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"description":"Reorganization of Project Folders Each Scene folder contains the following folders: Audio Grade Bin Library: this new folder contains all the metadata created in the scene. You do not have to",
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"description":"Red 3.2 SDK Support Transcode controls when working with R3D media files include: RMD side-car file support (to replace RSX files) New Format & Colour options Lift / Gamma / Gain Colour Curves",
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"description":"About Video Track Support Video tracks are independent tracks that can be used to create versions of content. Change a Video Track from Primary to Secondary Click the left side of the track (-) to",
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"description":"About Containers, Matte Containers, and Multi-channel Clips Lustre now supports containers, matte containers and multi-channel clips. This functionality improves interoperability with Flame and Smoke",
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"description":"Support for Multiple Layers It is now possible to work with multi-layer timelines in a stereoscopic project. New It is now possible to create new versions of the left and right media in stereo sh",
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"description":"The following features are now supported when sharing content between Lustre 2012 and Smoke 2012 or Flame 2012:",
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"description":"Documentation The documentation is now available offline as html help, or online, as a community wiki. WikiHelp, on the Web All documentation that you access from Autodesk is now online and wiki",
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{"title":"Other Enhancements",
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"description":"Degrain/Denoise Setups Interchange It is possible to import a Denoise preset from Smoke / Flame 2012 into the Lustre Degrain tool. It is also possible to import a Lustre Degrain preset in Smoke or F",
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{"title":"Compatibility",
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"description":"We recommend that you create a new project and a new user when working with a new version of Lustre.",
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"description":"Project-based Render Naming For each project, you can now define the folder structure and media files that are generated at render time. You can use the default path structure defined in the RenderNa",
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"description":"Transcode / Format user interface modifications To better present the new options for the Red 4.0 SDK, the Debayering options located in the Format menu have been re-arranged. Format / Debayering o",
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"description":"Project-based Transcode Settings When working with media files coming from digital cameras such as Red One, Red Epic, Arri D-21 and Arri Alexa, it can be useful to transcode the media into a file for",
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"description":"Message Bar Lustre 2012 Extension 1 introduces a Message Bar so that you can view errors and messages. The message bar shows the following Confirmation message (i.e. overwrite, delete, etc). Statu",
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"description":"Tools Locking It is now possible to lock a tool or part of a tool to avoid unwanted modifications while grading in Lustre. The lock state is saved in the Grade file and in the Grade Bin file. The fol",
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"description":"HDMI Output on AJA Kona 3G The HDMI output of the AJA Kona 3G card is now available when an HDMI compatible AJA video raster is selected. That means that if you disable GFX SDI, you can monitor the o",
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{"title":"Interoperability with Smoke & Flame 2012 extension 1",
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"description":"Source Grading Workflow Many workflows require working in parallel between Smoke/Flame and Lustre. For better flexibility, grading the source footage prior to conforming is ideal, but may not be an o",
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{"title":"Miscellaneous",
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"description":"Timeline: Drop point for mattes inserted in a matte container or a multi-channel segment When you drag and drop a matte clip from the Library to a timeline segment to create a multi-channel clip or t",
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{"title":"How to Use this Chapter",
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"description":"It is a good idea to read this chapter thoroughly to understand how the workflow of a typical colour grading project corresponds to working in Lustre. The first section in this chapter describes the image processing order—the order in which modifications are applied to a shot. Each subsequent section summarizes a significant stage in a colour grading project and provides cross-references to sections containing procedural information.",
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{"title":"Image Processing Pipeline",
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"description":"In Lustre, image processing order is pre-determined—the order in which you perform image processing tasks does not change the order in which they are processed. You can perform these tasks on different stations simultaneously and get the same results. For example, if you apply an input LUT to a shot from a Lustre Station, it will be processed before the colour grading effects created on the Master Station are processed, regardless of the order in which you apply them.",
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{"title":"Setting Up Users and Projects",
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"description":"At the beginning of every project, you specify the location of your footage, set up user profiles, the project, project parameters (such as logarithmic or linear colour space), and the scenes that contain the reel or scene footage that you are going to work on. During each session, you then select a user profile and project so that you can save metadata for your grades. See .",
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{"title":"Monitor Calibration",
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"description":"At the beginning of a project, and throughout, you should calibrate the monitors for all stations to ensure the proper display of your footage. Calibrate the monitors according to the colour space (logarithmic or linear) and footage you are using. See .",
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{"title":"Applying Print LUTs",
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"description":"For film print simulation, you can apply Print LUTs, which are updated regularly by your film lab. See .",
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{"title":"Editing",
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"description":"Once you store your media and resources into the appropriate directories, you can edit the footage to the timeline in preparation for colour grading. Procedures for editing footage may include:",
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{"title":"Rendering Proxies",
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"description":"For projects that use large files (such as 2K Cineon® files), you should render half-resolution (1K) proxies of all the shots in the timeline before you begin colour grading. Proxies are used to reduce processing time when interaction is slow, such as when you apply several secondaries to a shot. See .",
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{"title":"Removing Dust",
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"description":"You can remove dust and other artefacts from your shots at any time in the project workflow. However, it is recommended that you remove dust early in the project so that the colourist can work with clean shots and you have time to do more than one dust removal pass on the footage.",
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{"title":"Repositioning Shots",
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"description":"Once your footage is organized in the timeline, you can reposition shots that need the viewable area adjusted. For example, reposition shots that come from a wide-screen film format and are going to video. See .",
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{"title":"Applying Input LUTs",
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"description":"With your footage organized and prepared for creative work, you are ready to apply any necessary input LUTs before you begin colour grading. Apply an input LUT to a shot when you need to remap colour values in the entire shot. Procedures for applying input LUTs include:",
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{"title":"Colour Grading",
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"description":"Lustre is primarily a colour grading application. Project setup, editing, and basic image processing are all procedures that you perform in preparation for creating a convincing colour grade.",
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{"title":"Using Sparks",
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"description":"While colour grading your shots, you can load Autodesk Sparks plugins to create additional image processing effects such as a blur or a glow. Sparks are applied on a shot-by-shot basis. See .",
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{"title":"Animating Colour Effects",
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"description":"At various times, you may want to animate a colour grading parameter to enhance the colour look, ambience, or to make a static shot more dynamic. You can animate most parameters using the Animation controls. See .",
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{"title":"Outputting the Result",
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"description":"At the end of a project, you output the final version of your grade. You may also want to output your grade in the middle of a project to preview the colour grade or show it to your client. Outputting procedures may include:",
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{"title":"Basic Interoperability Workflow",
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{"title":"About Source Grading and Sequence Grading",
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"description":"There are two ways you can use Autodesk Lustre to grade media coming from Autodesk Smoke and Autodesk Flame, depending on the project you\'re working on and the requirements of you facility: You may",
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{"title":"Setting Up a Project for Interoperability",
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"description":"The setup of your interoperability project depends on whether you have Smoke/Flame and Lustre installed on separate workstations or whether you have them installed on the same workstation, as in Flam",
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{"title":"Important Source Grading Considerations",
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"description":"Multi-resolution timelines Lustre ignores the soft-resize Smoke/Flame automatically apply to clips with resolutions different from that of the timeline and renders the timeline at native resolution",
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{"title":"Saving a Timeline for Grading in Lustre",
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"description":"To save a timeline for grading in Lustre (Source Grading Workflow):Render your BatchFX. If you have a multi-resolution timeline, insert a black frame with the resolution that you want for your final",
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"description":"To import a timeline from Smoke/Flame:Open the Editing/Browse menu in Lustre. Determine whether you want to work using the Source Grading or the Sequence Grading workflow. If you are working in the S",
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"description":"It is not recommended to make editorial changes in Lustre to clips with SoftFX or transitions. Editing clips with SoftFX or transitions may cause unexpected results when you open the timeline in Smo",
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{"title":"Rendering Back to Smoke/Flame",
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"description":"There are two ways to render your timeline back to Smoke/Flame from Lustre: Rendering to a Smoke/Flame Library Rendering to a shared storage location Rendering to a Smoke/Flame Library When r",
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{"title":"About Project Management",
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"description":"Project Management is definition of project and user settings to customize the colour grading environment.",
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"description":"Lustre with Incinerator in-line processing uses the same project management concepts. The only difference is that in order to use Incinerator on the Lustre workstation, the Scans and Render Home paths must point to the Gigabit Ethernet (GigE) Browsed IP address of the Lustre Media Server. In the Lustre Project menu, you can set the Project Home path to use the nfs mount of the media server. For further information on project management configuration in Incinerator, refer to the Autodesk Incinerator Installation and User Guide.",
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"description":"After Lustre is installed but before launching it for the first time, you must configure system-level settings in the init.config file.",
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{"title":"Project Configuration",
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"description":"Projects are a means of organizing work performed in Lustre, as well as the directories where the original footage and rendered files are stored. A project typically corresponds to an entire creative piece, such as a film or commercial.",
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{"title":"About Project Defaults and Session Settings",
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"description":"When configuring your project settings in Lustre, you can configure some parameters as project defaults and others as user defaults. The parameters that are configurable as project defaults become the default settings each time a project is loaded, regardless of the logged in user. However, if you make changes in the Lustre application that affect the default settings and then save these changes to a grade file, the default settings will be overridden the next time you load the project.",
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"description":"Creating a Lustre project is the first step to prepare Lustre for a new colour grading project. You can use templates to accelerate project setup. See .",
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"description":"While working on a project, you can edit some of its default settings.",
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{"title":"Recommended Directory Structure for Projects",
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"description":"The following files can be stored per scene in the Project Home directory, or they can be stored in separate directories, as decided within the project settings. See .",
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{"title":"Configuring File Locations in Project Home",
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"description":"When project data is stored in Project Home, the following structure is recommended during product configuration. In this example, the Project Home is defined in Windows as the H:\\ drive, whereas in the Linux version it is usually defined as the /mnt/md0/ mount point.",
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{"title":"Configuring Project Sub-directories",
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"description":"Once you configure file locations for your project files, you must create the sub-directories for your scans manually. Lustre generates many sub-directories automatically for specific types of file.",
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{"title":"Configuring File Locations Separately from Project Home",
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"description":"To have the scanned footage and renders stored on a separate storage location, the Scans Full Home and the Renders Full Home must be explicitly defined as a separate location. On Windows, an example of this separate location could be a shared folder coming from a remote file server, and mapped to the local drive G:\\ under the films\\myfilm folder. On Linux, a corresponding example would be a directory exported from a remote file server, and mounted on the /mnt/fileserver/ NFS mount point under the films/myfilm directory.",
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{"title":"Browsing for Paths",
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"description":"Instead of typing the path, you can browse for paths using the path browser.",
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{"title":"Using Environment Variables",
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"description":"You can use your operating system\'s environment variables to define all or a portion of a path. In Lustre, if you choose to use environment variables, enclose the variable name inside diamond brackets. For example, the Project Home field might be:",
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{"title":"Using the [PROJECT_NAME] and [USER_NAME] Variables",
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"description":"You can also use [PROJECT_NAME] and [USER_NAME] in your paths. You do not need to define these variables as they are predefined. The value of [PROJECT_NAME] is always the value you assign to Project Name in the Project settings page of Project Management. Likewise, the value of [USER_NAME] is always the value you assign to User Name in the Display & Interface settings page of User Management.",
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{"title":"Project Configuration Settings",
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{"title":"Project Settings",
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"description":"Use the Project settings to define:",
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{"title":"Calibration Settings",
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"description":"Use the Calibration settings to configure default system calibration settings and to define the default LUTs for a project.",
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{"title":"Rendering Settings",
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"description":"Use the Rendering settings to:",
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{"title":"Render Naming Settings",
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"description":"Use the Render Naming Settings to configure the token based folder structure and naming conventions of rendered media. These settings are included in any project templates you create.",
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{"title":"Engineering Settings",
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"description":"Use the Engineering settings to configure:",
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{"title":"Network Rendering Settings",
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"description":"Use the Network Rendering settings to configure default Backburner/Burn, Slave Renderer, and Wiretap directory paths and settings for a project.",
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{"title":"User Configuration",
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"description":"In Lustre, using user configuration, you can:",
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{"title":"About User Defaults and Session Settings",
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"description":"When configuring your project settings in Lustre, you can configure some parameters as project defaults and others as user defaults. The parameters that are configurable as user defaults become the default settings each time that user logs in and loads a project. However, if you make changes in the Lustre application that affect the default settings and then save these changes to a grade file, the default settings will be overridden the next time you load the project.",
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{"title":"Creating a User Profile",
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"description":"The user settings menu allows you to customize your settings so they are used whenever you enter the Lustre application. The settings are broken down into three groups: Display & Interface, System & Menu, and Tools.",
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{"title":"Editing an Existing User",
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"description":"The editing feature allows you to change the settings of an existing user profile.",
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{"title":"User Configuration Settings",
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{"title":"Display & Interface Settings",
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"description":"Use the Display & Interface Settings page to configure the default display and interface settings for this user.",
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{"title":"System & Menu Settings",
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"description":"Use the System & Menu Settings page to configure the backup options, change shot settings, assemble options, match options, playout settings and background render user preference as well as the panel setup file and the user grade bin and presets directory for this user.",
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{"title":"Tools Settings",
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"description":"Use the Tools Settings page to configure keyframe, animation, dissolve, dust, colour isolation and reference image settings for this user.",
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{"title":"Loading Users and Projects",
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"description":"After creating a project and defining users, you can start using it. You do so by loading a project and selecting a user profile. This can be done from the Lustre splash screen, or from an already started session.",
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{"title":"Working With Scenes",
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"description":"A scene is used to organize your libraries within a given project. A scene called \"default\" is automatically created with every new project. You can create as many scenes as needed per project.",
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{"title":"Selecting Scenes",
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"description":"When you select a scene, you gain access to the metadata associated with the scene such as cuts, grade files, the scene-based presets and grade bin, EDLs and audio. Once you select a scene, you then select the grade you want to work on from a list of those associated with the scene. The grade and its associated cut will then be loaded.",
