

• If a Source or Record Area is the current selection, then the new folder appears immediately below that entry.

• If a nested folder is the current selection, the new folder appears immediately below the contents of the selected folder, but above any other entries that follow.

3. To expand or collapse the contents of a folder, click the triangle to the left of its name.

HINT: You can nest folders inside folders. The hierarchy of EditDesk Library entries is indicated by nodes to the left of each entry’s name.

EditDesk Libraries and the Clip Library

In terms of clip management, an EditDesk Library is a set of Source and Record Areas, possibly organized into folders. You can save an EditDesk Library to the clip library. Simply select EditDesk Library from the Item box in the smoke or fire menu, and then save as usual. If the EditDesk Library you want to save contains Source and Record Areas that already exist in the clip library, you are prompted to Add, Replace or Skip them. When you Skip an entry, the clip library is unaffected by the save procedure.

An EditDesk Library does not appear in the clip library as an entry. Instead, contents are appended to the clip library based on your selections during the save procedure. Note that folders in an EditDesk Library appear in the clip library as blue EditDesk entries.

You can select multiple EditDesks, Source Areas, and Record Areas for loading from the clip library. In this case, you should select EditDesk Library from the Destination box to add the selected entries to the EditDesk Library.

Deleting and Clearing EditDesk Library Entries

If necessary, you can delete folders, Source Areas, and Record Areas from the EditDesk Library. You can also clear entries of there contents.

To delete or clear an EditDesk Library entry:

1. Select the entry you want to delete or clear.

2. From the Delete box, select Delete or Clear as required:

• Deleting a Source or Record Area from the EditDesk Library removes it entirely.

• Clearing a Source or Record Area deletes the clips that belong to it, but the entry itself remains.

• Deleting a folder from the EditDesk Library removes it and its contents entirely.

• Clearing folders deletes the Source and Record Areas that belong to the selected folder (as well as the clips that belong to each), but the folder itself remains.

• If you delete the top-level default folder, the EditDesk Library is cleared of all entries, and then a new default folder, Source Area, and Record Area are created.

NOTE: Clearing and deleting EditDesk Library entries does not affect the contents of the clip libraries belonging to your project.


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Editing: EditDeskThese improvements apply to tools that you use on the EditDesk.

Cycling Through Multiple Clips in the Big Player

If you have multiple clips in the Source or Record Areas, you can now press ALT+V to cycle the current selection to the next clip, or ALT+C to cycle the current selection to the previous clip. The following conditions affect the behaviour of these hot keys:

• In Source focus, the hot keys cycle the selection in the Source Area.

• If the Big Player is open, the displayed clip changes as the selection cycles.

Player Toggling Hot Keys

You can now use these hot keys to toggle between the Big Player and the EditDesk:

• Press ESC to toggle between the standard Player and the EditDesk.

• Press SPACEBAR+ESC to toggle between the triptych player and the EditDesk.

• Press CTRL+ESC to toggle between the full-screen player and the EditDesk.

Timeline Element Navigation Hot Keys

The default hot key assignment for going to the beginning or end of the element over which the positioner is parked has changed. Instead of using ALT+Z and ALT+X, use CTRL+ALT+A and CTRL+ALT+S.

Frame Numbers Displayed Throughout the EditDesk

When you select Frames display in the Preferences menu, frame numbers now appear everywhere throughout the EditDesk (timeline, Big Player timecode fields, on clips). On proxies, the frame number at the top left corner is the current frame number. If you go to the end of the clip this number indicates the total number of frames in the clip.

Frame numbers at the lower left corner are defined according to in and out points marked on the clip:

• If neither in nor out points are marked, the frame number appears in the lower left corner of the proxy. For example, if 35 appears on the proxy, the duration of the clip is 35 frames.

• If an in point is marked, the frame number appears with a left bracket. For example, if [35 appears on the proxy, the duration from the in point to the end of the clip is 35 frames.

• If an out point is marked, the frame number appears with a right bracket. For example, if 35] appears on the proxy, the duration from the beginning of the clip to the out point is 35 frames.

• If in and out points are marked, the frame number appears between left and right brackets. For example, if [35] appears on the proxy, the duration of the clip from the in point to the out point is 35 frames.


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Naming/Commenting Timeline Elements

When you select Element from the Item box in the smoke or fire menu, you can edit the name of the element or edit its comment.

To edit the name or comment of a timeline element:

1. Select Element from the Item box.

2. Select or move the positioner and focus point over the element in the timeline that you want to edit.

3. Apply the changes as needed:

• To change the element’s name, select Name from the Name/Comment box and then enter the name in the Name field.

• To change the comment, select Comment from the Name/Comment box and then enter the comment in the Name field.

Element names and comments appear in the timeline on the element when it is sufficiently zoomed in. You can also press ALT and move the cursor over the element to view its information.

Extracting and Copying Clips Using the Pen ButtonWhen you use the stylus to move, copy, or extract clips, you now have the following options:

• Using the stylus alone, you move the clip.

• Using the stylus while pressing the stylus button, you copy the entire clip, including its marked in and out points. This is the same as using the F hot key.

• Using the stylus while pressing SHIFT and the stylus button, you extract the part of the clip marked by the in and out points. This is the same as pressing the SHIFT+F hot key.

Name/Comment box

Comment

Name


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Patch Panel Undo/Redo

The Undo and Redo buttons are also now available while using the Patch Panel, so you can undo/redo events without having to exit the menu.

Persistent Settings for A/V Tools

When you use A/V tools such as Colour Source, Bars & Tone, Deinterlace, and so on, the settings persist between sessions with the software. For example, use Colour Source to create a 30 fps non-drop colour noise source and then exit the software. When you restart the software and access the Colour Source tool, Colour Noise and 30 fps NDF are still selected.

The Undo and Redo buttons are also now available while using A/V tools, so you can undo/redo events without having to exit the menu.

NOTE: A/V tools are stored on a User basis. If you exit the software and restart selecting another User from

the Project Management menu, the A/V Tools settings that were last used by the selected User appear.

Store a Custom Colour in the Colour Source Palette

When you use the Colour Source A/V tool to create a custom colour source, you can store that colour in the colour palettes.

To save custom colours:

1. Select and enable Video from the A/V Tools box.

2. Click Colour Source to open the Colour Source A/V tool.

3. Click the Source colour box to open the colour picker.

4. Set a custom colour.

5. Click and hold in one of the colour palettes in the Colour Source menu to store the custom colour.

NOTE: The Undo and Redo buttons are also now available while using A/V tools, so you can undo/redo

events without having to exit the menu.

Colour palettes Source colour box


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Full-Screen and Triptych Players in All Modules

When you enter effects modules from the EditDesk, you monitor clips using the module’s player. However, once you process the clip in the module, a Player button appears. Click Player to open the Big Player: you can now also use full-screen and triptych player options. For more information on these player options, see the section “Big Player Display Options” in Chapter 5, “The User Interface,” in the smoke or fire User’s Guide.

Full-Screen Player Undo/Redo

The Undo and Redo buttons are also now available while using the full-screen player, so you can undo/redo events without having to exit the player.

Editing: TimelineThese improvements apply primarily to tools that you use when working in the Record Area in Timeline view.

Extracting Soft Effects to DVE

If you are working with vertically stacked soft effects and you find that you need DVE to complete the effect (for example, if you want to apply a motion blur or another effect not available in the Axis Editor), you can use the SPACEBAR+EXTRACT hot key to convert a multilayer clip in the timeline to a multitrack clip in the Source Area. This is a summary of the basic procedure that remains almost the same as it was in version 4.0:

• Stack elements vertically in the timeline.

• Apply soft effects.

• CTRL-select the stacked elements you want to extract, or mark in and out points to define the multitrack.

• Press SPACEBAR+EXTRACT to extract the multitrack clip to the Source Area.

Player button


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As with version 4.0.1, the soft effects setups applied to each element are saved automatically to the ~/dve setups directory. Each layered element in the multitrack is saved as a layer for DVE. The multitrack uses an empty back clip. Some changes, however, have been implemented. These changes are described in the sections that follow:

• “Extracting Soft Effects: Loading Multitracks into DVE” on page 41

• “Extracting Soft Effects: Loading Setups for the DVE Layers” on page 41

NOTE: When you extract soft effects to DVE, the clip is saved to the EditDesk, but not to the clip library.