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{"title":"Working with Cuts and Grades",
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"description":"When you create a project, a default scene is automatically created. Within each scene is a Library which contains your source clips (.clip) and timelines or cuts (.cut). A cut is automatically created when importing a Wiretap timeline or assembling an EDL. With source clips imported from the Library, you must create the cut manually. Footage courtesy of EVN PRODUCTIONS",
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{"title":"Managing Cuts",
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"description":"Use the tools in the Browse menu to manage your cuts. You can load, save, change, and delete cuts from this menu.",
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{"title":"Creating a New Cut",
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"description":"",
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{"title":"Saving a Cut",
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"description":"The most recent changes to a cut are not saved automatically. You explicitly save your cut in the Browse menu, although you can set up a regular autosave interval.",
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{"title":"Loading a Cut",
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"description":"You can load an existing cut to resume editorial work on a previously saved timeline.",
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{"title":"Clearing a Cut",
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"description":"You can clear the current cut when you no longer need it.",
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{"title":"Deleting a Cut",
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"description":"You can delete a cut when you no longer need it.",
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{"title":"Using Change Lists",
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"description":"A change list tracks editorial changes to the shots and layers that make up a cut. You use a change list when you want to save changes to a cut without overwriting the cut file. Using this process you can review changes in a cut prior to saving the cut file itself.",
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{"title":"Managing Grades",
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"description":"Though grades are managed separately from their associated cuts, a grade is dependent upon a cut. You cannot create a grade file without an associated cut.",
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{"title":"Creating a Grade Version for a Cut",
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"description":"Save the grade to store the grading data on a specific cut. Grades are named using sequential numbers, but you can optionally add a text name to the number.",
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"description":"When you save a grade by clicking the Save button under the Grade name field in the Setup/Grade menu, the changes are saved by overwriting the currently loaded grade.",
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{"title":"Loading Grades for a Cut",
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"description":"When you start a work session in Lustre, switch scenes in a project, or want to revert to an older version of a grade, you can select the required grade and load it. This loads both the grade and its associated cut.",
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"description":"You can delete grades that you no longer need.",
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{"title":"Changing a Cut",
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"description":"The Change Cut tool allows you to apply the grade settings from the current cut to the new cut you are loading.",
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{"title":"Autosave Grades and Cuts",
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"description":"The Autosave feature ensures that the current grade and cut from the scene you are working on are backed up at specified time intervals. Only one grade and one cut per scene can be backed up. To enable the Autosave feature, enter an interval in the Autosave field of the System & Menu tab. See .",
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{"title":"Loading Backup Copies of a Grade",
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"description":"As you save a grade, you can have Lustre save a copy of it each time you click Save. These copies are then available in case you need to revert to a previous version. The date and time of the save is provided to help you identify the version you want to load.",
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{"title":"Saving and Loading Marry Grades",
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"description":"When you save a grade using the Marry controls, the colour grading metadata is saved separately from the regular grade file. Marry grade files are saved in the same location as the original shots (except for shots imported from Wiretap or the Wiretap Gateway). Marry grade files can also be saved and loaded with the Marry Grade bin thumbnails and Grade view. See .",
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{"title":"Setting Logarithmic or Linear Mode",
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"description":"Use the Colour Space Architecture options to select between the two basic colour grading modes — Logarithmic and Linear — for use on the project. These modes configure the system and set certain user interface options specific to the mode.",
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{"title":"Saving Timeline RGB Offsets",
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"description":"You can save the grade for the entire timeline in a file called primary.txt. This file is similar to the .dsc file, except that the information is timeline-based as opposed to folder-based and cannot be loaded back into Lustre. The benefit of saving timeline RGB offsets is that you can exchange primary grading data with other systems.",
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{"title":"Setting the Resolution",
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"description":"You can work on the full-resolution version of shots or proxies. Using proxies speeds up interaction and playback of shots containing many effects.",
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"description":"You can set the display aspect ratio for shots in the project. When you change the aspect ratio, the shots are stretched accordingly.",
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"description":"The Filtering option allows you to soften your shot so when you zoom in, the pixels are not as sharp or obvious.",
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"description":"Use the controls in the Interface menu to set the appearance of the user interface to your liking. For example, you can set the user interface to suit the room lighting conditions as well as control the display of a matte overlay by adjusting the opacity and RGB parameters of the unselected region of the matte. From the Interface menu, you can also add an overlay, such as a logo, to your cut.",
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{"title":"Matte Overlay Settings",
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"description":"When you perform secondary colour grading, whether with a geometry, a key, or an external matte, it is important to see what part of the image is being affected by the matte. The Matte Overlay feature displays the matte in its original colour, while overlaying the unselected region of the matte with a uniform colour, allowing you to see the precise area of your image that will be colour corrected.",
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"description":"Use this feature to apply an overlay to your cut. For example, you can add a logo to every frame. An overlay consists of a single uncompressed RGBA, TIFF, or SGI file containing alpha channel information. The white areas of the file are viewable in the cut.",
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"description":"Use templates to define re-usable presets for future projects or users.",
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"description":"When you are choosing your project settings, you can create a template for your future projects.",
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"description":"As you create project after project, there may come a time when you need to change a few of the settings and you do not want to create an entire new template. You can accomplish this by using the edit feature.",
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"description":"When creating a user, you can save the setup as a template for other users.",
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{"title":"Basics",
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{"title":"Overview of Basic Functionality for Lustre",
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"description":"This chapter introduces basic functionality for Lustre. It provides an overview of the user interface and control surfaces, and explains global features such as undo/redo and the Grade bin.",
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{"title":"Starting and Exiting Lustre",
"href":"./files/GUID-2B64E363-6E35-421E-B930-34D77CD909D8.htm",
"description":"To start Lustre, use any of the standard methods for opening an application in Windows or Linux.",
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{"title":"Understanding the Lustre User Interface",
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"description":"The Lustre user interface is divided into four main sections.",
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{"title":"The Player",
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"description":"This section of the user interface is generally used for viewing the currently selected shot in the Storyboard. However, you can also use it to:",
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{"title":"The Storyboard",
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"description":"Use the Storyboard to select shots, arrange shots, navigate through shots, and isolate certain types of shots. Using hotkeys, you can also copy grades to shots via the Storyboard. See and .",
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{"title":"Player Display Controls",
"href":"./files/GUID-87DF3B25-D47A-4E2A-B04A-92456C5F900F.htm",
"description":"Below the Storyboard, there are controls for:",
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{"title":"The Menu Section",
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"description":"The menu section in Lustre is organized from left to right. The first column of buttons are the main menus. Clicking a main menu displays its sub-menu buttons in the next column. Clicking a sub-menu displays its functions in the central part of the menu. Menu functionality is addressed by other chapters in this guide.",
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{"title":"Working with Control Surfaces",
"href":"./files/GUID-E081FCBE-145C-4D23-A5A8-C983E892D601.htm",
"description":"Lustre supports the Tangent CP100 control surface and the Autodesk control surface (ACS). Both types of control surfaces improve interactivity when colour grading film and video footage, and both allow you to accomplish many of the tasks you do in the Lustre user interface.",
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{"title":"Resetting Parameters",
"href":"./files/GUID-D05037A9-BC2E-4579-B93F-8DFB06E147FB.htm",
"description":"You can reset parameters on a shot-by-shot basis. You can either reset a parameter, reset all parameters in a menu, or reset a shot to its original state.",
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{"title":"Bypassing Menu Parameters",
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"description":"You can bypass the parameters of a single menu or all menus to view a shot as if the menu or menus had not been modified. Do this when you want to compare the original shot to the modified shot. Bypassing differs from resetting in that you can toggle Bypass on and off, whereas you have to undo a reset operation to return to the previous state. By toggling Bypass off and on, you can easily compare the original shot to the modified one. You can bypass the following menus either singly or simultaneously:",
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{"title":"Undoing and Redoing Actions",
"href":"./files/GUID-7C2AC800-0A29-4AF1-9EB6-DD74DF1D394E.htm",
"description":"Each shot in Lustre has its own undo and redo history.",
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{"title":"Confirming and Cancelling Actions",
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"description":"There are several operations in Lustre that must be confirmed before they begin. For example, when rendering, capturing, playing out, or deleting material, you must first confirm the action.",
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{"title":"Assigning Notes to Shots",
"href":"./files/GUID-219131DE-D2CD-4A0F-AB44-B789D07B6B17.htm",
"description":"The Notes window is available from almost every menu and allows you to enter unlimited wrapping text pertaining to the current shot. Notes are retained as you jump from one shot to another, and saved when you save the grade.",
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{"title":"Flagging Shots",
"href":"./files/GUID-CF2C5D8A-1F46-4D05-BC4D-54699B7E4EB1.htm",
"description":"The flag system is accessible from almost any menu and allows you to enable and disable flags, create and delete flags, and copy flag states to one or more shots.",
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{"title":"Custom Flags",
"href":"./files/GUID-4F925DFF-893B-42C2-AA95-8274C1BA59C3.htm",
"description":"Apart from the five system flags, you can also create your own custom flags. When creating a custom flag, you must adhere to the following:",
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{"title":"Creating Shot Groups",
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"description":"You can group shots together. This is useful, for example, when you have a series of exterior shots and a series of interior shots in the Storyboard. You can define a group for the exterior shots and another group for the interior shots. When you want to adjust parameters for the exterior shots, you select that group. Then, when you want to work on the interior shots, you select the Interior Shots group. Each time you select a different group, the selected shots in the Storyboard change.",
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{"title":"Grouping Shots",
"href":"./files/GUID-43962016-B023-4BC3-A5A4-0E4E6C009F89.htm",
"description":"Use the Group tool to select shots to group and the parameters to include with the grouping. Any change made to one shot in the group propagates to the other shots in the group, provided that the changes are to parameters that have been included in the group.",
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{"title":"Applying Changes to Grouped Shots",
"href":"./files/GUID-8C1B730A-39F4-4BE6-A3A7-982003473742.htm",
"description":"After you group shots, changes made to one shot are applied to all other shots in the group.",
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{"title":"Soloing Shots",
"href":"./files/GUID-7BC730CE-BE31-4B9F-BAC8-38286A222A09.htm",
"description":"Use Solo to temporarily disable grouping for a shot.",
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{"title":"Copying Parameters with the Selector",
"href":"./files/GUID-07BA9D35-4E15-478A-85D8-48B78BA2D727.htm",
"description":"Use the Selector to copy channel parameters from the current shot to other selected shots in the cut. This feature is useful when you have a series of shots that need to have a similar grade applied to them, for example, shots that are too dark. You can adjust the brightness for the current shot, select all the shots, and then copy the grade setting to all other selected shots. For more information about using the Selector to copy grading information in the Multi-Layer Timeline, see .",
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{"title":"Assigning Values With the Standard Lustre Calculator",
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"description":"Use the standard Lustre calculator to assign values to sliders and certain fields. You can display the calculator by right-clicking any of the following user interface elements.",
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{"title":"Using Grade Bins",
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"description":"Store shot settings to a Grade bin when you need grades for future reference. Intermediary grades are useful when you want to experiment with different looks. Grades are saved on a shot-by-shot basis and contain all shot and animation settings.",
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{"title":"Using the Marry Grade Bin",
"href":"./files/GUID-A5F6F124-8C7D-45DB-A439-C5F4493C532A.htm",
"description":"Unlike the other Grade bins, which are used to apply grading to any shot(s) in a given timeline, a Marry Grade bin is shot-specific. Each shot in the cut has its own dedicated Grade bin for its Marry grade files. For example, if a cut is composed of three shots, three Marry Grade bins exist, although the only visible Marry Grade bin is the one for the current shot. This allows you to save multiple Marry grades to the same shot.",
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{"title":"Saving Grades",
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"description":"You can save grades to the Grade bin. When you save grades, all the settings are saved with a high-resolution PNG image and a thumbnail for identification. By saving your shot settings to the appropriate Grade bin, you can save your shot settings globally, to a predefined folder, or limit them to a user, scene, or project. You can also save them with your shots as Marry grade files.",
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{"title":"Applying Grades to Shots",
"href":"./files/GUID-24F6FA10-344E-4635-9263-855A9CCACEF4.htm",
"description":"You can apply grades to one or multiple shots in the Storyboard or timeline. Apply intermediary grades to your shots when you want to experiment with different looks. You can control which saved settings you want to apply—all the settings from the intermediary grade, only those selected in the Selector, or only those in the current menu.",
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{"title":"Moving Grades",
"href":"./files/GUID-1F2385CE-5D95-450F-91AD-E47FAF37006F.htm",
"description":"You can reorganize the Grade bin by moving grades from one storage container to another. You can also drag a Grade bin to the file browser or expanded Grade bin in the Grade view. See .",
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{"title":"Deleting Grades",
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"description":"You can delete grades one at a time, or delete all grades from the Grade bin simultaneously.",
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{"title":"Using the Expanded Grade Bin",
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"description":"Use the expanded Grade bin to locate and display grade files. You can manage intermediary grade files at the global, project, scene, or user level, and Marry grade files at the shot-based level. You can also define a custom folder and bookmark it for quick access.",
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{"title":"Accessing the File Browser",
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"description":"Use the file browser to locate grade data and load it into the Grade bin.",
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{"title":"Defining the Quick Folder",
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"description":"You can use the file browser to select any folder and define it as a location in which you want to store grade files. Once you have stored the location of this folder, you can quickly display and select it in the file browser, and use the Quick buttons to display its contents in the Grade bin and expanded Grade bin.",
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{"title":"Loading Grade Files from the Expanded Grade Bin",
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"description":"Once you locate your Grade bin folder in the file browser and display its contents in the expanded Grade bin, you can move grade files into the Grade bin storage containers. Grade files in the expanded Grade bin are pointers to the actual files on the file system. You can view information about the grade files in expanded Grade bin.",
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{"title":"Moving Grade Files Between Grade Bins",
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"description":"In addition to moving grade files from the expanded Grade bin to a storage container, you can use drag-and-drop operations to move and copy between the expanded Grade bin, Grade bin storage containers, and file browser.",
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{"title":"Applying Grade Files to Shots in a Cut",
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"description":"You can select grade files in the expanded Grade bin and apply them to a shot in the Storyboard or Timeline.",
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{"title":"Deleting Grades From the Expanded Grade Bin",
"href":"./files/GUID-07AEE4FE-2370-4521-B235-7BE47D9C43BA.htm",
"description":"You can delete all or selected grade files from the expanded Grade bin.",
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{"title":"Viewing Media File Information",
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"description":"When you view grade files in the expanded Grade bin, you can display information about the media files.",
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{"title":"Loading Grading Presets",
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"description":"You can select which grading information you load from a grade file in the expanded Grade bin or the Grade bin using preset lists.",
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{"title":"Using Audio",
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"description":"You can hear audio during timeline playback if you import or capture a WAV or AIFF file into the system. The imported/captured file is associated with a cut and begins playback at the same time as the timeline. You can also hear audio during timeline playback if your system is using an external device which detects timecode. When you have selected an audio file or audio tracks to playback with your timeline, all the information (i.e., playback status, selected audio file or audio track, offset, LTC Chase option, and Sync option) are saved in the Context file.",
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{"title":"Using Text",
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"description":"When you want to add credits to a cut loaded to the timeline, you can automatically key text files containing an alpha channel over shots in the timeline. To do so, use a text plate EDL that describes how the text files are arranged in the timeline.",