Extracting Soft Effects: Loading Multitracks into DVE

When you extract the multitrack, the keyboard appears. You are prompted to give the extracted multitrack a name that is preceded by a MTK prefix. This name is used to save the soft effect setups. For example, if you save the multitrack clip as “MTK-comp1,” the setups are saved as MTK-comp1.layer1, MTK-comp1.layer2, MTK-comp1.layer3, and so on.

To load the multitrack into DVE:

1. Click DVE on the EditDesk.

2. Select the Multitrack load option.

You no longer have to select Multitrack SelfKey, because the layers are automatically loaded with the matte clip set to Off.

3. Click the extracted multitrack clip in the Source Area.

DVE opens with the different clips in the multitrack assigned to different layers. To rebuild the effect you had in the timeline, you must load the setups that were automatically saved for each layer.

Extracting Soft Effects: Loading Setups for the DVE Layers

Once the multitrack clip is loaded in DVE, you can load the setups that were automatically saved for each layer.

To load the setups saved for each layer (example: MTK-comp1):

1. Click a layer button, for example, click L1 to select layer 1.

2. Click Load to open the file browser.

The setups appear in the File list. As noted before, the setup for layer 1 has the name MTK-comp1.layer1.

3. Make sure No Clips - 1 Layer is selected from the Load box.


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4. Select the layer’s setup in the file list.

You are returned to DVE. If the setup includes a key, the Matte option changes to On, and the matte generated by the Keyer is applied to the DVE layer.

You are now ready to continue building your DVE.

NOTE: If the clip you extract to load into DVE includes an element to which a Blend soft effect is applied, the

Blend value is applied to the transparency channel of the corresponding layer in DVE.

Trim View Optimization

Some changes to Trim view make trimming the heads and tails of timeline elements easier:

• Trim view now supports the Focus on Trim option.

• Head and Tail views update automatically when you trim using hot keys.

• Trimming hot keys now auto-repeat: hold down the hot key to apply repeated trims to the in or out point. (PRESS B+RIGHT ARROW/LEFT ARROW to trim the head or N+RIGHT ARROW/LEFT ARROW to trim the tail.)

Primary Video/Focus Point Differentiation Indication

If you have a multilayer video track, you can press CTRL+UP/DOWN ARROW to change the focus point on the positioner in the timeline without affecting the primary video assignment. That way, you can apply changes to one layer while viewing the result in the Big Player in the context of another layer.

To make this differentiation more evident, the focus point now becomes dim when it no longer coincides with the primary video track.

Partial A/V Selection Mode

There is a new selection mode, Partial A/V, available in the Selection Mode box situated at the lower right corner of the timeline. This selection mode works like the Partial selection mode, except it selects audio based on frames rather than samples. Using Partial A/V, you can easily maintain sync.

Primary video track

Current focus


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Overwriting the Timeline with Clips that have Gaps

When you want to overwrite a section of the timeline with a clip that has gaps, you now have two options:

• Press H to fill gaps in the source clip with the media that are already on the timeline.

• Press SHIFT+H to preserve the gaps in the source clip as gaps.

Adding Multiple Tracks and Layers

You can now add up to 10 audio tracks, video tracks, or video layers at once.

To add multiple tracks and/or layers:

1. Enter a number between 2 and 10 using the numeric keypad.

2. Click V+, A+, or L+ to add that number of tracks or layers.

Track and Layer Hot Keys

You can now use the V+ (CTRL+TAB), A+ (CTRL+Q), and L+ (CTRL+SHIFT+TAB) hot keys even if the buttons themselves do not appear, for example, when an the A/V Tools menu is open.

Resizing Multilayer Tracks

You can now resize all layers belonging to a single video track by pressing SHIFT while dragging a track or layer identifier.

Using the Timeline Home Button to Reset the Scale of the Timeline

When using the Timeline Home button, you now have three options:

• To reset the horizontal and vertical scale of the Timeline, click the Timeline Home button.

• To reset only the horizontal scale of the Timeline to fit the Record Area, click the Timeline Home button while pressing SHIFT.

• To reset only the vertical scale of the Timeline to fit the Record Area, click the Timeline Home button while pressing CTRL.

Timeline Home button


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Editing: Soft EffectsThese improvements apply to tools you use while working with soft effects applied to elements in the timeline.

See also “Extracting Soft Effects to DVE” on page 40.

Applying Soft Effects to Empty Containers

If you delete the contents of a container and then attempt to apply a soft effect to that container, nothing happens.