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{"title":"Monitor Calibration",
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"description":"",
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{"title":"About Monitor Calibration",
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"description":"All monitors display colours differently. The colours that you see on your digital monitor change slightly over time because the back light degrades. This causes the maximum brightness of the monitor to decrease slightly. To ensure a perfect colour match between film and monitor, you need to calibrate the monitor. By regularly calibrating the monitor, you ensure that the image on the screen is consistent from day to day by creating a uniform environment—the basis for the accurate display of image colours.",
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{"title":"Lookup Tables",
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"description":"A LUT is an ASCII file (Lustre supports the .lut file extension for 1D LUTs and the .3dl file extension for 3D LUTs) that describes specific pixel values used for image data conversion both on input and output. A Print LUT is obtained from your film lab and is updated on a regular basis. You can import a LUT file into Lustre. See .",
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{"title":"3D LUTs",
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"description":"Use 3D LUTs for advanced film simulation in Lustre. After you perform basic monitor calibration and take calibration measurements using the appropriate calibration device, you can work with your film lab to generate a 3D LUT file (.3dl) to amalgamate all the stages of calibration into the LUT.",
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{"title":"Logarithmic and Linear Colour Spaces",
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"description":"You colour grade all the shots in your project in either logarithmic or linear colour space. The colour grading toolsets are dependant on the colour space you select. In Log mode, the toolset is designed for digitized film images originating from a datacine conversion process. In Linear mode, the toolset is designed for images that contain linear data.",
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{"title":"Monitor Calibration Workflow",
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"description":"Because different facilities may be set up differently, there are many monitor calibration scenarios, particularly if you are working with film images. The following workflow scenarios are guidelines for setting up the display environment that you need.",
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{"title":"Adjusting Black Level and Picture Settings",
"href":"./files/GUID-7FB862B0-E1F5-420A-9751-0B3A336B626F.htm",
"description":"All monitors come with controls to adjust brightness and contrast. Brightness affects the black level setting of the monitor; contrast controls the picture setting.",
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{"title":"Selecting the Project Colour Space",
"href":"./files/GUID-14E120E5-44D8-4769-B7D5-22D1B595AF25.htm",
"description":"Select the colour space that you intend to use for the project. The colour space should correspond to the footage you are using. If you are using film images, select logarithmic colour space. If you are using images with linear data (or you prefer the toolset), select linear.",
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{"title":"Calibrating a Monitor",
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"description":"In Lustre, you can calibrate your monitor automatically or manually. Automatic monitor calibration is much more accurate than manual monitor calibration methods because manual methods hinge on perception, and your perception of the monitor can vary depending on the surrounding environment.",
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{"title":"Calibrating the Monitor Automatically",
"href":"./files/GUID-579BF27E-9A87-4BAD-8497-AD77348DF08E.htm",
"description":"Use a colourimeter (an external monitor measurement device) to scan your monitor\'s output and automatically correct the display.",
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{"title":"Calibrating the Monitor Manually",
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"description":"If you do not have access to a colourimeter, you can adjust the monitor gamma level manually.",
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{"title":"Calibrating for Dual-Head Mode",
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"description":"If the video card on the Lustre system is set to Dual-Head mode, you can set different LUTs for each monitor. This is useful when using different display types, such as a monitor and a plasma screen.",
"ancestors":[{"title": "Monitor Calibration","href":"./files/topichead_d3e11524.htm"}]},
{"title":"Applying Print LUTs for Viewing",
"href":"./files/GUID-1D4313E5-5231-475C-BE16-575133527112.htm",
"description":"Use Print LUTs, obtained from your film lab, to apply preset gamma correction. Print LUTs are specially designed by your lab to ensure an accurate display of your film stock images by simulating a film print look. Print LUTs may be updated several times a day to ensure proper calibration with the lab. Save the Print LUTs in the C:\\Program Files\\Autodesk\\Lustre 2010\\lut folder if running the Windows version of Lustre, or in the /usr/Autodesk/lustre_2010/lut directory if running the Linux version of Lustre.",
"ancestors":[{"title": "Monitor Calibration","href":"./files/topichead_d3e11524.htm"}]},
{"title":"Selecting Print LUTs",
"href":"./files/GUID-5F7BE5DB-F853-4374-AD31-E179808A4E04.htm",
"description":"You can select up to three Print LUTs for quick comparison in a project. When your lab sends you the latest LUT, simply select it from the Calibrate menu. You can have any number of Print LUTs on the system.",
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{"title":"Switching between Print LUTs",
"href":"./files/GUID-1115ABB9-9A88-4241-B0C3-E65DF61DA162.htm",
"description":"You can switch between Print LUTs to change the display of your images anytime during a session.",
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{"title":"Applying 3D LUTs",
"href":"./files/GUID-059A2C83-B2CA-44B5-833E-C10B11FCFF37.htm",
"description":"When you use 3D LUTs, you apply an interactive viewing LUT that works through the NVIDIA graphics card. The 3D LUT displays how the colour graded images will look on film stock as you work, without impeding processing speed.",
"ancestors":[{"title": "Monitor Calibration","href":"./files/topichead_d3e11524.htm"}]},
{"title":"Browsing for Footage",
"href":"./files/topichead_d3e12312.htm",
"description":"",
"ancestors":[]},
{"title":"About Browsing for Footage",
"href":"./files/GUID-FEFC9CDB-9CAB-4918-A663-1140EEC8C43D.htm",
"description":"Accessing the file browser is one of the first steps of the grading process. Use the file browser to locate scanned or captured footage on your direct storage or shared networked storage. You can also use the file browser to access local or remote footage with the Wiretap Gateway or import Smoke timelines from a Wiretap server.",
"ancestors":[{"title": "Browsing for Footage","href":"./files/topichead_d3e12312.htm"}]},
{"title":"Supported File Formats",
"href":"./files/GUID-8C146C15-925C-464C-9BE5-12370A9E9F86.htm",
"description":"The following file formats are all natively supported in Lustre:",
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{"title":"Accessing the File Browser",
"href":"./files/GUID-2C1E684B-B965-40BC-A6B4-A00F9DE939B2.htm",
"description":"Use the file browser to locate shots and load them into the Library.",
"ancestors":[{"title": "Browsing for Footage","href":"./files/topichead_d3e12312.htm"}]},
{"title":"Viewing Media File Information",
"href":"./files/GUID-A4C740CC-EA3C-44F2-896C-46B4EB3B46A0.htm",
"description":"In the File Browser or the Library, you can view information about the media files that make up the clip.",
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{"title":"Bookmarking Folder Locations",
"href":"./files/GUID-A8F707DF-4832-48E1-A92A-A4C3942F9BC1.htm",
"description":"You can quickly access file system folder locations using bookmarks. Bookmarks can be applied to local or remote file system folders, BrowseD, Wiretap and Wiretap Gateway server.",
"ancestors":[{"title": "Browsing for Footage","href":"./files/topichead_d3e12312.htm"},{"title": "Accessing the File Browser","href":"./files/GUID-2C1E684B-B965-40BC-A6B4-A00F9DE939B2.htm"}]},
{"title":"Compressed Media Support",
"href":"./files/GUID-9F84B15E-95FF-48C6-9CFF-76FA594F4CC7.htm",
"description":"The Wiretap Gateway allows you to import and grade compressed media files (e.g., RED, QuickTime, MXF files and OpenEXR) to Lustre.",
"ancestors":[{"title": "Browsing for Footage","href":"./files/topichead_d3e12312.htm"}]},
{"title":"Browsing for Footage with the Wiretap Gateway",
"href":"./files/GUID-DA58D980-217A-4DC4-9E61-6A7C35A4FEEE.htm",
"description":"You can import compressed media footage files via the File Browser using the Wiretap Gateway. You can access a local or remote host that is running a Wiretap Gateway. Once imported, the compressed media can be transcoded. For more information about the Wiretap Gateway, refer to the Autodesk WiretapCentral and Wiretap Gateway Installation and Configuration Guide. To load the compressed media footage, see Transcode Workflow.",
"ancestors":[{"title": "Browsing for Footage","href":"./files/topichead_d3e12312.htm"},{"title": "Compressed Media Support","href":"./files/GUID-9F84B15E-95FF-48C6-9CFF-76FA594F4CC7.htm"}]},
{"title":"Wiretap Gateway Supported Ingest File Formats",
"href":"./files/GUID-017DE42D-0E1B-468D-9390-56BBC2883F47.htm",
"description":"",
"ancestors":[{"title": "Browsing for Footage","href":"./files/topichead_d3e12312.htm"},{"title": "Compressed Media Support","href":"./files/GUID-9F84B15E-95FF-48C6-9CFF-76FA594F4CC7.htm"},{"title": "Browsing for Footage with the Wiretap Gateway","href":"./files/GUID-DA58D980-217A-4DC4-9E61-6A7C35A4FEEE.htm"}]},
{"title":"Overview",
"href":"./files/GUID-F0FEC4B4-5FC6-466E-B718-AED0B9963D2C.htm",
"description":"This appendix lists the image and audio file formats supported by the Wiretap Gateway server, for ingest. Use the tables in this appendix to determine if a particular digital image sequence or container format can be recognized by the Wiretap Gateway.",
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{"title":"Supported Image Sequence Formats",
"href":"./files/GUID-92B32CBB-6C7B-4DE6-9034-740A079ED646.htm",
"description":"The Wiretap Gateway server supports ingest of the following image sequence file formats.",
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{"title":"Supported Audio File Formats",
"href":"./files/GUID-C7AA0CEA-F640-43AE-9B66-BF51780F964C.htm",
"description":"The Wiretap Gateway supports ingest of the following audio file formats.",
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{"title":"Supported Image Container Formats",
"href":"./files/GUID-0C9F5454-24DF-405C-B88F-4C86A3F5C2E3.htm",
"description":"Wiretap Gateway supports ingest of the container formats listed in the Related Topics.",
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{"title":"Support for ARRI Files",
"href":"./files/GUID-1CA1ACAF-58BD-4A02-8C68-C4625617853B.htm",
"description":"The Wiretap Gateway supports the import of ARRIRAW media files produced by D-20, D-21, and ALEXA cameras",
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{"title":"Support for AVC-HD Files",
"href":"./files/GUID-B0C9DCA1-9382-47C1-94EF-BC385611ECE1.htm",
"description":"It is now possible to import AVC-HD content in Lustre through the Wiretap Gateway. Video and audio media, and timecode tracks are supported.",
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{"title":"Support for GoPro HD MP4 Files",
"href":"./files/GUID-1F97AF32-A8B4-4BFD-B920-134C39A04040.htm",
"description":"GoPro camera records H.264 files with an \"mp4\" extension. Files from this camera are supported by Wiretap Gateway Server.",
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{"title":"HDR Format Support",
"href":"./files/GUID-F9EB395E-B1C7-434D-836B-B9745B67E559.htm",
"description":"The HDR file format (High Dynamic Range) is now supported by the Wiretap Gateway. Like OpenEXR, before you import HDR images, you must set up a project-based float conversion LUT in the Calibratio",
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{"title":"Multi-Channel PSD Import",
"href":"./files/GUID-1FC14C9E-204C-4856-BD35-FC3264BF0626.htm",
"description":"When you import Photoshop files (PSD) via the Wiretap Gateway, Lustre creates a multi-channel clip. You can use the mattes for Secondary color grading.",
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{"title":"Support for RED Files",
"href":"./files/GUID-19C61023-187B-48FE-9DD8-312596A04C06.htm",
"description":"The Wiretap Gateway supports the import of RED media (R3D files) encoded with codec versions 2 and 3.",
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{"title":"Supported DNxHD MXF File Codecs",
"href":"./files/GUID-79148AEC-9984-48E7-8F0F-C945B05A03CD.htm",
"description":"The Wiretap Gateway supports the import of MXF files encoded with Avid DNxHD codec.",
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{"title":"Supported P2 MXF File Codecs",
"href":"./files/GUID-ED3D41F4-30E7-4BC7-8D8E-ED4C43C7D4F9.htm",
"description":"The Wiretap Gateway supports import of Panasonic P2 MXF files encoded with any of the following codecs.",
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{"title":"Import: Supported QuickTime File Codecs",
"href":"./files/GUID-5216B444-A0F1-4526-86BB-13C60384A2CE.htm",
"description":"The Wiretap Gateway supports import of QuickTime files encoded with any of the following codecs.",
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{"title":"Supported XDCAM File Codecs",
"href":"./files/GUID-DB9415E5-C203-4A71-9258-A33543C44618.htm",
"description":"The Wiretap Gateway supports import of Sony XDCAM files encoded with any of the following codecs.",
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{"title":"Supported Apple ProRes Files",
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"description":"The Wiretap Gateway supports the import of Apple ProRes files through a Wiretap Gateway running on Mac OS X. Review the installation documentation to learn how to install such a Gateway. You can then connect through the Network panel of a Gateway library to the Mac OS X computer and import the ProRes files.",
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{"title":"Loading Clips to the Library",
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"description":"Once you locate your clips in the file browser, you move them into the Library so that you can use them in your cuts. Clips in the Library are pointers to the actual media files on the file system. You can view information about the clips in both the file browser and the Library.",
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{"title":"Deleting Content From the Library",
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"description":"You can delete clips and cuts from the Library.",
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{"title":"Creating a Cut with Shots in the Library",
"href":"./files/GUID-8199994C-79F9-4A65-A78F-C2F769CCF494.htm",
"description":"Once the source clips are imported to the Library, you can assemble them using an EDL or by creating a timeline.",
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{"title":"Matching Shots",
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"description":"You can use Matchback to select a shot in the timeline and find it in the Library, or click a shot in the Library and see where it is used in the timeline.",
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{"title":"Transcoding",
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"description":"",
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{"title":"About Transcoding",
"href":"./files/GUID-35F4311B-8159-4607-823C-58130A709D3F.htm",
"description":"The Wiretap Gateway server makes it possible for Lustre to easily ingest complex media formats. The Transcode menu displays information related to the format of the currently selected media (RED or ARRIRAW). When a shot does not use one of these file formats, the Transcode panel displays no options.",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"}]},
{"title":"Transcode Workflow",
"href":"./files/topichead_d3e14118.htm",
"description":"",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"}]},
{"title":"Transcode Workflow 2012",
"href":"./files/GUID-4860A0C1-3DB4-48B8-9FCF-1D816980732D.htm",
"description":"Once you have imported the RED media and want to improve the playback of this file, follow the typical workflow to transcode your footage.",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"},{"title": "Transcode Workflow","href":"./files/topichead_d3e14118.htm"}]},
{"title":"Transcode Workflow 2012 Extension 1",
"href":"./files/GUID-65796A9F-F21E-4DC1-861D-C03150AB6019.htm",
"description":"Once you have imported the RED media and want to improve the playback of this file, follow the typical workflow to transcode your footage.",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"},{"title": "Transcode Workflow","href":"./files/topichead_d3e14118.htm"}]},
{"title":"Transcode Options",
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"description":"",
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{"title":"Transcode Options 2012",
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"description":"RED digital cameras record RAW media that is compressed using a proprietary codec known as REDCODE, which is saved as an R3D file. The R3D file contains very high-resolution digital images (2K, 4K, or even higher). Since working with RED media files is CPU intensive, you can improve playback by either working with the proxy resolution of the native file, or by transcoding the high-resolution file.",
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{"title":"Transcode Options 2012 Extension 1",
"href":"./files/GUID-0B5FEB86-D425-4068-AF0E-A12EF5E074A7.htm",
"description":"RED digital cameras record RAW media that is compressed using a proprietary codec known as REDCODE, which is saved as an R3D file. The R3D file contains very high-resolution digital images (2K, 4K, or even higher). Additionally, the RED Epic camera can record R3D files in two modes: Standard (as described above) and HDRx. The HDRx option allows the recording of two distinct exposures as two separate video tracks within the same R3D file. Lustre supports both modes. Since working with RED media files is CPU intensive, you can improve playback by either working with the proxy resolution of the native file, or by transcoding the high-resolution file.",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"},{"title": "Transcode Options","href":"./files/topichead_d3e14256.htm"}]},
{"title":"Transcode Format Settings",
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"description":"",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"}]},
{"title":"Transcode Format Settings 2012",
"href":"./files/GUID-32904859-396B-4504-AEAA-2C84C245A9FC.htm",
"description":"Once you change one of the Lustre transcode options, this button is automatically disabled to show that these settings are no longer the original RSX file settings.",
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{"title":"Transcode Format Settings 2012 Extension 1",
"href":"./files/GUID-48A43B7A-1B8C-468B-86F7-D828D63DCB5B.htm",
"description":"Once you change one of the Lustre transcode options, this button is automatically disabled to show that these settings are no longer the original RSX file settings.",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"},{"title": "Transcode Format Settings","href":"./files/topichead_d3e14380.htm"}]},
{"title":"Transcode Colour Settings",
"href":"./files/topichead_d3e14888.htm",
"description":"",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"}]},
{"title":"Transcode Colour Settings 2012",
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"description":"Adjust the values in this Colour settings tab to set the preliminary colour correction to your RED media.",
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{"title":"Transcode Colour Settings 2012 Extension 1",
"href":"./files/GUID-43435A9A-E5D6-48F0-B17C-0397E963EB0C.htm",
"description":"Adjust the values in this Colour settings tab to set the preliminary colour correction to your RED media.",
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{"title":"Transcode Output Settings",
"href":"./files/topichead_d3e15066.htm",
"description":"",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"}]},
{"title":"Transcode Output Settings 2012",
"href":"./files/GUID-17A012CF-5EB8-4DBF-9F64-D0CBED75D611.htm",
"description":"Use the Output settings to set an output destination for your transcode job and to change how the timecode is used.",
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{"title":"Transcode Output Settings 2012 Extension 1",
"href":"./files/GUID-EE79026E-0602-4DD2-957D-ED3C6461C80E.htm",
"description":"Use the Output settings to set an output destination for your transcode job and to change how the timecode is used.",
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{"title":"Transcode Versioning 2012 Extension 1",
"href":"./files/GUID-2C7AEDDF-9FAF-42D2-8ECF-9A0E4435DB49.htm",
"description":"You can create and store multiple transcode settings for any given RED/ARRIRAW source. All of the transcode settings and their versions are stored in the Library source clip. Because the settings are stored in the Library source clip, you can update the transcode settings in a shot and share those settings with all shots originating from the same source clip. Each shot is still free to use its own version of the transcode settings. You can also share the transcoded media with other timelines that use the same shot, eliminating the need to transcode footage that has already been transcoded.",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"}]},
{"title":"Transcoding Template",
"href":"./files/GUID-1968CF1B-48B2-46B8-909D-B198D8A05F06.htm",
"description":"Once all settings have been established for the RED media, you can choose to save these settings as a template. In the Transcoding Template, you can create a new template, load an existing template, or delete a template.",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"}]},
{"title":"Creating a New Transcoding Template",
"href":"./files/GUID-5FCA8DDA-B8C7-4D36-99DE-0B018953FF9B.htm",
"description":"When you are working on a RED media project, you may want to apply the same transcoding settings to new footage as you import them. Being able to apply the settings from a previous session can ease the transcoding process.",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"},{"title": "Transcoding Template","href":"./files/GUID-1968CF1B-48B2-46B8-909D-B198D8A05F06.htm"}]},
{"title":"Loading a Transcoding Template",
"href":"./files/GUID-872043BA-C95F-43BC-8C7D-DB14B2BC6BBA.htm",
"description":"When you are working with new RED media that has not been transcoded, you can select an existing template to apply its settings.",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"},{"title": "Transcoding Template","href":"./files/GUID-1968CF1B-48B2-46B8-909D-B198D8A05F06.htm"}]},
{"title":"Deleting a Transcoding Template",
"href":"./files/GUID-905C035D-1E65-4C9D-B3CE-C0E610E1B87B.htm",
"description":"For templates that are no longer used, you can delete them from the Transcoding Template list.",
"ancestors":[{"title": "Transcoding","href":"./files/topichead_d3e14108.htm"},{"title": "Transcoding Template","href":"./files/GUID-1968CF1B-48B2-46B8-909D-B198D8A05F06.htm"}]},
{"title":"Conform",
"href":"./files/topichead_d3e15573.htm",
"description":"",
"ancestors":[]},
{"title":"Working with EDL, ALE, and Cutlist Files",
"href":"./files/GUID-724A1531-B5FD-46B6-9749-E1E4E1AECBC5.htm",
"description":"You can automatically recreate a timeline as it was edited during the offline editing stage of post-production provided you have all the source footage that was used, and a CMX3600-formatted EDL, ALE, or Cutlist file that describes how the source footage is arranged in the timeline. The process of rebuilding the timeline is called assembling.",
"ancestors":[{"title": "Conform","href":"./files/topichead_d3e15573.htm"}]},
{"title":"EDL Display and Functionality",
"href":"./files/GUID-9097C616-88D0-4A5E-8CDD-76BBC50C9973.htm",
"description":"When you load an EDL, ALE, or Cutlist file, its events appear in the Assembly window, located in the upper-left portion of the interface.",
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{"title":"EDL and Keycode Assembly Workflow",
"href":"./files/GUID-7A5AB98F-DF7D-459B-9A56-6D88BE8AAB3E.htm",
"description":"The recommended steps for EDL or Keycode assembly are as follows.",
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{"title":"Example of a Possible CDL Workflow",
"href":"./files/GUID-85A9A2B3-FD5D-4A60-975D-5289BE9B33D0.htm",
"description":"To facilitate the transfer of colour intent from the production to the post-production world, many productions do on-set grading. This means that simple colour grading is done at the same time as production. Here is a simplified sequence of events explaining the process:",
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{"title":"Adding CDL Data to an EDL File",
"href":"./files/GUID-42BC8573-F8EC-4DEE-86C5-EB3A6F9206F4.htm",
"description":"You can add CDL data to an EDL file either inline (CDL slope, offset, and power data embedded directly in the EDL), or through an XML reference.",
"ancestors":[{"title": "Conform","href":"./files/topichead_d3e15573.htm"},{"title": "Working with EDL, ALE, and Cutlist Files","href":"./files/GUID-724A1531-B5FD-46B6-9749-E1E4E1AECBC5.htm"}]},
{"title":"Importing an EDL, ALE, or Cutlist File",
"href":"./files/GUID-55691F08-5A2A-4154-A97A-FC96DDE0F09A.htm",
"description":"Before you can assemble an EDL, ALE, or Cutlist file, you have to copy the file into the current scene\'s Library directory.",
"ancestors":[{"title": "Conform","href":"./files/topichead_d3e15573.htm"},{"title": "Working with EDL, ALE, and Cutlist Files","href":"./files/GUID-724A1531-B5FD-46B6-9749-E1E4E1AECBC5.htm"}]},
{"title":"Assembling an EDL",
"href":"./files/GUID-E1077DC0-1075-4287-BACA-3F8C0F3EA210.htm",
"description":"Use an EDL to rebuild a timeline using original source footage that matches the edited timeline from the offline editing stage of post-production. It is also possible to add the assembled EDL to a new layer of the current timeline.",
"ancestors":[{"title": "Conform","href":"./files/topichead_d3e15573.htm"},{"title": "Working with EDL, ALE, and Cutlist Files","href":"./files/GUID-724A1531-B5FD-46B6-9749-E1E4E1AECBC5.htm"}]},
{"title":"Match Grade",
"href":"./files/GUID-21B69CF9-5C17-440E-8955-2490663F04E4.htm",
"description":"The Match Grade feature allows you to apply current grade settings to a new assembled timeline without having to create a new cut file and use the Change Cut option. For information about the Change Cut option, see .",
"ancestors":[{"title": "Conform","href":"./files/topichead_d3e15573.htm"},{"title": "Working with EDL, ALE, and Cutlist Files","href":"./files/GUID-724A1531-B5FD-46B6-9749-E1E4E1AECBC5.htm"}]},
{"title":"Exporting Shots to an EDL",
"href":"./files/GUID-22F2747D-7388-4C11-87EA-40790808C9F0.htm",
"description":"You can export your cut file as a CMX3600 EDL. The exported EDL is saved with the name of the currently loaded cut, plus a *.edl file extension, and is placed in the scene\'s Library directory.",
"ancestors":[{"title": "Conform","href":"./files/topichead_d3e15573.htm"},{"title": "Working with EDL, ALE, and Cutlist Files","href":"./files/GUID-724A1531-B5FD-46B6-9749-E1E4E1AECBC5.htm"}]},
{"title":"Keycode Assembly",
"href":"./files/GUID-4C73A2F0-2026-4656-A895-A4644897AE1B.htm",
"description":"You can load ALE (*.ale) and Cutlist files (*.ctl) as EDLs in the Assemble menu. Once loaded, you can use their keycode information for media assembly.",
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{"title":"Metadata Maintained for Missing Shots",
"href":"./files/GUID-D3B81C8A-4002-43AD-B9FF-093295CB5251.htm",
"description":"If certain shots in the EDL, ALE or Cutlist file are not yet available, or if you would like to update shots that are already linked to events with new shots, you can mark them for capture. Shots can be individually captured either before or after the initial conform. Metadata for missing shots will be maintained for inclusion at a later time, and black frames will be inserted in the timeline where the shot should be. In the meantime, work can begin on the available shots.",
"ancestors":[{"title": "Conform","href":"./files/topichead_d3e15573.htm"},{"title": "Working with EDL, ALE, and Cutlist Files","href":"./files/GUID-724A1531-B5FD-46B6-9749-E1E4E1AECBC5.htm"}]},
{"title":"Colour Decision List (CDL)",
"href":"./files/GUID-E9486A15-D086-495E-BE98-25F489817E58.htm",
"description":"The American Society of Cinematographers Colour Decision List (ASC CDL) colour correction specification defines a common language format for primary colour correction. It is becoming a standard defined by the ASC and has been adopted by most major manufacturers.",
"ancestors":[{"title": "Conform","href":"./files/topichead_d3e15573.htm"}]},
{"title":"CDL Menu",
"href":"./files/GUID-39376078-B2AF-4691-B0C7-262DD6AC7D4F.htm",
"description":"The CDL menu allows you to:",
"ancestors":[{"title": "Conform","href":"./files/topichead_d3e15573.htm"},{"title": "Colour Decision List (CDL)","href":"./files/GUID-E9486A15-D086-495E-BE98-25F489817E58.htm"}]},
{"title":"CDL Parameter in the Selector",
"href":"./files/GUID-BE8674A6-EDAC-4A70-8648-8FA5450A125F.htm",
"description":"The Selector contains the following CDL parameters:",
"ancestors":[{"title": "Conform","href":"./files/topichead_d3e15573.htm"},{"title": "Colour Decision List (CDL)","href":"./files/GUID-E9486A15-D086-495E-BE98-25F489817E58.htm"}]},
{"title":"Loading CDL Data in the EDL Panel",
"href":"./files/GUID-F7D514C0-83D9-4BC6-99FC-4C408A35F294.htm",
"description":"The EDL panel contains an interface to support loading CDL data.",
"ancestors":[{"title": "Conform","href":"./files/topichead_d3e15573.htm"},{"title": "Colour Decision List (CDL)","href":"./files/GUID-E9486A15-D086-495E-BE98-25F489817E58.htm"}]},
{"title":"Editing",
"href":"./files/topichead_d3e17132.htm",
"description":"",
"ancestors":[]},
{"title":"About Editing",
"href":"./files/GUID-087950CD-9FFE-4487-9225-7FD834132395.htm",
"description":"Use the Editing tools in Lustre to make modifications to your cuts, for example, to move, trim, cut, delete or replace shots. You can also add dissolves between shots, perform a confidence check, or use scene detection. Typically, you perform editing operations before colour grading. In this way, the colourist works on only the frames that are destined for the final master.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"}]},
{"title":"Representing the Timeline",
"href":"./files/GUID-922C2587-2A3F-473F-BC9E-F8E639A5A359.htm",
"description":"The sequence of shots in a cut file is referred to as the timeline. Lustre has two visual ways of representing the timeline: the Storyboard and the multi-layer timeline.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "About Editing","href":"./files/GUID-087950CD-9FFE-4487-9225-7FD834132395.htm"}]},
{"title":"Accessing the Edit Menu",
"href":"./files/GUID-6D1F8119-F445-4312-94E9-6EC92922B1FD.htm",
"description":"To modify shots in the timeline, you use the Edit menu.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"}]},
{"title":"Global Access to Editing Hotkeys",
"href":"./files/GUID-314EE189-D5D6-4150-876D-89F369E16FF8.htm",
"description":"When you enable the Editing While Grading button in the User settings, you can access the following editing hotkeys from any Lustre menu except the colourist multi-layer timeline.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Accessing the Edit Menu","href":"./files/GUID-6D1F8119-F445-4312-94E9-6EC92922B1FD.htm"}]},
{"title":"Editing with the Storyboard",
"href":"./files/GUID-B753CCEE-7ED4-4A35-B809-ACD46A661E90.htm",
"description":"The Storyboard is a thumbnail representation of the shots in a cut and provides a Storyboard view of the active timeline layer. For a timeline with multiple layers, if Solo mode is disabled (this is the default), the Storyboard always displays the topmost layer. If Solo mode is enabled, the Storyboard displays the layer according to the location of the focus point. Lustre includes an assortment of tools for adding shots to, and rearranging shots in, your Storyboard. Once you place a shot in the Storyboard, you can modify it.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"}]},
{"title":"Adding Shots to the Storyboard",
"href":"./files/GUID-F420D743-5E05-4393-8C1E-51936950645B.htm",
"description":"You can add shots or timelines to the Storyboard by dragging them from the Library. You can also drag shots or timelines directly from the file browser and drop them into the Storyboard. In this case, the shots are also placed into the Library (if they are not already there).",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing with the Storyboard","href":"./files/GUID-B753CCEE-7ED4-4A35-B809-ACD46A661E90.htm"}]},
{"title":"Reordering Shots in the Storyboard",
"href":"./files/GUID-F11EAF96-80A7-4401-AE5F-C2D6EBA05728.htm",
"description":"You can reorder the shots in the Storyboard.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing with the Storyboard","href":"./files/GUID-B753CCEE-7ED4-4A35-B809-ACD46A661E90.htm"}]},
{"title":"Duplicating Shots in the Storyboard",
"href":"./files/GUID-F18EF21A-90B4-42CA-98DC-F8F45F9A7D40.htm",
"description":"You can duplicate shots in the Storyboard.",
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{"title":"Deleting Shots",
"href":"./files/GUID-ADDDBC9B-6267-4081-9DA6-29380B720DBF.htm",
"description":"You can delete shots from the Library, Storyboard, or multi-layer timeline (see ). Deleting shots from the Library does not delete them from the Storyboard or multi-layer timeline, and vice versa.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing with the Storyboard","href":"./files/GUID-B753CCEE-7ED4-4A35-B809-ACD46A661E90.htm"}]},
{"title":"Trimming from the Edit Menu",
"href":"./files/GUID-79E3EADB-4083-4B85-9CC6-8875A05AE000.htm",
"description":"Use the Trimming tools to adjust the frames used in your edits. When you trim, you are either adding frames to or removing frames from the head or tail of the shots in your cut.",
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{"title":"Viewing Shot Information",
"href":"./files/GUID-749AC99C-B714-4D24-9151-1B76C96352A7.htm",
"description":"When trimming, you will occasionally need information about the frames and timecode in your shots and cuts.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Trimming from the Edit Menu","href":"./files/GUID-79E3EADB-4083-4B85-9CC6-8875A05AE000.htm"}]},
{"title":"Trimming the Head and Tail of a Shot",
"href":"./files/GUID-DFD2D9ED-669D-410C-BAC0-395716E5925D.htm",
"description":"You can trim frames from the head or tail of one or more shots. The head is the first source frame that you specify to use in the shot. The tail is the last source frame that you use in the shot.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Trimming from the Edit Menu","href":"./files/GUID-79E3EADB-4083-4B85-9CC6-8875A05AE000.htm"}]},
{"title":"Slipping a Shot",
"href":"./files/GUID-6A68BDAD-B836-47D2-AB5B-0583ADB77F99.htm",
"description":"You can slip the frames used in one shot without adjusting the shot\'s position in the timeline. You may need to slip your shot to synchronize action in the picture to the audio or because unwanted frames are appearing at either the head or tail.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Trimming from the Edit Menu","href":"./files/GUID-79E3EADB-4083-4B85-9CC6-8875A05AE000.htm"}]},
{"title":"Trimming Interactively",
"href":"./files/GUID-19A4D389-FB60-4F22-AE99-C863807F3324.htm",
"description":"You can trim frames interactively. When you trim interactively, you scrub the Player to add frames to, or remove frames from, the in or out point.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Trimming from the Edit Menu","href":"./files/GUID-79E3EADB-4083-4B85-9CC6-8875A05AE000.htm"}]},
{"title":"Changing In and Out Points for a Shot",
"href":"./files/GUID-DCDD7CA6-6DFE-4471-B629-610A4DD2E114.htm",
"description":"You can change the in and out points for a shot. This is like trimming, except you can only shorten a shot by changing the in or out points.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Trimming from the Edit Menu","href":"./files/GUID-79E3EADB-4083-4B85-9CC6-8875A05AE000.htm"}]},
{"title":"Sliding the Cut Point between Shots",
"href":"./files/GUID-94B1E4CE-6D11-45FE-8E86-96ED8D5E47B1.htm",
"description":"You can interactively move the cut point between two shots forward or backward, if handles are available. Using Slide does not adjust the overall length of your timeline. By removing frames from one side of the cut, you automatically add frames to the other side.",
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{"title":"Inserting Cuts",
"href":"./files/GUID-68EF2324-7446-4280-AB01-5711423267BB.htm",
"description":"You can cut a shot into two shots. This is useful when you want to insert cuts between scenes, or if you need to apply separate grades within a shot.",
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{"title":"Joining Shots",
"href":"./files/GUID-4085E7C6-28C7-413B-9C54-6BCDA83A77EB.htm",
"description":"You can rejoin a shot that is cut. The shots have to come from the same original source, must be adjacent in the Storyboard, and must be incrementing timecode. Join recreates the original sequence, even if there is material missing from the current Storyboard. For example, if you create a cut and trim out something in the middle of the original shot, you can join the shots back together and the missing frames are put back.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Trimming from the Edit Menu","href":"./files/GUID-79E3EADB-4083-4B85-9CC6-8875A05AE000.htm"}]},
{"title":"Changing Playback Speed",
"href":"./files/GUID-4A065217-431B-4F44-B739-3C8FF04A7C33.htm",
"description":"Use the Retime option to change the playback speed of your shots. When you change the playback speed of a shot, Lustre duplicates or removes frames as needed so that the shot plays at the specified constant frame rate. Changing the speed changes the length of the shot, so you may need to trim the shot after you change the speed.",
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{"title":"Replacing Shots",
"href":"./files/GUID-D6F8B7E0-3ECA-49AB-BABD-1B277C12D256.htm",
"description":"You can take a shot from the Library (the source shot) and swap it with another shot in the Storyboard (the destination shot). You can replace the destination shot with a source shot starting at the first frame of the source, or you can replace the destination shot with a source for which you have offset the starting frame.",
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{"title":"Creating Dissolves",
"href":"./files/GUID-B1623A61-1D18-42D5-8EEC-CB92FB252FBC.htm",
"description":"Use dissolves to create a gradual blend between two shots. A dissolve is a transition that causes the outgoing shot to gradually disappear at the same time as the incoming clip gradually appears. Depending on the number of available handles, you can use dissolves to create long, gradual changes, or you can create dissolves with short durations (called soft cuts).",
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{"title":"Adding a Dissolve",
"href":"./files/GUID-ED35BC5E-5DF3-49F9-859A-BB3E2CE0B2BB.htm",
"description":"You can add a dissolve between two shots provided that there are a sufficient number of underlying handles.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Creating Dissolves","href":"./files/GUID-B1623A61-1D18-42D5-8EEC-CB92FB252FBC.htm"}]},
{"title":"Changing Dissolve Duration",
"href":"./files/GUID-6A6C0190-6CFF-40C2-BFA9-F6FE2D0EF0D4.htm",
"description":"You can change the duration of a dissolve at any time.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Creating Dissolves","href":"./files/GUID-B1623A61-1D18-42D5-8EEC-CB92FB252FBC.htm"}]},
{"title":"Creating Additional Handles for Dissolves",
"href":"./files/GUID-FA529437-535D-4F38-ABEC-5876C36EDF9D.htm",
"description":"You can trim handles from outgoing and incoming shots and use them to add a dissolve.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Creating Dissolves","href":"./files/GUID-B1623A61-1D18-42D5-8EEC-CB92FB252FBC.htm"}]},
{"title":"Editing Dissolves",
"href":"./files/GUID-FD714FE3-23E9-4FE4-BB69-E133FE8C29B4.htm",
"description":"The Dissolve menu allows you to animate your dissolve. Use the controls located in the lower left side of the Dissolve editor to add, delete, copy, paste and navigate between keyframes. Navigate the timeline to edit any transition using the Dissolve menu\'s editor and curve window. Use the navigation buttons, the hotkeys or the Autodesk Control Surface to navigate the timeline.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Creating Dissolves","href":"./files/GUID-B1623A61-1D18-42D5-8EEC-CB92FB252FBC.htm"}]},
{"title":"Turning Dissolves Off",
"href":"./files/GUID-821C0683-9D59-4D7E-843C-F56F368B549F.htm",
"description":"Use the Dissolve button in the Edit menu or the Dissolve menu to toggle a dissolve on and off.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Creating Dissolves","href":"./files/GUID-B1623A61-1D18-42D5-8EEC-CB92FB252FBC.htm"}]},
{"title":"Resetting Dissolves",
"href":"./files/GUID-4214A87B-E557-41F4-9365-FF8585CE3391.htm",
"description":"To reset the Dissolve curve to its default value (i.e., two keyframes), either press the Reset button in the Lustre user interface, or press R once (pressing R twice while Reset the grade).",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Creating Dissolves","href":"./files/GUID-B1623A61-1D18-42D5-8EEC-CB92FB252FBC.htm"}]},
{"title":"Adding a Virtual Black Clip using the Storyboard",
"href":"./files/GUID-804FB773-2E73-4367-9AA4-58AD5C7EDBBF.htm",
"description":"Virtual black clips can be added anywhere on the timeline. The default duration of each clip is one second, according to the current project frame rate. See .",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"}]},
{"title":"Multi-Layer Timeline",
"href":"./files/GUID-6A3DAC52-ADCC-41B1-A740-AD1280A5AFC4.htm",
"description":"The multi-layer timeline view organizes footage or elements into a multi-layer format. You can scroll, pan, and zoom the multi-layer timeline, as well as rearrange elements on the timeline by dragging and dropping.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"}]},
{"title":"Timeline Menu",
"href":"./files/GUID-1488A012-6A2D-423F-8AB0-ADE5B34A8581.htm",
"description":"There are various areas to work with when you access the Timeline menu:",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Multi-Layer Timeline","href":"./files/GUID-6A3DAC52-ADCC-41B1-A740-AD1280A5AFC4.htm"}]},
{"title":"Timeline Navigation Controls",
"href":"./files/GUID-9C2B8260-B8BA-4C0B-90D4-A6FD32633760.htm",
"description":"The following is a list of hotkeys and mouse gestures commonly used to navigate within the Timeline menu.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Multi-Layer Timeline","href":"./files/GUID-6A3DAC52-ADCC-41B1-A740-AD1280A5AFC4.htm"}]},
{"title":"Viewing Element Information",
"href":"./files/GUID-2394126E-6F98-46BC-8B74-EA278D1C9EFF.htm",
"description":"It is possible to vertically expand the size of a layer to see more information about the element.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Multi-Layer Timeline","href":"./files/GUID-6A3DAC52-ADCC-41B1-A740-AD1280A5AFC4.htm"}]},
{"title":"Editing in the Timeline",
"href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm",
"description":"The following sections describe how to perform various basic timeline operations.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"}]},
{"title":"Creating a Timeline",
"href":"./files/GUID-E7244888-021F-4AB5-9C52-66CF16831ACB.htm",
"description":"When you add shots to the Storyboard view or assemble an EDL, Lustre creates a timeline. You can then perform editing operations or colour grade the sequence. A timeline can also be called a cut file.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing in the Timeline","href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm"}]},
{"title":"Adding Shots to the Timeline",
"href":"./files/GUID-FDEF27E7-7CA7-4896-9070-A27B8EA0341D.htm",
"description":"You can add shots by dragging and dropping from the Library or Browser to the multi-layer timeline or to the Storyboard. See .",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing in the Timeline","href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm"}]},
{"title":"Importing Timelines as Source Clips",
"href":"./files/GUID-2D2A3071-9A6B-4811-B8D0-9B6481996108.htm",
"description":"Drag and drop timelines (clips with a red background) from the library to the Lustre timeline to build a timeline containing multiple conformed EDLs (for example, multiple scenes of a project).",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing in the Timeline","href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm"}]},
{"title":"Snapping Elements",
"href":"./files/GUID-AFB9F6F6-A1C3-4558-9DD0-9C9B98E537F8.htm",
"description":"Snap mode affects how elements are placed when gesturally moved or copied to the timeline. Snap mode consists of the following three options.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing in the Timeline","href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm"}]},
{"title":"Selecting Elements",
"href":"./files/GUID-638DAF5D-7A73-451A-B0C0-72D3E619FA42.htm",
"description":"You can select multiple elements to move, copy, or delete. Use the following modifier keys to create a selection.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing in the Timeline","href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm"}]},
{"title":"Moving Elements",
"href":"./files/GUID-1BF939BA-CF05-453E-9F44-DE367F2A1ED7.htm",
"description":"You can move an element or a selection of elements within the same layer or to another layer.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing in the Timeline","href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm"}]},
{"title":"Replacing Elements in the Timeline",
"href":"./files/GUID-D4FE7393-9F7F-41FB-B664-B997E09A5717.htm",
"description":"You can now replace shots and select a timeline segment as the destination. The replaced shot starts at the location of the original shot and gap or tail handles appear to fill the original duration",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing in the Timeline","href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm"}]},
{"title":"Swapping Elements",
"href":"./files/GUID-2916DBC1-DAC9-4803-B059-0091707E5841.htm",