Removing Soft Effects

You can no longer click the blue status light on the soft effect buttons to remove the corresponding soft effect of the current or selected element in the timeline. To remove soft effects, you have two options:

• Press ALT and click the appropriate soft effect button.

• Press CTRL and drag the soft effect indicator (for example, the “AX” indicating an Axis soft effect) from the timeline element to the bottom of the screen.

Copying Multiple Soft Effects

You can now copy multiple soft effects.

To copy multiple soft effects between timeline elements:

1. Press CTRL and click the soft effect indicators in the timeline elements. Selected soft effect indicators are bold.

2. With multiple soft effects selected, press CTRL again and drag them to the destination timeline element.

Copying Soft Effects to the Source Area

You can keep soft effects in the Source Area. The soft effect appears in the Source Area as a black proxy with a name and a duration. You can store copies of soft effects in the Source Area.

To store copies of soft effects in the Source Area:

1. Apply a soft effect to an element in the timeline.

2. Create the effect.

3. Press CTRL and drag the soft effect indicator (for example, the “AX” indicating an Axis soft effect) from the timeline element to the Source Area.

HINT: You can select multiple soft effects from a single element and then drag them to the Source Area. They appear as a single proxy.

Once a soft effect is in the Source Area, you can apply it to elements in the timeline. To do this, drag the soft effect proxy to the appropriate timeline element.


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Standard and Triptych Players in CC, TW, and Blend Editors

When you enter the CC, TW, and Blend Editor, you monitor clips using the Big Player. You have access to the standard and triptych players (the full-screen player option is disabled. You can use the ESC and SPACEBAR+ESC hot keys to switch between players.

NOTE: Audio keyframing functions associated with the Big Player are disabled when used in the context of

a Soft Effect Editor.

Timeline Context Indication in CC, TW and Blend Editors

When you enter the CC, TW, and Blend Editors, you monitor the clip using the Big Player. This means you can still navigate the entire timeline while editing the soft effect.

NOTE: To maintain the context of the current element with respect to the rest of the timeline, a blue bar now

indicates its duration relative to the duration of the entire clip. Because the Axis and Wipe Editors use an

independent image window instead of the Big Player, this feature does not apply.

Editing Hot Keys Available in CC, TW, and Blend Editors

When you enter the CC, TW, and Blend Editor, you monitor clips using the Big Player. As a result, you can now use the following editing hot keys:

Soft Effects and the Undo/Redo Buffer

Actions applied to soft effects in the timeline are now added to the Undo and Redo lists: you can undo multiple actions applied to soft effects.

NOTE: This does not include actions applied when you have entered the Axis or Wipe Editors. These Editors

use an independent Undo buffer that stores a single level of Undo.

Press: To:

RIGHT ALT (MARK IN) Mark an in point

RIGHT CTRL (MARK OUT) Mark an out point

SHIFT+/ Mark in and out points

SPACEBAR+RIGHT ALT Clear mark in

SPACEBAR+RIGHT CTRL Clear mark out

SPACEBAR+RIGHT ALT+RIGHT CTRL Clear mark in and out

SHIFT+RIGHT ALT Add cue point (all layers)

SHIFT+RIGHT CTRL Add cue point (current layer only)

SHIFT+SPACEBAR+RIGHT ALT Clear cue point (under positioner)

SHIFT+SPACEBAR+RIGHT ALT+RIGHT CTRL Clear all cue points


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Trimming Soft Effects

When you apply animated soft effects to timeline elements, you have three trimming options. Access these options from the Soft Effect Channel box in the smoke or fire menu. The selected option applies to all soft effects, unless they are locked:

• Select Resize Channel to lock the animation relative to the element’s duration: if you change the duration of the element by trimming, the animation and all its keyframes scale to fit the duration of the element after trimming.

• Select Link Channel to link the animation to the media: when you trim, slip, or slide the element to which the soft effect has been applied, the animation moves with the media.

• Select Unlink Channel to unlink the animation and the media: when you trim, slip, or slide the element to which the soft effect has been applied, the media moves relative to the animation.

Hard Commit/Consolidate Relative to Soft Effects

To optimize the soft effect workflow, hard committing or consolidating an element that serves as a background for a rendered soft effect will not unrender the soft effect.