"description":"You can swap any two shot elements by selecting them in the timeline or Storyboard. The shots can be in different layers.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing in the Timeline","href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm"}]},
{"title":"Copying Elements",
"href":"./files/GUID-7676C996-079B-4CDF-8D7B-DD86DCBB6C78.htm",
"description":"You can copy one or more elements within the same layer, or from one layer to another. In addition, when copying across layers, you can maintain a vertical lock on the shots you are copying to preserve their \'horizontal\' place in the timeline.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing in the Timeline","href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm"}]},
{"title":"Adding Black Media to the Timeline",
"href":"./files/GUID-1D1ED40E-14DD-4395-B6A5-70E256BE993D.htm",
"description":"You can add black media to the timeline to create a space (or fades) between elements. By default, a black clip is one second in duration, based on the project\'s frame rate.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing in the Timeline","href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm"}]},
{"title":"Deleting Elements",
"href":"./files/GUID-54D7CA98-3AE5-4114-A24C-9499B8F7CC6A.htm",
"description":"You can delete selected elements in the timeline in numerous ways.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing in the Timeline","href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm"}]},
{"title":"Gaps in the Timeline",
"href":"./files/GUID-6339CDF1-F217-40D2-9E30-52AF14035460.htm",
"description":"A gap is an empty space in the timeline. On a single layer, a gap is displayed as a hole in the multi-layer timeline. A red X is displayed in the Player when the positioner is located on a gap. Gaps are also displayed as \'GAP\' in the Source Timecode field.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Editing in the Timeline","href":"./files/GUID-85B7F2EF-CB4C-430C-8160-4670249C522C.htm"}]},
{"title":"Working With Containers, Matte Containers and Multi-channel Clips",
"href":"./files/GUID-A8B43443-434B-4E65-8CD6-D81E17A77B08.htm",
"description":"Containers, matte containers and multi-channel clips are a convenient way of grouping elements on the timeline. They can each be represented in the timeline as a single element.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"}]},
{"title":"About Containers",
"href":"./files/GUID-D52EB65F-5524-4FD6-8EB7-076B8DCD60BC.htm",
"description":"Use containers to store multiple versions of the same shot with different grades or multiple shots. Grading is applied on the shots inside the container and not on the result of the container.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Working With Containers, Matte Containers and Multi-channel Clips","href":"./files/GUID-A8B43443-434B-4E65-8CD6-D81E17A77B08.htm"}]},
{"title":"About Matte Containers",
"href":"./files/GUID-F81AA09D-51D7-434D-A664-FF9BB99658A1.htm",
"description":"Use matte containers to perform secondary colour grading and effects with externally generated mattes.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Working With Containers, Matte Containers and Multi-channel Clips","href":"./files/GUID-A8B43443-434B-4E65-8CD6-D81E17A77B08.htm"}]},
{"title":"Adding a Matte to a Matte Container",
"href":"./files/GUID-EF4CC9DC-5BA1-44CA-AD0E-62915FDCA729.htm",
"description":"There are two ways to add a matte to a matte container.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Working With Containers, Matte Containers and Multi-channel Clips","href":"./files/GUID-A8B43443-434B-4E65-8CD6-D81E17A77B08.htm"},{"title": "About Matte Containers","href":"./files/GUID-F81AA09D-51D7-434D-A664-FF9BB99658A1.htm"}]},
{"title":"Selecting a Matte to Grade Secondary Layers",
"href":"./files/GUID-11945A60-1218-423B-A2C1-72A0F95F15E2.htm",
"description":"By default, the Secondary track in a matte container or multi-channel clip is selected for grading.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Working With Containers, Matte Containers and Multi-channel Clips","href":"./files/GUID-A8B43443-434B-4E65-8CD6-D81E17A77B08.htm"},{"title": "About Matte Containers","href":"./files/GUID-F81AA09D-51D7-434D-A664-FF9BB99658A1.htm"}]},
{"title":"About Multi-channel Clips",
"href":"./files/GUID-F122DC35-FA6C-4452-BB74-7A1592D6CEC6.htm",
"description":"A multi-channel clip is a source clip that contains one or multiple matte channels. Add matte media to source clips in the Lustre timeline to create a multi-channel clip and use the matte for secondary colour grading and effects. See Working with Mattes.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Working With Containers, Matte Containers and Multi-channel Clips","href":"./files/GUID-A8B43443-434B-4E65-8CD6-D81E17A77B08.htm"}]},
{"title":"Edit the Timing of a Matte in a Multi-Channel Clip to Match the Source Clip",
"href":"./files/GUID-6218BB76-A654-4BA3-B229-BBC9F744A47D.htm",
"description":"Timing modifications done inside a multi-channel segment are saved in the source clip in the library. All instances of that source clip are updated to use the new timing.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Working With Containers, Matte Containers and Multi-channel Clips","href":"./files/GUID-A8B43443-434B-4E65-8CD6-D81E17A77B08.htm"},{"title": "About Multi-channel Clips","href":"./files/GUID-F122DC35-FA6C-4452-BB74-7A1592D6CEC6.htm"}]},
{"title":"Trimming Elements",
"href":"./files/GUID-AC1FC7B8-2CE9-4E20-941C-D58CF8469C75.htm",
"description":"Trimming adds head or tail frames to the element or subtracts head or tail frames from the element. You can trim using the trim cursors in the timeline canvas. For a specific trim cursor to appear, you must place the cursor over the required position within the element (i.e., head, tail, or middle section of the element). For example, when you place the cursor over the start of the element (the head), the trim head cursor appears.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"}]},
{"title":"Trimming Cursors",
"href":"./files/GUID-116D9F72-1261-44DB-A2C8-39C09CCD0808.htm",
"description":"The following cursors are used when trimming or slipping and sliding an element.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Trimming Elements","href":"./files/GUID-AC1FC7B8-2CE9-4E20-941C-D58CF8469C75.htm"}]},
{"title":"Trimming With Ripple Mode",
"href":"./files/GUID-068DE0F8-6907-4092-9284-DC1B8685752C.htm",
"description":"Whether Ripple mode is enabled or disabled it determines how the elements are trimmed. When Ripple mode is disabled, the overall duration of the sequence does not change when trimming. When you remove frames from the head or tail, it creates a gap (see ). If there is an element located before of after the trimmed element, only a head or tail trim is possible. To slip & slide an element with Ripple mode disabled can only be done if there are handles at the head and/or tail of the shot. See .",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Trimming Elements","href":"./files/GUID-AC1FC7B8-2CE9-4E20-941C-D58CF8469C75.htm"}]},
{"title":"Slipping an Element",
"href":"./files/GUID-730DA444-5CC1-4268-B133-6C83443DE83D.htm",
"description":"Slipping simultaneously trims the head and tail of the element without changing its position in the sequence. The duration of the shot is not altered. Other elements in the edit sequence are not affected and the total duration of the sequence does not change. You can slip a single element or a selection.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Trimming Elements","href":"./files/GUID-AC1FC7B8-2CE9-4E20-941C-D58CF8469C75.htm"}]},
{"title":"Sliding an Element",
"href":"./files/GUID-EE2F8C3D-7DFA-462F-970A-444C1AC7F80F.htm",
"description":"Sliding changes a shot\'s position in the edit sequence without changing the head or the tail frames. It simultaneously slides the shot under the cursor and trims the head and tail of the surrounding gaps.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Trimming Elements","href":"./files/GUID-AC1FC7B8-2CE9-4E20-941C-D58CF8469C75.htm"}]},
{"title":"Slip & Slide",
"href":"./files/GUID-BED3330F-60E7-477E-91A9-A1EF769D3032.htm",
"description":"Slip and slide changes a shot\'s position in the edit sequence, as well as the head and tail frames. The media of the element stays at the same position in the sequence, but the location of the element changes.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Trimming Elements","href":"./files/GUID-AC1FC7B8-2CE9-4E20-941C-D58CF8469C75.htm"}]},
{"title":"Transitions",
"href":"./files/GUID-0698FA2A-F2B6-4AD0-B3A7-0E6F11B4E9AB.htm",
"description":"A transition is a way to go from one element to another. There are two types of transitions:",
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{"title":"Splices",
"href":"./files/GUID-FF48CE7C-8FDD-4A4F-B55B-070351D0D57E.htm",
"description":"When you add a shot to the Timeline, it automatically creates a splice. A splice is where one element ends and the following element begins, creating a hard transition. It is also possible to add a splice to an element in the Timeline to divide the element into two sections. You can remove a splice from an element, creating a continuous element.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Transitions","href":"./files/GUID-0698FA2A-F2B6-4AD0-B3A7-0E6F11B4E9AB.htm"}]},
{"title":"Dissolves",
"href":"./files/GUID-87E144CC-1C6F-437A-AD07-352747C39419.htm",
"description":"A dissolve is the blending of two elements over a defined period of time. By default, Lustre adds a dissolve centred over the transition. You can slide the dissolve to make it start before or after the transition.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Transitions","href":"./files/GUID-0698FA2A-F2B6-4AD0-B3A7-0E6F11B4E9AB.htm"}]},
{"title":"Displaying the Multi-Layer Timeline",
"href":"./files/GUID-02F89B2D-E866-4413-A7F6-6B9D464F6E29.htm",
"description":"When there are multiple layers and you display footage in the Player, or play out to tape, or render, Lustre\'s default behaviour (called Top Vertical Priority) is to display the visible shots from a top-down view of the flattened timeline. This behaviour is further customized by muting layers and prioritizing individual shots. It is also possible to override Top Vertical Priority by soloing a single layer, which forces Lustre to display, play out to tape, and render only that layer.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"}]},
{"title":"Top Vertical Priority",
"href":"./files/GUID-565C8AA2-0BD2-4AF8-AF9E-23DC8D7ECFF0.htm",
"description":"With exceptions, at any given point in a timeline with multiple layers, the top shot in a vertical stack of layers is the shot that is displayed, rendered, or played out to tape. This is the Top Vertical Priority rule and it is the default behaviour of the multi-layer timeline when Solo mode is disabled (See ).",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Displaying the Multi-Layer Timeline","href":"./files/GUID-02F89B2D-E866-4413-A7F6-6B9D464F6E29.htm"}]},
{"title":"Solo Mode",
"href":"./files/GUID-F6E76A29-9238-42C6-A949-685434959594.htm",
"description":"When you enable Solo mode in the multi-layer timeline and place the focus point over a layer, Lustre displays only this layer (including its gaps) in the Storyboard and Player. In addition, this is the only layer that is played out to tape and rendered locally.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"},{"title": "Displaying the Multi-Layer Timeline","href":"./files/GUID-02F89B2D-E866-4413-A7F6-6B9D464F6E29.htm"}]},
{"title":"Rendering the Timeline",
"href":"./files/GUID-04DD8DF0-43D8-4620-80AB-05C7F25904FF.htm",
"description":"There are numerous scenarios when you render a timeline. See .",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"}]},
{"title":"Modifying the Timeline\'s Starting Record Timecode",
"href":"./files/GUID-5FD5E4B6-1765-46F2-BD55-6BC1732E178C.htm",
"description":"You can change the timeline\'s start timecode by entering either a start timecode or the number of frames you want to start from. Modifying the start timecode does not delete frames that precede the new start frame.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"}]},
{"title":"Performing a Confidence Check",
"href":"./files/GUID-B1A3C802-98D1-40D1-AD74-620E490B1055.htm",
"description":"A confidence check is a process in which you manually check the contents of your timeline (which you created by assembling shots from the scanned film frames) against a digital reference cut captured directly from an offline edit video tape. This is an important step in ensuring that the assembled timeline contains the frames specified by the offline editor. If, for any reason, there is an offset between your current timeline and the digital cut, your picture could end up out of sync with the sound.",
"ancestors":[{"title": "Editing","href":"./files/topichead_d3e17132.htm"}]},
{"title":"Using Scene Detection",
"href":"./files/GUID-EA19900C-FA6B-4652-8B3A-FDAA91B4EF99.htm",
"description":"Use scene detection when you are working on a single shot made up of multiple scenes. Scene detection locates the frames when scenes change and splices the shot at those points. When you apply scene detection to a shot in the Storyboard, it is broken up into numerous smaller pieces that you can then colour grade independently.",
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{"title":"Playing, Viewing and Sorting Shots",
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{"title":"About Playing, Viewing, and Sorting",
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"description":"Lustre offers multiple options for playing, viewing, and sorting shots during the creative process. Use the Player to play one or more shots with your choice of view options, such as proxy resolution with the red colour channel displayed. Move through shots on the timeline using one of several navigation methods. Sort the shots in the timeline so grading can be completed with more ease. Use a reference shot to facilitate tasks such as colour matching. View the reference shot in a separate window or in split-screen with the current shot. If the addition of multiple effects are slowing down playback time, you can cache frames to bring the playback speed closer to real-time.",
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{"title":"Playing Shots",
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"description":"You can play shots in the Player from any menu in Lustre using either playback controls or hotkeys. To play shots, you must first load them into the Storyboard. See .",
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{"title":"Using the Full-Screen Player",
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"description":"The full-screen Player allocates the entire screen to the image. Use it when you want to maximize screen space for viewing shots, for example, while colour grading.",
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{"title":"Viewing Reference Images",
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"description":"The Player has two playheads, A and B, which allow you to quickly access two different areas of your cut. Lustre keeps track of the location of the current frame on each playhead as you navigate through the cut, so you can instantly return to that location by switching playheads.",
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{"title":"Panning and Zooming the Image",
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"description":"You can pan and zoom the image from any menu in Lustre except the Editing menus. You can pan and zoom in both the Player and the full-screen Player.",
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{"title":"Setting Image View Options",
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"description":"Lustre has several view options. As you work on a grade, you can:",
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{"title":"Setting the View Mode",
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"description":"Use the View Mode buttons to view different versions of the image as you work on your grade.",
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{"title":"Selecting the Resolution",
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"description":"While working, you can display the full-resolution version of shots or half-resolution proxies in both the Player and full-screen Player. Displaying proxies speeds up interaction and playback on shots with many effects added to them. Half-resolution proxies are also useful for playing to projectors and for saving disk space—they take up only 1/4 of the space of the original footage. For example, you can store proxies on the server and full-resolution footage on the main storage device.",
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{"title":"Setting the Active Field for Display in the Player",
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"description":"Interlaced video formats divide frames into two line-based fields. One field consists of the first and subsequent odd lines in the frame, and the other field consists of the second and subsequent even lines in the frame. During the recording process, the images that make up each field are recorded at slightly different moments. For example, when recording NTSC, field 1 is recorded 1/60th of a second before field 2.",
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{"title":"Setting the Viewing LUT",
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"description":"Use the LUT button to display the image using one of three Print LUTs selected for viewing purposes. See .",
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{"title":"Navigating through Shots",
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"description":"Various methods are available for navigating through the shots in your cut. You can navigate using:",
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{"title":"Navigating Using the Timebar and Storyboard",
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"description":"Lustre has two timebars to help you navigate through your cut. The Shot timebar represents the current shot, and the Scene timebar represents all the shots in the cut. Use either timebar to move to another frame.",
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{"title":"Navigating with the Playback Controls and Hotkeys",
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"description":"You can use playback controls to navigate through shots. There are hotkey equivalents for several of these controls.",
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{"title":"Monitoring the Location of the Current Frame",
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"description":"The Source Timecode field indicates the source timecode for the current frame. The timeline information field indicates the location of the current frame, as well as other information pertaining to the shot.",
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{"title":"Navigating With the Timecode Calculator",
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"description":"The timecode calculator is displayed when you right-click in the timeline information field with either the frame number or timecode of the current frame displayed.",
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{"title":"Storyboard Viewing Options",
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"description":"The Storyboard is a thumbnail representation of your timeline. Each individual thumbnail represents a single shot. The Storyboard has multiple viewing options. You can:",
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{"title":"Showing and Hiding the Storyboard",
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"description":"You can hide the Storyboard to increase the space available for the image you are working on. You can do this from all menus except the Editing menus — the Storyboard is always visible from the Editing menus.",
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{"title":"Setting the Storyboard View",
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"description":"You can display the Storyboard in regular or large Storyboard view. In regular Storyboard view, it appears below the image window. In large Storyboard view, it appears to the left of the browser, where the Library is usually displayed. Large Storyboard view displays more shots at once in the Storyboard.",
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{"title":"Updating the Storyboard Thumbnails",
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"description":"As you are making changes to the shots within your timeline, you may want to automatically see the changes within the Storyboard thumbnail. The update Storyboard option allows this to happen.",
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{"title":"Selecting Shots in the Storyboard",
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"description":"You can select a single shot or multiple shots in the Storyboard. Multi-select shots to copy parameters, delete multiple shots, and create groups.",
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{"title":"Storyboard Selection Colours",
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"description":"As you work with shots in the Storyboard, the border colours indicate the selection state, as described in the following table.",
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{"title":"Refreshing Storyboard Thumbnails",
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"description":"As you work on your material, you must refresh the Storyboard thumbnails so that they will reflect the changes made to the image. You can refresh them anytime. You can refresh the current shot, or refresh multiple thumbnails at once.",
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{"title":"Displaying Only Selected Shots in the Storyboard",
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"description":"In the multi-layer timeline you can select shots on multiple layers and collapse the Storyboard so that only selected shots are visible. This is useful to isolate certain types of shots for grading, such as outdoor scenes. In addition, in the multi-layer timeline, you can select all the shots on all layers and use the collapse function to align all layers sequentially in the Storyboard.",
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{"title":"Setting the Viewing Options",
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"description":"Lustre has several ways to view and work with single or multiple shots in the Player or the SDI monitor.",
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{"title":"Using Dual View",
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"description":"The two images displayed in Dual view are the current frames on Playheads A and B. Dual view is useful for matching two shots or for copying colour correction parameters from one shot to another. You can view images side by side, or use a wipe. With a wipe (i.e., horizontal or vertical), you see a portion of each image. You can control the position of the wipe bar by adjusting the Value slider.",
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{"title":"Using Multi View",
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"description":"Multi view is useful for viewing your sequence in a Storyboard format while developing continuity between shots. With Multi view, you see the entire image, and you can cycle through viewing 2, 4, 9, or 16 shots.",
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{"title":"Viewing Multiple Shots on the SDI Monitor",
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"description":"You can use Dual view and Multi view in the SDI monitor.",
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{"title":"Timeline Sort Mode",
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"description":"Sometimes it may be easier for you to grade a timeline if the shots are in a different order than the final sequence. You can rearrange the order of the shots so common shots are grouped together, graded, and then returned to their original order. The timeline sort mode allows you to do this. You can modify the order of the shots in your assembled EDL and then apply grading to those shots. Once you have finished grading the sorted shots, you can output the shots to a VTR (via the write telecine tape feature), save the shots as a new cut, or return the shots to their original order. You can sort the shots either by the record timecode or by the reel name and source timecode.",
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{"title":"Accessing the Timeline Sort Feature",
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"description":"To sort the shots within your timeline, you can access the Timeline Sort section in the Assemble menu.",
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{"title":"Sorting with A-Mode",
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"description":"When you use A-mode to sort your timeline, your shots are organized according to their time location within the sequence (i.e., the record timecode). The shots are displayed one after another on a single layer and any dissolves and retimes are not displayed.",
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{"title":"Sorting with C-Mode",
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"description":"When you sort the timeline with C-mode, you are organizing the shots based on the reel name and the source timecode. If the shot does not have a reel/folder name, then the source timecode is used for sorting. The shots are displayed one after another on a single layer and dissolves and retimes are not displayed. You can choose to have your timeline sorted by EDL reel name, folder name, or DPX reel name.",
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{"title":"Caching Frames to Memory for Real-Time Playback",
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"description":"After applying many effects to a shot, you may no longer get real-time playback. To play shots with many effects in real time, you can render and temporarily cache the rendered frames into memory.",
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{"title":"Player Hotkeys",
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"description":"Following is a list of hotkeys and mouse gestures commonly used in the Player and the full-screen Player.",
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{"title":"Removing Dust",
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{"title":"About Dust Removal",
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"description":"Use the Dust Removal tools in Lustre to remove dust, hair, speckles, and other artefacts on your shots. Lustre removes artefacts for you by cloning pixels over them. The cloned pixels may come from the identical location on the previous and next frames, or from the area surrounding the artefact on the current frame, depending on the repair method that you use. You can locate artefacts on each frame yourself, or use an automatic method of artefact detection over one or more shots.",
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{"title":"Preparing for Dust Removal",
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"description":"Before removing dust artefacts from your shots, there are several things you should do:",
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{"title":"Deciding on a Repair Type",
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"description":"To remove artefacts, you can use either the Motion Estimation or Single Frame repair type.",
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{"title":"Deciding on Manual or Automated Dust Removal",
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"description":"There are two methods you can use to remove artefacts—manual or automated. With the manual method, you visually identify artefacts frame by frame and specify the area where you want to apply a mask by drawing boxes around them as you go along. With the automated method, Lustre searches for artefacts and creates the boxes automatically, based on search criteria that you specify.",
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{"title":"Optimizing Dust Detection",
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"description":"For most shots, when you set dust removal parameters for one dust artefact, the settings will work well for other artefacts in the shot. Prior to removing dust either manually or automatically, set parameters in the Dust menu to the best settings for the amount of motion and the colour composition of your shot. When the settings are optimized, save them as default settings so they will be applied to all newly created mask boxes.",
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{"title":"Removing Dust Manually",
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"description":"To remove dust manually, you scan each frame visually for dust artefacts and draw boxes around any artefacts that you find.",
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{"title":"Removing Dust Automatically",
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"description":"You can have Lustre automatically remove dust from each frame in the sequence by analysing the frames based on specified parameter values. Once the analysis is complete, you will need to verify that each box created is around a legitimate dust artefact, and you may need to tweak the settings for some boxes.",
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{"title":"Analysing the Cut",
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"description":"Analysis starts at the current frame and continues from shot to shot until you stop it. You can analyse forward or backward through the cut.",
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{"title":"Post-Analysis Clean-Up",
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"description":"Verify the analysis and tweak the results if needed. You can delete any boxes that are not surrounding legitimate artefacts. You can also tweak the contrast setting on individual boxes if needed.",
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{"title":"Single Frame Dust Removal",
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"description":"In some cases, for example, when a dust artefact occurs in an area of very fast motion, the Motion Estimation repair cannot remove a dust artefact. When this happens, you have two methods you can use to remove the artefact. You can simply instruct the system to repair the entire contents of a box, or you can use a Single Frame repair to clone pixels in the area surrounding the problem.",
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{"title":"Working with Boxes",
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"description":"Whether you choose the manual or automatic method of identifying dust artefacts, you will probably need to adjust the position or size of some boxes, or delete them. Following are basic procedures for working with boxes.",
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{"title":"Infrared Channel Dust Detection",
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"description":"The infrared (IR) channel is available in DPX and Cineon 10-bit files that contain the SGI byte order. This IR channel is collected during the film scanning process at the same time as the visible colour channels (red, green, and blue). Whereas film is mostly transparent to infrared radiation, dust and scratches are not and therefore appear in the IR channel. Once imported into Lustre, the information contained in the IR channel can be used to detect the appearance of dust and scratches to a higher degree than is possible using standard dust detection techniques.",
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{"title":"Options for Saving and Loading Dust Removal Metadata",
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"description":"You can save dust removal metadata manually, or automatically when you save the grade. In either case, the metadata is not saved in the grade file itself, but rather as a separate file called dustbust.data, located in the same directory as the original footage. See .",
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{"title":"Rendering the Result",
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"description":"When you are satisfied with the dust removal results, you can render your material. Two rendering options are available depending on whether you render using the Render menu or the Dust menu:",
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{"title":"Removing Grain",
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"description":"",
"ancestors":[]},
{"title":"About Grain Removal",
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"description":"Use the Degrain tool in Lustre to remove film grain, video noise, and other compression noise from your shots while minimizing damage to the image. Grain removal can be done at any time during the project workflow, but it is typical to perform an initial degrain operation on the source image before primary colour grading begins.",
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{"title":"Analysing the Frame",
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"description":"Before processing the grain filter, the image must be analysed. Use the Grain Analysis panel to perform an analysis on a selected frame. The grain profile for the shot is recalculated each time an analysis is performed. If you navigate to a different frame in the shot and analyze it, the grain profile will be based on the new data.",
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{"title":"Viewing the Result",
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"description":"After the frame is analysed, you can view the result of applying the degrain filter on all or a portion (sub-region) of the image. For increased performance, it is recommended that you select the sub-region where you want to view the filtered result.",
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{"title":"Working with Sub-Region Boxes",
"href":"./files/GUID-16951F69-09F2-4176-A9D6-7060F39D11BA.htm",
"description":"To analyse specific regions of the image’s grain structure, you need to use sub-region analysis boxes. If you are not satisfied with an analysis of the entire image, you can use sub-regions to constrain the analysis to focus on regions of interest. You will probably need to adjust the position or size of some boxes, or delete them. Following are basic procedures for working with boxes.",
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{"title":"Locating Sub-Region Analysis Boxes Within a Shot",
"href":"./files/GUID-0CE39D3C-2F28-4D57-9F8A-A37032CE3661.htm",
"description":"Use the navigation buttons in the Reference panel to easily locate and navigate between shots that use sub-region boxes for degrain analysis.",
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{"title":"Post-Analysis Clean-Up",
"href":"./files/GUID-8769DA10-0C9E-473B-82CF-1F4CFAAC4BA7.htm",
"description":"Once you have analysed the grain profile, you can make adjustments to the profile. You can adjust spatial degrain parameters, or apply a temporal degrain that can include previous or subsequent frames in the shot. A curve is displayed for each colour channel. You can manually adjust a response curve for the gain of each colour channel in the Curve Editor.",
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{"title":"Adjusting Spatial Degrain Settings",
"href":"./files/GUID-5FBF0955-FB27-4E98-A545-009B27EADD63.htm",
"description":"You can fine-tune grain removal by changing the spatial degrain parameters in the Degrain Settings panel.",
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{"title":"Applying Temporal Degrain Settings",
"href":"./files/GUID-F21DE0E4-DB46-42FB-ADFB-FDAA62A9DCDF.htm",
"description":"If you degrain the source image (using the Degrain menu in the Input menu), you can include temporal degrain operations to the grain filter, by comparing the pixel data in past or future frames. These options yield best results when frames include many static or slowly moving objects in the image. Temporal options will improve grain removal results, but it will also increase processing time.",
"ancestors":[{"title": "Removing Grain","href":"./files/topichead_d3e24063.htm"},{"title": "Post-Analysis Clean-Up","href":"./files/GUID-8769DA10-0C9E-473B-82CF-1F4CFAAC4BA7.htm"}]},
{"title":"Adjusting the Response Curves",
"href":"./files/GUID-C3E0C40D-5296-493A-85B3-3FCA9ACFBDE2.htm",
"description":"Response curves represent the noise intensity for each colour channel. Modify the red, green, or blue response curves to fine-tune the degrain. You can add vertices to a curve to refine your adjustments.",
"ancestors":[{"title": "Removing Grain","href":"./files/topichead_d3e24063.htm"},{"title": "Post-Analysis Clean-Up","href":"./files/GUID-8769DA10-0C9E-473B-82CF-1F4CFAAC4BA7.htm"}]},
{"title":"Caching the Result",
"href":"./files/GUID-CA13DF40-D136-4F52-A166-7A867CAE4C31.htm",
"description":"Degrain operations use caching of input images to manage the intensive processing requirements imposed on Lustre. If the Apply Degrain button is enabled, a degrained shot is automatically cached when the shot is initially played back after a Degrain operation. You can also use the Slave Renderer and Burn to cache frames. See .",
"ancestors":[{"title": "Removing Grain","href":"./files/topichead_d3e24063.htm"}]},
{"title":"Caching Frames from Wiretap",
"href":"./files/GUID-55949BBF-492E-445A-AA9D-645763D65B0A.htm",
"description":"You can cache frames from media imported from Wiretap and Wiretap Gateway. Cached frames are saved in the user-defined location set in the Degrain Cache field found in Project settings. Media is saved in this location even if, in the Rendering menu, the Degrain File Location option box is set to Save with Scan.",
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{"title":"Caching Frames Remotely",
"href":"./files/GUID-BFAEB23E-8EA2-47AA-8036-7CDBA4F41C26.htm",
"description":"You can use a Slave Rendering machine to cache frames in the background as you work, or Burn to submit a caching job.",
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{"title":"Clearing the Cache",
"href":"./files/GUID-165A8054-53EC-4D25-9417-F6E20291EF4E.htm",
"description":"You can clear the cached frames for the current shot or clear the degrain_cache folder for the entire cut. The files that will be removed are dependent upon where you choose to save your files.",
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{"title":"Removing Grain with Secondaries",
"href":"./files/GUID-5228C959-6780-4228-BBF0-093FBF8D60C1.htm",
"description":"After you have applied degrain operations to the input image, you can isolate parts of the image to degrain using secondaries. Degrain operations are cumulative: after initial noise removal, multiple passes using secondaries on the same area will be added to the final result.",
"ancestors":[{"title": "Removing Grain","href":"./files/topichead_d3e24063.htm"}]},
{"title":"Copying Degrain Information",
"href":"./files/GUID-CAD2354A-DB87-4F87-8201-CE5C24509094.htm",
"description":"You can copy all or a selection of the Degrain menu parameters from a shot using the Selector. These parameters include the option to have degrain enabled or disabled on the destination shots. See .",
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{"title":"Saving and Loading Degrain Presets",
"href":"./files/GUID-F24D0264-9BB3-4037-ABBB-3296E94C4023.htm",
"description":"Once you create a grain profile, you can save it as a preset and reload it for later use or in other shots. A preset saved for an input image can be loaded on a secondary, and vice versa.",
"ancestors":[{"title": "Removing Grain","href":"./files/topichead_d3e24063.htm"}]},
{"title":"Repositioning Images",
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"description":"",
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{"title":"About Repositioning",
"href":"./files/GUID-D14EE1CD-2E3F-4DA2-847C-4B26D2C80E10.htm",
"description":"Use the Reposition tools to reframe your shots. Generally, when you reframe a shot, you are adjusting the viewable area of your frames within a specified smaller area.",
"ancestors":[{"title": "Repositioning Images","href":"./files/topichead_d3e24751.htm"}]},
{"title":"Adjusting the Frame Aspect Ratio",
"href":"./files/GUID-66149894-50CA-4770-8808-C27B75563763.htm",
"description":"Before you begin repositioning your shots, make sure you have set the aspect ratio of the output frame.",
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{"title":"Accessing the Reposition Menu",
"href":"./files/GUID-F89FC256-DEDD-4475-97CC-B9B16D15A153.htm",
"description":"Once you select the shot you want to adjust or modify, you can access the Reposition menu. This menu provides the commands you need to reframe an image by:",
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{"title":"Reframing an Image",
"href":"./files/GUID-E48AB131-1206-426D-BD52-513014C2A367.htm",
"description":"Depending on how the original film was shot, you may have to reframe your footage at some point to account for the final aspect ratio of the delivery format. It may also be necessary to use the reframe functions to output film frames to common SD formats or DVD.",
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{"title":"Racking an Image",
"href":"./files/GUID-42DA8EE8-4774-4789-9BFB-E71D5C663C2B.htm",
"description":"Racking involves adjusting the vertical position of a shot. You need to rack your images after you adjust the aspect ratio. By racking, you ensure that the important element of the shot composition is framed correctly in the final images.",
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{"title":"Repositioning an Image",
"href":"./files/GUID-0DC9B1E6-E6DA-4BD1-BA96-4AB59D5F843C.htm",
"description":"Repositioning involves scaling, rotating, and horizontally and vertically moving images to ensure that the correct elements are visible in the frame. You need to do this after adjusting the project aspect ratio. If you do not, key elements of the shot composition may be cropped or even completely off screen.",
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{"title":"Turning Off Reframing",
"href":"./files/GUID-7AF83E97-3F6A-4F4C-A687-7599C7DCADE0.htm",
"description":"You can remove Reframing settings from your shots at any time.",
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{"title":"Flipping or Flopping a Shot",
"href":"./files/GUID-3D6A4D50-F3B0-4098-B3FD-01A52A131943.htm",
"description":"Use the Flip or Flop tool to change your shot\'s orientation.",
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{"title":"Tracking Repositioned Shots",
"href":"./files/GUID-2B6495D0-6BFC-49F3-86F6-E6E3F85B908B.htm",
"description":"Use the Point Tracker to stabilize a repositioned shot so that a selected point or shape in the source frame remains fixed in the same spot in the Player. You can use the Point Tracker in conjunction with reframing to stabilize jittery shots, or to automate the repositioning process. For example, if the original widescreen shot contains a pan across a landscape, but you want to fix the view on a house (for television viewing), you track the house, and then assign the tracking data to the Reposition tool. This sets pan and scan values at each frame. The result is that the house remains in the same spot in the repositioned image.",
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{"title":"Using the Point Tracker",
"href":"./files/GUID-73FBE11C-C7B2-470E-ABD6-2FE8D54AC563.htm",
"description":"You can use the Point Tracker to stabilize a repositioned shot.",
"ancestors":[{"title": "Repositioning Images","href":"./files/topichead_d3e24751.htm"},{"title": "Tracking Repositioned Shots","href":"./files/GUID-2B6495D0-6BFC-49F3-86F6-E6E3F85B908B.htm"}]},
{"title":"Animating Reposition Values",
"href":"./files/GUID-E6501DE8-2908-4060-B27B-D0E5F12CB874.htm",
"description":"Use the Animation controls in conjunction with the Reposition tools to animate the position, rotation, scaling, and aspect ratio of your shots. You can use this feature to simulate camera movement, which is useful when you want to make a still shot more dynamic. You can animate manually or using Autokey.",
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{"title":"Setting Rendering Quality",
"href":"./files/GUID-C313CE3C-828B-4B56-A234-DCCA39E47F2F.htm",
"description":"There are several options you can use to modify the way the repositioned images are rendered.",
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{"title":"Input LUTs",
"href":"./files/topichead_d3e25346.htm",
"description":"",
"ancestors":[]},
{"title":"About LUTs",
"href":"./files/GUID-2E533027-F6C3-4800-B3F7-4BCCDF10C41F.htm",
"description":"Film projects use digitized film images originating from a datacine conversion process. These are high-resolution scans of the film frames that preserve much of the film\'s resolution, colour depth, and grain.",
"ancestors":[{"title": "Input LUTs","href":"./files/topichead_d3e25346.htm"}]},
{"title":"Accessing the Input LUT Menu",
"href":"./files/GUID-ED7ED8CF-85E0-4A19-93EA-095C3FBE686F.htm",
"description":"Use the Input LUT menu to apply existing input LUTs to shots. In Linear mode, you can also use the LUT Editor to create Log to Lin conversion LUTs for shots containing logarithmic data.",
"ancestors":[{"title": "Input LUTs","href":"./files/topichead_d3e25346.htm"}]},
{"title":"Importing a LUT File",
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"description":"Lustre can use the LUT files that you import into the application folder’s lut directory. The LUT filename is displayed when the LUT list is displayed.",
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{"title":"Applying an Existing Input LUT",
"href":"./files/GUID-A4FB1067-EC6C-497B-B786-D3A8B543A85D.htm",
"description":"An input LUT can be used to convert and gamma correct the logarithmic or linear data. Apply an input LUT to a shot to remap the colour values. Input LUTs are applied on a shot-by-shot basis and can be toggled on and off.",
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{"title":"Linear Mode: Creating Conversion LUTs",
"href":"./files/GUID-A013E24C-1258-4CC6-B68A-494C78B75A03.htm",
"description":"Different film stocks produce various results. Shoots can also occur under many conditions, creating colour variations in the image. To create continuity between shots, you can apply unique Log to Lin conversion LUTs to different shots. Use the LUT Editor to create Log to Lin conversion LUTs. Conversion LUTs are used to gamma correct the shot and convert logarithmic data to linear data.",
"ancestors":[{"title": "Input LUTs","href":"./files/topichead_d3e25346.htm"}]},
{"title":"Viewing Reference Images",
"href":"./files/GUID-D530FB4C-B481-4E2A-8AE7-860AAD691DBD.htm",
"description":"While creating Log to Lin conversion LUTs, it is important to view reference images. For example, view other shots in the cut to ensure continuity.",
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{"title":"Comparing Colour Values",
"href":"./files/GUID-4AD9A86B-B0B1-49DA-9AF3-3C95BE5B5CC8.htm",