Locking/Unlocking Soft EffectsThe behaviour of locked soft effects has changed, as have the procedures for unlocking soft effects. If you lock a soft effect, its corresponding quick menu does not appear, even if Editing is selected from the Menu Priority box. To unlock a locked soft effect, you now have four options:

• With the positioner and focus point over the locked effect, or with the locked effect selected, select Unlock Effect from the Lock Effect box.

• With the positioner and focus point over the locked effect, or with the locked effect selected, click the E button to enter the corresponding soft effect Editor.

Soft Effect Channel box

Lock Effect box

Soft Effect E button

Locked effect


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• Add another soft effect to the element with the locked effect.

• Remove a soft effect from the element with the locked effect.

PreviewFX Works in Conjunction with View Modes

With PreviewFX selected from Soft Effect Monitoring box, a soft effect’s current frame is rendered on the fly. On-the-fly rendering now occurs even if you enable a View mode for the Big Player such as Blend or Split.

Filter Menu ImprovementsThe layout of the Filter menu has changed. You have the same options, but when you work with matrix filters, you can now view the clip and the matrix simultaneously. To choose between procedural and matrix filter types, select Matrix or Procedural from the Filter Type box:

Grid/Guide Improvements Grids and guides are now consistently applied through all modules using the Grid/Guide menu. For example, in DVE you no longer enable the Grid in the Setup menu. Click Grid/Guide to view Grid controls, including the Snap button (used to enable the snap-to-grid option).

When you enable the snap-to-grid option, icons for lights, surfaces, and garbage masks snap to the grid when drag them.

HINT: You can set the grid along the XZ and YX axes by selecting either option from the Grid Direction box.

This feature applies only to DVE.

Filter Type box

The matrix now appears here, so the image continues to be displayed in the image window. As you apply changes to the matrix, the effects of your changes appear in the image window.

Grid controls

Snap buttonGrid Direction box (appears only in DVE)


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HDCAM ArchivingIf you are using the Sony HDCAM VTR you can now create video-only archives. No metadata or audio is stored on the tape. Instead, you must create an online table of contents (OTOC) to restore HDCAM archives. The OTOC is saved in the directory declared by the Archive Library token in the config file (by default, /usr/discreet/archive). For information on editing the initialization configuration file to enable HDCAM archiving, see the smoke 4.2 Installation Guide.

JLCooper Hot Key for Rotation AxisWhen you want to adjust the Rotation axis in the Axis soft effect or DVE menus, you can now use the joystick on the JLCooper device.

Keyer Icon Transparency and Control Point ColoursYou can now apply transparency to the icons representing lights, axes, and so on. To do this, use the Icon Transparency field in the Keyer | Mask | Setup menu.

You can also set custom colours for the wireframe and control points that define garbage masks using the Wireframe and Control Points colour boxes.

Maximum Memory Token The maximum value for the memory token in the configuration file is now 1000. It was 200 in earlier versions of smoke and fire.

Paint Changes to Paint include an anti-banding filter for gradients and some changes to the Grid/Guide menu.

Gradient Improvement

A new function can be enabled to eliminate banding that sometimes occurs in gradients applied to graphics in the Paint module. Banding normally only appears if you are working at 8-bit colour depth,

Icon Transparency field

Control Points colour box Wireframe colour box


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and if the gradient you apply is stretched. Controls for the anti-banding function appear in the Paint | Graphics menu.

To apply anti-banding to a gradient:

1. Create a graphic object, for example, a rectangle.

2. Select Grad Rect or Grad Circle from the Gradient box.

If the full spread of the gradient is roughly the width of the frame, banding probably does not occur. However, if you use the gradient’s control points to stretch it out, colour bands may appear.

3. Enable Anti-Band to eliminate the banding.

HINT: You can also set a noise level to the anti-band function. Noise may help when colour bands are very

large. Set the value in the Level field to 7 to apply the maximum noise, or lower the value to apply less dither/

noise. If you set the value to 0, no noise is applied.

Grid/Guide Reset All

The Reset button in the Paint module no longer affects settings in the Grid/Guide menu. Similarly, the Reset All button in the Grid/Guide menu does not affect Paint settings.

Grid/Guide Exit Hot Key

You can now use the ‘ (EXIT) hot key to exit the Grid/Guide menu when it is accessed from Paint.

Project ManagementIf you change the name of a project using the Project Management menu, all the associated directories are now updated to reflect that change.