"description":"While creating the Log to Lin conversion LUT, you can use the Pixel Analyser to sample the shot and compare the original and resulting colour values.",
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{"title":"Modifying Default LUT Values",
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"description":"When you convert logarithmic data to linear data with the Log to Lin conversion LUT, you can modify several settings from the Input LUT menu:",
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{"title":"Colour Grading: Basics",
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"description":"",
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{"title":"About Colour Grading",
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"description":"Lustre provides interactive colour grading tools for the creation of continuity grades and artistic colour effects. You can perform advanced colour grading in either logarithmic or linear colour space as well as save colour grading settings for future sessions and ongoing use. While you manipulate the colour content of a shot, you can monitor reference images, as well as changes you make to the colour distribution of the shot to ensure that you achieve the result you want.",
"ancestors":[{"title": "Colour Grading: Basics","href":"./files/topichead_d3e25922.htm"}]},
{"title":"Colour Grading Workflow",
"href":"./files/GUID-F6570523-C7CE-4201-A201-F2A9DFC05D48.htm",
"description":"The procedures required to digitally colour grade footage depend on your goal, the shots used in your scene, and the architecture—logarithmic or linear—that you are working in. Scenes consisting of footage shot on the same camera equipment and under consistent conditions may be colour graded quickly and easily. Scenes created from footage shot on multiple cameras across several months and under varying lighting and weather conditions require more work.",
"ancestors":[{"title": "Colour Grading: Basics","href":"./files/topichead_d3e25922.htm"},{"title": "About Colour Grading","href":"./files/GUID-F8BA70AE-8C24-41C1-AA4A-E242A6592531.htm"}]},
{"title":"Colour Grading Concepts",
"href":"./files/GUID-D407675C-D401-4AB5-89FD-847F9F0BD39D.htm",
"description":"Altering the colour content of your footage to create a colour look across a series of shots, scenes, or the entire project is the primary objective of colour grading (also referred to as colour timing). The following concepts are used throughout the colour grading chapters.",
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{"title":"Accessing Colour Grading Menus",
"href":"./files/GUID-2E080451-6130-4D3E-B610-D5818079DAC7.htm",
"description":"Use the Colour menu to access the Grading, Curves, Secondaries, Degrain, and Timeline menus.",
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{"title":"Displaying Colour Menus in the Player",
"href":"./files/GUID-1DD2AF75-ADC2-4D1E-B403-5D46951C49EF.htm",
"description":"You can display the Grading, Curves and Secondaries colour grading menus in the Player next to the image in the currently active playhead. This allows you to:",
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{"title":"GPU Acceleration",
"href":"./files/GUID-BC06DF36-FC43-4682-97D7-6C14F3597ACF.htm",
"description":"Processing with the Graphics Processing Unit (GPU) is available for certain features and is faster than processing with the Central Processing Unit (CPU).",
"ancestors":[{"title": "Colour Grading: Basics","href":"./files/topichead_d3e25922.htm"}]},
{"title":"GPU Auto Switch",
"href":"./files/GUID-501AF3B5-3863-473C-9B9F-2D3D49592F9C.htm",
"description":"By default, when you use a feature that is not supported by GPU (while in GPU acceleration mode) it automatically switches to CPU processing mode. The GPU button is greyed out in the user interface to show you that this feature is not GPU compatible. You can prevent the switch to CPU mode by disabling the GPU Auto Switch feature, see . When you disable the GPU Auto Switch button, you can only see features which are supported by GPU (when GPU acceleration is enabled). To see all of the features, you have to disable the GPU button.",
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{"title":"Colour Grading With the Control Surfaces",
"href":"./files/GUID-2732010A-66D0-4B51-8FB5-D938D82ECC56.htm",
"description":"The control surfaces facilitate colour grading work by accelerating interactivity with the shots. You can use control surfaces to perform many colour grading tasks. The dials and trackballs give you precise control over the colour effects you create.",
"ancestors":[{"title": "Colour Grading: Basics","href":"./files/topichead_d3e25922.htm"}]},
{"title":"Viewing Multiple Shots",
"href":"./files/GUID-6C609BC3-5247-412C-BAD5-059739C8FE7C.htm",
"description":"You can view multiple shots in the Player while you work. These views are useful when you want to compare shots in a cut to ensure continuity, match colours, or view a group of shots in which the colour grading parameters you are modifying are ganged. See and .",
"ancestors":[{"title": "Colour Grading: Basics","href":"./files/topichead_d3e25922.htm"}]},
{"title":"Reference Images",
"href":"./files/GUID-B62E9F9F-52B6-4405-BCFB-3F354A89BFFE.htm",
"description":"You can view a reference image while you work. For example, use a reference image to visually compare the current shot to another when you develop a continuity grade. Reference images are stored in the frame buffer and are loaded from your cut or from the Grade bin. You can only have one reference image stored in the frame buffer at a time. You can switch between different reference images to ensure continuity and consistency throughout the project. See .",
"ancestors":[{"title": "Colour Grading: Basics","href":"./files/topichead_d3e25922.htm"}]},
{"title":"Viewing Proxies",
"href":"./files/GUID-2B563C2F-D3E6-4CF7-A35C-6E6994FF2F3C.htm",
"description":"After you generate proxies, you can view proxies while you colour grade your shots. It is useful to view proxies if interaction slows down. This can occur when you perform secondary colour grading on high-resolution images because a large amount of processing is required to display the result at full resolution.",
"ancestors":[{"title": "Colour Grading: Basics","href":"./files/topichead_d3e25922.htm"}]},
{"title":"Analysing the Image",
"href":"./files/GUID-43C843C4-2DAB-4851-943F-EB72118DEABA.htm",
"description":"While you colour grade, you can use different tools to view and analyse colours. Use the Analyse tools to view the colour distribution in the current frame. Use the Pixel Analyser to sample the image to compare colour values used in the input (original) and output (result) images.",
"ancestors":[{"title": "Colour Grading: Basics","href":"./files/topichead_d3e25922.htm"}]},
{"title":"Sampling Colour Values",
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"description":"When you generate mattes, modify shots, or match colours between shots, you can sample the current image in the Player. When you sample the image, the input and output colour values are displayed in the Pixel Analyser.",
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{"title":"Viewing Colour Distribution",
"href":"./files/GUID-E4BFD58C-1B32-4314-8FBE-499FC052A8D9.htm",
"description":"There are a variety of Analyse tools that you can use to view the colour distribution in the current frame. Analyse tools are useful when you want to determine the original structure of the image and see how a grade transforms the colour space.",
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{"title":"Saving and Loading Presets Using the Presets Lists",
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"description":"To increase the efficiency and speed of the colour grading process, you can save a limited set of the colour grading parameters that you plan to reuse on a regular basis. These predefined settings, or presets, are saved on a menu-by-menu basis and are stored in the Presets lists.",
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{"title":"Saving Presets",
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"description":"Save settings from the current Colour menu to a preset. You can save settings to the following Presets lists:",
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{"title":"Loading Presets",
"href":"./files/GUID-C010DAC5-AFA7-4CBF-BD5C-C6A8BCE57BBB.htm",
"description":"Increase efficiency by loading presets to the current shot when you want to reuse Colour menu settings. Preview the effect a preset will have on a shot before you apply the settings.",
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{"title":"Colour Grade Animation",
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"description":"Use the Animation controls to animate colour grades. You can animate any parameter from the Colour menus except those in the Curves menu. For example, animate a colour grade to convey a change in the ambient light. To access the Animation controls, click the Anim button. See .",
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{"title":"Grade Bin Storage",
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"description":"During the colour grading process, use the Global Grade bin or Scene Grade bin as a framestore for reference images and as a scratch pad for grades. Grade settings are stored in the Grade bins on a shot-by-shot basis. See and .",
"ancestors":[{"title": "Colour Grading: Basics","href":"./files/topichead_d3e25922.htm"}]},
{"title":"Colourist Multi-Layer Timeline",
"href":"./files/GUID-C119EE98-CA94-490D-831D-DBA7E5F16403.htm",
"description":"The colourist multi-layer timeline allows you to perform limited editing functions within the Colour menu. Grading information (a selection of a shot\'s grading information or all of the grading information) can be copied from one shot to another or to several others.",
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{"title":"Accessing the Colourist Timeline Menu",
"href":"./files/GUID-AA429813-CB7E-48FB-B759-69DA061BB3C7.htm",
"description":"To edit shots in the colourist timeline view, you need the Timeline menu.",
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{"title":"Copying Grading Information in the Colourist Timeline",
"href":"./files/GUID-804D2634-EF9B-4A47-8EC5-DC0D98673613.htm",
"description":"There are several procedures for copying grading information using the colourist timeline. You can easily drag and drop all or a selection of grading information from shot to shot (or to multiple shots). You can also drag and drop grading information from multiple shots to an equal number ot shots.",
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{"title":"Primary Colour Grading",
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"description":"",
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{"title":"About Primary Grading",
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"description":"Primary colour grading is applied to the entire image and is used to obtain an overall colour look. With primary colour grading, you modify the primary colour channels (red, green, and blue) independently. Although you can manipulate these colour channels simultaneously, the modifications you make to one colour channel will not depend on the pixel intensity of the other colour channels.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"}]},
{"title":"Accessing the Grading Menu",
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"description":"Primary colour grading is done from the Grading menu.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"}]},
{"title":"Logarithmic Mode: Modifying the Brightness",
"href":"./files/GUID-10A9B670-1013-4CA7-9EAB-66065A416713.htm",
"description":"When you modify brightness, colours appear to emit more or less light. You can modify brightness across the entire image or just in the shadows, midtones, and highlights. You can also view and make printer light adjustments. Reset the brightness settings to their original values at any time.",
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{"title":"Modifying Brightness in the Entire Image",
"href":"./files/GUID-234C9BFC-8F11-4D61-B75A-3D13A2A63432.htm",
"description":"You can increase or decrease colour brightness across the entire image. Use the Brightness slider to modify the brightness of the red, green, and blue levels uniformly. Use the Brightness Balance wheel to balance colours, remove or add a colour cast, create a sense of time, or create ambience. When you use the Brightness Balance wheel, you modify RGB levels proportionally without changing the overall brightness. For example, if you drag the Brightness Balance wheel toward blue, blue will appear to emit more light while red and green will appear to emit less; the image may therefore develop a blue cast.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"},{"title": "Logarithmic Mode: Modifying the Brightness","href":"./files/GUID-10A9B670-1013-4CA7-9EAB-66065A416713.htm"}]},
{"title":"Adjusting Printer Lights for Primary Grading",
"href":"./files/GUID-FCE74069-8C2C-41FA-B92B-22C9CB032512.htm",
"description":"You can make printer light adjustments to the entire image when you want to grade your shots according to printer lights and fstops. You can adjust the level of the overall colour brightness or the level of the RGBCMY values independently. You can then send the printer light settings to the film lab for processing. Printer light steps are set in the Display & Interface page of the user configuration. See .",
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{"title":"Modifying Brightness in the Shadows, Midtones, and Highlights",
"href":"./files/GUID-C88729FE-2D66-439C-BD9E-BB08F76C83D5.htm",
"description":"You can increase or decrease the brightness in the shadows, midtones, or highlights. Use the Shadow, Midtone, or Highlight slider to modify the brightness of the red, green, and blue levels uniformly. Use the Low, Mid, or High Balance wheel to balance colours by modifying RGB levels proportionally.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"},{"title": "Logarithmic Mode: Modifying the Brightness","href":"./files/GUID-10A9B670-1013-4CA7-9EAB-66065A416713.htm"}]},
{"title":"Resetting Overall Brightness",
"href":"./files/GUID-B5FD45AC-BB46-4EF6-833C-4242CA2604B0.htm",
"description":"You can reset the image brightness using the keypad hotkey.",
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{"title":"Logarithmic Mode: Improving Contrast",
"href":"./files/GUID-D826A578-EFD5-4B85-BDAB-82BE98EF5E76.htm",
"description":"Poor image contrast can be caused by various factors. For example, when you remove a colour cast from a shot, the shot may become washed out. Washed out images usually occur when image contrast and saturation levels are too low. To complete the task of balancing the colours in the shot, use the Contrast controls to correct poor contrast. When you correct contrast, you can also set the pivot point and saturation levels. See and .",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"}]},
{"title":"Modifying Image Contrast",
"href":"./files/GUID-68D4794A-2049-40B3-80D0-71C41476BBA2.htm",
"description":"Improve image contrast by modifying the film gamma with the Contrast slider. Use the Contrast Balance wheel to increase the contrast of any channel while decreasing the contrast of other channels. These changes in contrast are relative to the pivot point.",
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{"title":"Setting the Pivot Point",
"href":"./files/GUID-EF53B1A1-E327-4CFA-A718-DE864A0280C1.htm",
"description":"You can set the pivot point for contrast. The pivot point is the anchor around which contrast is scaled. By default, the pivot point is set to the midpoint in the image. You can move the pivot point to scale the contrast around the image highlights or shadows.",
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{"title":"Modifying Saturation",
"href":"./files/GUID-C888FC8F-55D1-4AE2-937E-46721A3E6D31.htm",
"description":"Control the image\'s colour intensity by modifying saturation levels.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"},{"title": "Logarithmic Mode: Improving Contrast","href":"./files/GUID-D826A578-EFD5-4B85-BDAB-82BE98EF5E76.htm"}]},
{"title":"Linear Mode: Selecting Levels of the Image",
"href":"./files/GUID-9C88716F-228A-4C41-B1F9-0BF02C14B733.htm",
"description":"You can modify lift, gain, gamma, and saturation in the low, mid, and high levels of the image, or across the entire image. Select the range you want to modify while performing primary colour grading. You can also define values to clamp minimum and maximum luminance values.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"}]},
{"title":"Linear Mode: Modifying Lift",
"href":"./files/GUID-D3664934-B1E9-4518-BB67-7E8D916980B0.htm",
"description":"You can lift colour values in a selected range or in the entire image, and then offset ranges of colour. Changes in lift mostly affect black level. Although lift affects the entire image or image level, visually, it mostly affects the shadows.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"}]},
{"title":"Linear Mode: Modifying Gain",
"href":"./files/GUID-AD6CB68A-4BC9-4DA0-A8EF-B6C8F0E840ED.htm",
"description":"You can boost image colours in the highlights of the selected range or entire image. Changes in gain mostly affect the highlights and do not change the black point of the image. Gain is similar to brightness in Log mode.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"}]},
{"title":"Linear Mode: Modifying Gamma",
"href":"./files/GUID-DAD704BF-8AFF-4175-9265-83312870A107.htm",
"description":"You can adjust the grey values of an image by adjusting gamma. This allows you to brighten or darken the image and modify the gamma level without greatly affecting the shadows and highlights.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"}]},
{"title":"Linear Mode: Modifying Saturation",
"href":"./files/GUID-5D5228F5-4574-4A2C-A380-993341FB0B59.htm",
"description":"Control the image\'s colour intensity by modifying the saturation levels.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"}]},
{"title":"Linear Mode: Modifying Contrast",
"href":"./files/GUID-9C4BEB18-73B8-4423-8B14-5FB4185B1939.htm",
"description":"As in Log mode, you can complete the task of balancing the shot\'s colours by modifying the contrast. With the Contrast slider, you can change the image\'s Linear luminance curve to a film-contrast-like S curve.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"}]},
{"title":"Linear Mode: Setting Black Clip and White Clip",
"href":"./files/GUID-88EF2029-DD0B-4853-B2D3-C39F0D76ED53.htm",
"description":"You can define values to clamp minimum and maximum luminance values using the clip and reference sliders.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"}]},
{"title":"Matching Colours",
"href":"./files/GUID-FB20A19D-AEA0-47AD-B4EF-E4D158A1AFCA.htm",
"description":"Use the Match feature to match a sample from one shot to other shots to improve continuity between shots in a scene. You can match highlights, shadows, or overall saturation. You can also use Match when you want to match colours such as the colour of the sky or skin tone.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"}]},
{"title":"Autograding Shots",
"href":"./files/GUID-1A499CD4-3E14-424D-8DF6-FAB382866A13.htm",
"description":"From the Grading menu, you can automatically colour grade a shot based on sampled pixels. Autograding balances the colours according to the Brightness Balance wheel—the sampled pixels are changed to a more neutral colour. For example, if you sample an area that contains more blue than any other colour, yellow (the colour that is opposite on the colour wheel) is added to the image. To properly autograde a shot, sample an area of the image that should be neutral or have no hue cast. Sample blacks, whites, or greys.",
"ancestors":[{"title": "Primary Colour Grading","href":"./files/topichead_d3e27130.htm"}]},
{"title":"Colour Grading: RGB and Hue Curves",
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"description":"",
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{"title":"About RGB and Hue Curves",
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"description":"When you want to colour grade a specific range of colour without generating a key, you can modify the RGB and Hue curves. The RGB curves are inserted in the processing pipeline in two places—after the initial primary colour grade and after the addition of any Sparks effects. Sparks are inserted after secondary colour grading. The Hue curves are inserted in the processing pipeline in one place—after the initial primary colour grade. RGB and Hue curves can also be applied to secondary colour grades.",
"ancestors":[{"title": "Colour Grading: RGB and Hue Curves","href":"./files/topichead_d3e28164.htm"}]},
{"title":"Accessing the Curves Menu",
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"description":"Use the Curves menu to modify RGB and Hue curves.",
"ancestors":[{"title": "Colour Grading: RGB and Hue Curves","href":"./files/topichead_d3e28164.htm"}]},
{"title":"Plotting Colour Values when Adjusting Curves",
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"description":"Plot the colour value of any sample on RGB and Hue curves. While you make adjustments, you can plot colours as often as necessary to isolate the colours you want to modify.",
"ancestors":[{"title": "Colour Grading: RGB and Hue Curves","href":"./files/topichead_d3e28164.htm"}]},
{"title":"Modifying Red, Green, and Blue Channels",
"href":"./files/GUID-B909B933-695B-40CF-BCB4-472D7FFDC4A9.htm",
"description":"Modify the RGB, red, green, or blue curves to fine-tune the colour grade. When you modify the RGB curve, the red, green, and blue channels are adjusted equally. When you modify the red, green, or blue curve, only the selected colour channel is adjusted. You can add vertices to a curve to refine your adjustments.",
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{"title":"Modifying Hue, Saturation, Luminance, and Lightness",
"href":"./files/GUID-DE55BB18-E17B-439B-967D-33709DC05D68.htm",
"description":"Modify curves to adjust the hue, saturation, luminance, and lightness of an image. You can:",
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{"title":"Shifting Hue",
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"description":"Shift the hue of the entire image or a range of colour in the image.",
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{"title":"Saturating and Suppressing Colours",
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"description":"You can adjust the purity of colours in the image by modifying the saturation. You can suppress or saturate colours in a range or across the entire image.",
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{"title":"Modifying Image Luminance",
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"description":"The Luminance curve represents the gamut of light from black to white. Use the Luminance curve to saturate or desaturate different luminance areas by adding or removing hue from black and white points. Like any other curve, you can add points to refine ranges of an effect.",
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{"title":"Modifying Image Lightness",
"href":"./files/GUID-5FC16EE7-D784-4AD8-B5AD-D9AEA9515560.htm",
"description":"Increase or decrease the lightness in specific colour ranges or across the image.",
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{"title":"Secondary Colour Grading",
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"description":"",
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{"title":"About Secondary Colour Grading",