Anti-Band button

Level field


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Reference Buffer Display Options The reference buffer stores an image that you grab, flush, and update as needed. Using the split bar, you can compare the current image in the image window with the current buffered image. However, you can also set the split bar to display current front, back, matte, and context images, using the Reference box.

To set the split bar to display another image:

1. Make sure the split bar is on.

2. Select the appropriate option from the Reference box.

The selections you can make depend on which module you are in:

Serial Port Management If you accidentally assign two devices to the same serial port in the software configuration file (by default, init.cfg), a message informs you of the conflict when you start the software.

TextSome improvements have been made to the Text module: the addition of multiple levels of Undo/Redo, new interface behaviours, and a user-defined crop area tool.

Undo/Redo List

The Text module now supports multiple levels of Undo/Redo. The maximum levels of undo is 20. You can set the levels of undo in the Setup menu.

If you are in: You can choose from:

The Colour Corrector Image (the front clip), Back, Matte, and Reference (the reference image you grab in the Setup menu)

Reference box


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Preview Mode

The procedure for rendering a preview of the current result has changed slightly. To render a preview, click the Preview button. To continue working on text, click anywhere to disable the Preview mode.

Double- and Triple-click Support

Click once to insert the cursor and select the adjacent character, double-click to select the whole word, and triple-click to select the entire line.

Crop ToolThe Crop tool in the Text module now includes a user-definable crop-box. Use this crop box to define an area inside which text is rendered. While working with a crop box you view all text, whether it is inside or outside the crop box. To preview the rendered result, play/scrub the clip or click Preview.

Use the following Crop controls to set the crop box:

• To set up a crop box, enable Crop.

• Use the Left, Right, Bottom, and Top fields to set its size. You can also drag the control points at the corners of the crop box in the image window

Text Crop controls


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Tracking Garbage Mask VerticesNow when you enter the Stabilizer to track the vertices of a garbage mask (from the Keyer | Mask | Shape menu), you have two options, in the Adjust Tangent box, that affect how tangent handles are computed. The Adjust Tangent box appears below the Track/Stabilize box.

NOTE: If you select Adj Off, you should complete all animated tangent handle manipulations before tracking

the vertices. Because motion tracking creates a keyframe for every frame, you can only adjust the animation

of tangent handles after motion tracking smoothly if you make changes on every frame in the clip.

User InterfaceThis section describes improvements to the user interface. It also includes a table of minor user interface changes.

Improvements to the Pop-up Colour Picker

The colour picker has new input behaviour:

• You can now set RGB, YUV, and HLS channel sliders using ranges (0-255) or percentages (0-100%).

• If you click the numeric field below a slider the pop-up calculator appears inside the colour picker. Use the calculator to set values according to mathematical functions.

Select: To:

Adj Tangent Override tangent handle breaks. Once you track the vertices, unbroken tangent handles (Auto Tangent mode) are restored.

Adj Off Maintain broken tangent handles following motion tracking.

CalculatorPercentage option


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Changes to Inter-Module Indication

In some cases, you enter one module by way of another. For example, you might access the Keyer from the Axis Editor. In this case, when you return to the Axis Editor, a blue status light indicates that a key has been generated for the Axis soft effect.

• To disable the key generated by the Keyer, click the blue status light on the Keyer button in the Axis Editor. It becomes yellow, indicating that there are Keyer settings stored, but that they are disabled.

• To clear the Keyer settings, ALT-click the Keyer button. The status light turns off.

This procedure is the same for all inter-module effects, for example, when you access the Stabilizer from Paint, or the Colour Corrector from DVE.

Minor User Interface Changes

Consult the following table for other minor interfaces changes that occur with this release.

UI Feature Description of Change Affected Areas

Terminology: “tape”/”reel”

smoke and fire now use the term “tape” when referring to what used to be called “reels” listed in EDLs.

Clip I/O, Import EDL, Export EDL

View mode options

View mode options (display options for Blend, Vert Split, Horiz Split, and Sec Track View modes in the Big Player) now only appear when View is enabled.

EditDesk (Big Player)

NO

TES

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Documents

smoke 4.2 Release Notes - AREA JAPAN | Autodeskme.autodesk.jp/.../system_support/document_pdf/smoke42_release_… · From the Library menu, click Output Clip. 2. Select the clip