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"description":"In Lustre, you perform secondary colour grading on shots. With secondary colour grading, you isolate and then colour grade colour ranges and objects in your shots. Secondaries are defined by a combination of keys and geometries—keys to isolate colours and geometries to isolate objects or areas in the image. To colour grade an object that moves through time, you can animate the associated geometry using trackers.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Accessing Secondary Grading Menus",
"href":"./files/GUID-31EE71F1-2882-4EFF-90F5-AEABCF517477.htm",
"description":"You perform secondary colour grading with the Secondaries and Grading menus.",
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{"title":"The Secondaries Menu",
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"description":"The Secondaries menu allows you to create and track geometries to isolate objects or areas within the shot, and create keys to isolate ranges of colour. You are then able to use logical operations to link geometries across secondaries. The following is a breakdown of the Secondaries menu.",
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{"title":"Secondary Layers",
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"description":"The secondary layers panel allows you to create up to 48 secondaries to be applied to each shot in your project. Once a secondary layer is selected, you can choose whether or not to apply the grading changes to the shot.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Secondary Layer Hotkeys",
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"description":"The following is a list of the secondary layer hotkeys. Refer to the Autodesk Control Surface User Guide for a list of the control panel hotkeys. These hotkeys can be used wherever the secondary layer panel is visible on the user interface.",
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{"title":"Selecting and Activating Secondary Layers",
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"description":"When a secondary layer is selected, you can edit that layer. You can then toggle the activation of the secondary layer and view the results in the Player. Only one layer can be selected at a time for editing, but up to 48 layers can be activated and displayed within the Player.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Secondary Layers","href":"./files/GUID-2DD06D39-CDA1-45BD-8A52-E3F9973FAB25.htm"}]},
{"title":"Colour Grading Secondaries",
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"description":"Use the colour grading controls in the Grading menu to perform secondary colour grading on your shots. Once the layer has been selected in the Secondaries menu, switch to the Grading menu and perform secondary grading, either in Logarithmic or Linear mode, just as you would for a primary grade.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Shifting Hue",
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"description":"You can shift the hue of the area defined by a secondary using the Hue Rotator.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Colour Grading Secondaries","href":"./files/GUID-4F154E09-91A0-4FED-8468-2E6F4745FA18.htm"}]},
{"title":"Adjusting Printer Lights for Secondary Grading",
"href":"./files/GUID-D5437991-FE2E-4E77-BC7C-C6CA2FEAA9CD.htm",
"description":"You can make printer light adjustments to secondaries just as you would to primary colour grades. See .",
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{"title":"Colour Grading Inside and Outside Secondaries",
"href":"./files/GUID-3043D4D8-DA60-4AEF-8235-3AEDEF81CBC7.htm",
"description":"Secondaries can have unique colour grades applied both inside and outside a defined shape. The secondary\'s default state is the inside.",
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{"title":"Copying Shapes and Grades",
"href":"./files/GUID-ACD62836-BEDF-45B7-97B2-BE66D88B184F.htm",
"description":"You can speed up the secondary colour grading process by copying a shape, or a shape with its parameters, from one secondary to another. This functionality is useful when colour grading the same shape(s) across several secondaries.",
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{"title":"Applying a Secondary Colour Grade to the Entire Image",
"href":"./files/GUID-3088ED7D-385F-44A7-BBB5-102A7367FCF1.htm",
"description":"Once a secondary has been graded, you can test how the secondary grade would look like as a primary grade.",
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{"title":"About Geometries",
"href":"./files/GUID-E60FEA35-95DF-4C5A-854C-67366B38D7F3.htm",
"description":"Geometries are spline-based objects you draw directly on a shot or an image. When performing secondary colour grading, you can create geometries to isolate particular objects or areas in the image to include with, or exclude from, the secondary colour grade.",
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{"title":"Accessing the Geometry Controls",
"href":"./files/GUID-12F09487-E1E6-40AE-87C2-73ADF0F1359E.htm",
"description":"To draw geometries, you work with the Secondaries menu.",
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{"title":"Drawing Basic Geometries",
"href":"./files/GUID-B68A82E9-CBCE-46E0-9D7A-17028D7C61C2.htm",
"description":"For each secondary, you can draw multiple rectangles or circles to isolate parts of the shot or image for secondary colour grading. Basic geometries can also be converted into free-form (Bezier) shapes.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Drawing Free-Form Geometries",
"href":"./files/GUID-80E8EDD5-A35B-4E88-BEE7-FE01602DB4E3.htm",
"description":"For each secondary layer, you can draw multiple free-form (Bezier) geometries to isolate parts of the shot or image for secondary colour grading. When you draw a free-form geometry, you can draw point-to-point using the Free-Form (Bezier) button, use Auto-Tangent mode or Freehand mode, or manually add vertices and tangents.",
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{"title":"Modifying Geometries",
"href":"./files/GUID-9260054A-F992-4F32-B2D9-239A8908998C.htm",
"description":"Once you finish drawing a basic or free-form geometry, you can modify its shape, position, and appearance. You can:",
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{"title":"Moving Axes",
"href":"./files/GUID-88FAF1C7-E60D-46C1-9D98-0A766680742A.htm",
"description":"An axis can be moved from its default central position within the geometry. This affects how a geometry will behave when you scale or rotate it.",
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{"title":"Adjusting Tangents and Vertices",
"href":"./files/GUID-5B220C7F-6801-4A88-82F7-4422485B3DD8.htm",
"description":"Adjust the shape of a geometry by manipulating its tangents and vertices. You can:",
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{"title":"Transforming Geometries",
"href":"./files/GUID-0A6DD18D-E98E-4B29-A293-B5156FD8FD47.htm",
"description":"You can apply transformations to change the position and size of a geometry. You can:",
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{"title":"Applying Softness to Geometries",
"href":"./files/GUID-EE4B0650-9DEE-404F-847E-2B2C4A531B60.htm",
"description":"You can increase and decrease the softness range to soften the edges of geometries. You can set the softness of the mask edge using:",
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{"title":"Blurring Geometries",
"href":"./files/GUID-18E8FAD9-A21D-4B3D-874B-53A755F0515A.htm",
"description":"You can apply a Gaussian blur to soften all geometries on the current secondary layer.",
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{"title":"Setting the Colour and Opacity of Geometries",
"href":"./files/GUID-C223B45C-B9D3-4E5E-8CCA-34D54C475811.htm",
"description":"You can adjust the colour and opacity of a geometry to affect the output image.",
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{"title":"Adjusting the Colour and Opacity of a Matte Overlay",
"href":"./files/GUID-B4AA7A3D-39D0-4098-B7CD-E6E10453C0FF.htm",
"description":"You can change the way a matte is displayed to help you easily view the isolated colour. The colour and opacity of the unselected region in a matte can be easily modified by adjusting the Matte Overlay parameters.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Modifying Geometries","href":"./files/GUID-9260054A-F992-4F32-B2D9-239A8908998C.htm"}]},
{"title":"Adding a Split Screen",
"href":"./files/GUID-2B56C38D-CE4D-42F9-91F3-E5197BD280BA.htm",
"description":"The split screen feature lets you divide the screen in two in order to apply separate colour gradings to each half of the image.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Adding and Deleting Axes",
"href":"./files/GUID-33F238ED-FF82-460D-B0F7-EBA1D2CF894E.htm",
"description":"By default, every geometry you draw has an axis. Each geometry and its axis are displayed in the Player.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"The Axes List",
"href":"./files/GUID-DD9BACEC-D86A-4C7A-B011-550537DEBF9A.htm",
"description":"The Axes list appears in almost all Lustre menus and provides a list view of geometries and their axes.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Adding and Deleting Axes","href":"./files/GUID-33F238ED-FF82-460D-B0F7-EBA1D2CF894E.htm"}]},
{"title":"Schematic View",
"href":"./files/GUID-7D4D15C3-5C72-440E-A5DB-6A1734787DDE.htm",
"description":"As an alternative to using the Axes list to view the axis hierarchy and create parent axes, you can use the schematic.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Adding and Deleting Axes","href":"./files/GUID-33F238ED-FF82-460D-B0F7-EBA1D2CF894E.htm"}]},
{"title":"Changing the Priority Order of Geometries",
"href":"./files/GUID-90C3D88C-66CA-4E22-9625-D1326FC1D5F5.htm",
"description":"When you create several free-form geometries on a secondary layer, you can change the order in which they are drawn, or layered in the scene. This affects the resulting image because a geometry with a higher priority has precedence over one with a lower priority. You can use the priority order to create complex colour effects involving multiple geometries.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Showing and Hiding Geometries",
"href":"./files/GUID-043B29C5-2572-4C22-BB33-D4A1A3357B12.htm",
"description":"You can show or hide geometries after you create them. Geometries that are hidden do not appear in the Player, but are applied to the secondary—depending on which logical operation you use.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Inverting Geometries",
"href":"./files/GUID-14A63D93-041D-4300-B2E9-DD2CE3EF04FA.htm",
"description":"You can invert geometries on the current secondary layer.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Deleting Geometries and Resetting Secondaries",
"href":"./files/GUID-4DFDE67A-5F42-4ECC-95E7-501CA154B0A5.htm",
"description":"Delete geometries one at a time from a secondary, or reset the secondary to delete all geometries simultaneously.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Linking Geometries across Secondary Layers",
"href":"./files/GUID-4E3FA5C5-E816-467F-9222-C74BC15FD6BA.htm",
"description":"You can link geometries from the previous secondary layer to the current secondary layer by selecting an option from the Link option box, located in the Secondaries menu. Use the Link option box when you have already applied a key, a geometry, or both to the current secondary layer.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Creating a Secondary by Keying a Range of Colours",
"href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm",
"description":"You can create secondaries by defining transparent regions in a shot, based on a specific range of colour. This process is known as keying.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Using the Hue, Luminance, and Saturation (HLS) Keyer to Extract a Key",
"href":"./files/GUID-5AE2F3F6-3D90-4C90-B979-AFCB89E9E790.htm",
"description":"With the HLS Keyer, you can extract a key based on hue, luminance, and saturation channels. You can use one or more of these channels to create a key.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"}]},
{"title":"Setting Keying Parameters in the HLS Keyer",
"href":"./files/GUID-4A754A6D-3CF0-49AA-90BE-EC03881581B6.htm",
"description":"You need to determine which channels (hue, luminance, and saturation) you will use to extract your key.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"},{"title": "Using the Hue, Luminance, and Saturation (HLS) Keyer to Extract a Key","href":"./files/GUID-5AE2F3F6-3D90-4C90-B979-AFCB89E9E790.htm"}]},
{"title":"Sampling a Colour in the HLS Keyer",
"href":"./files/GUID-2F9B839D-C1C8-4A3D-ADF1-A96954100D80.htm",
"description":"The typical way to extract a key is to sample a pixel or an average colour in the image using the colour picker. You can also use predefined colour grading parameters, called presets, by right-clicking the Hue, Luminance, or Saturation button. See .",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"},{"title": "Using the Hue, Luminance, and Saturation (HLS) Keyer to Extract a Key","href":"./files/GUID-5AE2F3F6-3D90-4C90-B979-AFCB89E9E790.htm"}]},
{"title":"Viewing Secondaries in the HLS Keyer",
"href":"./files/GUID-D415F321-0583-4B7D-9F1D-E6A5A49200F3.htm",
"description":"Once you have sampled a colour for a key, you can view the resulting secondary in the Player. You can view a key in Secondary view or Matte view by toggling the F11 key. Secondary view displays the keyed out colour as is; unsampled colours are overlayed with a uniform colour by default. Matte view displays the alpha channel, a black and white template indicating which parts of the image are transparent (black), and which are opaque and selected (white).",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"},{"title": "Using the Hue, Luminance, and Saturation (HLS) Keyer to Extract a Key","href":"./files/GUID-5AE2F3F6-3D90-4C90-B979-AFCB89E9E790.htm"}]},
{"title":"Setting the Tolerance Range in the HLS Keyer",
"href":"./files/GUID-DA8F0677-5E6B-4357-A7F1-BCD21A1628A3.htm",
"description":"You can set the tolerance range of colours to be fully keyed (transparent) and to remove unwanted greys from a key. The maximum and minimum tolerance values define the range of colours included in the secondary. The closer a pixel matches the key colour, the greater its transparency. Conversely, the less a pixel matches the key colour, the greater its opacity.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"},{"title": "Using the Hue, Luminance, and Saturation (HLS) Keyer to Extract a Key","href":"./files/GUID-5AE2F3F6-3D90-4C90-B979-AFCB89E9E790.htm"}]},
{"title":"Setting the Softness Range in the HLS Keyer",
"href":"./files/GUID-08E013E5-D2E7-4723-AF10-81D7BF5FCCD4.htm",
"description":"Once you have set the tolerance range, you can then set the softness range. Softness sets the range of colours to make semi-transparent and can create a softer key. Use softness to create a more natural and softer look when applying secondary colour correction.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"},{"title": "Using the Hue, Luminance, and Saturation (HLS) Keyer to Extract a Key","href":"./files/GUID-5AE2F3F6-3D90-4C90-B979-AFCB89E9E790.htm"}]},
{"title":"Using the Diamond Keyer to Extract a Key",
"href":"./files/GUID-ECB943EF-197A-447B-9758-87054AF8A9BE.htm",
"description":"The Diamond Keyer provides comprehensive controls to set the key colour, as well as the chrominance range and luminance levels for softness and tolerance on the hue cube. You can set these by using sliders and numeric fields, or by sampling colours in the image.",
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{"title":"Accessing the Diamond Keyer",
"href":"./files/GUID-30E5E867-E0A2-4A77-9692-A0036DE66180.htm",
"description":"Use the comprehensive controls in the Diamond Keyer to extract a key.",
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{"title":"Sampling a Colour in the Diamond Keyer",
"href":"./files/GUID-68C11CA8-121B-4471-BE0A-CF64B4F02FD9.htm",
"description":"The typical way to extract a key is to sample a pixel or an average colour in the image using the colour picker. Lustre also provides colour presets as a starting point for the key. You can also use previously saved keyer presets. See .",
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{"title":"Viewing Secondaries in the Diamond Keyer",
"href":"./files/GUID-D04F1FC9-83AB-498F-838A-B57A51535E9A.htm",
"description":"Once you have sampled a colour for the key, you can view the resulting secondary in the Player. You can view the key in Secondary view or Matte view by toggling the F11 key. Secondary view displays the keyed out colour as is; unsampled colours are overlayed with a uniform colour by default. Matte view displays the alpha channel, a black and white template indicating which parts of the image are transparent (black), and which are opaque and selected (white). The white parts of the image can be colour graded.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"},{"title": "Using the Diamond Keyer to Extract a Key","href":"./files/GUID-ECB943EF-197A-447B-9758-87054AF8A9BE.htm"}]},
{"title":"Setting the Tolerance Range in the Diamond Keyer",
"href":"./files/GUID-DACB7A37-81B3-42E6-8BF0-E91861021014.htm",
"description":"You can set the tolerance for a range of colours to be fully keyed (transparent) and to remove unwanted greys from the key. You can modify the chrominance and luminance levels for tolerance across the entire image or just in the shadows, midtones, and highlights. The Tolerance Diamond defines the range of colours included in the secondary.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"},{"title": "Using the Diamond Keyer to Extract a Key","href":"./files/GUID-ECB943EF-197A-447B-9758-87054AF8A9BE.htm"}]},
{"title":"Setting the Softness Range in the Diamond Keyer",
"href":"./files/GUID-93E69682-94B8-4FEE-A30A-BD9DA7DB9DD5.htm",
"description":"Once you have set the tolerance range, you can then set the softness range. Softness sets the range of colours to make semi-transparent and creates a softer key. Use softness to create a more natural and softer look when applying secondary colour correction.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"},{"title": "Using the Diamond Keyer to Extract a Key","href":"./files/GUID-ECB943EF-197A-447B-9758-87054AF8A9BE.htm"}]},
{"title":"Using the Scale and Skew Controls in the Diamond Keyer",
"href":"./files/GUID-34698284-53F5-40CD-AC70-6F7E7232DD9C.htm",
"description":"With the Scale control, you can scale the chrominance Softness and Tolerance Diamonds to increase or decrease the range of colour to isolate. With the Skew controls, you can skew the chrominance Softness and Tolerance Diamonds horizontally and vertically relative to the orientation of the selected diamond to increase or decrease the range of colour to isolate.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"},{"title": "Using the Diamond Keyer to Extract a Key","href":"./files/GUID-ECB943EF-197A-447B-9758-87054AF8A9BE.htm"}]},
{"title":"Modifying the Edges of the Key",
"href":"./files/GUID-C7464734-3AAC-41F1-AADA-1AA52055569F.htm",
"description":"You can shrink, erode, or blur the edges of a key. Shrink a key to remove pixels from the edge of the key. Erode a key to blend the light and dark edges. Blur a key to apply a softening filter to its edge.",
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{"title":"Removing Stray Pixels from a Key",
"href":"./files/GUID-24032B3C-F0B2-46DB-B29B-3DB0E8E058F6.htm",
"description":"When you extract a key, pixels in other parts of the image may be included. You can remove these stray pixels from the key to clean it up for colour grading.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"}]},
{"title":"Sharpening a Key Source Image",
"href":"./files/GUID-F5091540-E31C-4DA5-B1B5-E0BB9C8E5682.htm",
"description":"Sharpen a key source image to increase or decrease the softness of only the pixels that are within the chrominance and luminance range for tolerance.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"}]},
{"title":"Inverting Keys",
"href":"./files/GUID-F26DC24E-C259-4D91-BC5D-11F38E500E46.htm",
"description":"Invert a key when it is easier to exclude rather than include colours in a secondary.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"}]},
{"title":"Excluding Keys from Secondaries",
"href":"./files/GUID-DC41DEBE-9377-4BA4-A864-6FD2D85E85B6.htm",
"description":"You can exclude keys from secondaries. When you exclude a key from a secondary that includes a geometry, only the geometry is colour graded.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Creating a Secondary by Keying a Range of Colours","href":"./files/GUID-50675CE4-68B6-4509-8AEC-2B116F71D695.htm"}]},
{"title":"Saving and Loading Key Presets",
"href":"./files/GUID-272FCD7A-7046-4621-9F2C-7FC670166348.htm",
"description":"You can save user-defined keys, or previously saved keyer presets. You can then quickly load them to the current shot for comparison. See .",
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{"title":"Working with Mattes",
"href":"./files/GUID-FD2F6A64-E436-4AEE-B3D9-91B3BD9690BF.htm",
"description":"In the following screenshot, the matte on the secondary track is applied to the first secondary colour grading layer.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Shape Tracker",
"href":"./files/GUID-C9F709C8-C389-42B2-810F-E98F356972D7.htm",
"description":"The Shape Tracker tool is a 2-dimensional tracking device that allows you to track objects within your shot. It allows you to create a geometry around the object you want to track, analyse the object through the shot, and then grade the geometry.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"The Shape Tracker Panel",
"href":"./files/GUID-B7CCD696-2556-43EB-A6E8-A9F4EE26419F.htm",
"description":"To track 2D shapes within a shot, you need to enable the Shape Tracker tool and create an ROI.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Shape Tracker","href":"./files/GUID-C9F709C8-C389-42B2-810F-E98F356972D7.htm"}]},
{"title":"Tracking an Object using Shape Tracker",
"href":"./files/GUID-8322E27C-E010-4E75-80EF-BC7E53327840.htm",
"description":"There are two ways to use the Shape Tracker. If you can create a large enough ROI around the object you want to track, you can use the Shape Tracker to track the object and then grade the same geometry. If the object you want to track and grade is small and it does not have enough trackable points to use the Shape Tracker effectively, you need to track a larger ROI, create a graded geometry of the smaller object, and link the ROI geometry to the graded geometry.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Shape Tracker","href":"./files/GUID-C9F709C8-C389-42B2-810F-E98F356972D7.htm"}]},
{"title":"Animating the Point Tracker",
"href":"./files/GUID-F1DF14F7-4EED-48BD-979E-BE840AE0D20A.htm",
"description":"Point Tracker is a useful tool for tracking points through a shot. In situations where tracking a point cloud is impossible, Point Tracker provides an excellent alternative. For example, if Shape Tracker\'s ROI provides no rigid shapes to track, Point Tracker\'s ability to track a point remains the best choice. With Point Tracker, you can animate a geometry by applying tracking data to it. Users can assign one or several trackers to a geometry. This is useful when you want a geometry to follow a moving element in a shot. With Point Tracker, you can:",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Animating the Position of Geometries",
"href":"./files/GUID-87A1CBB8-CD8D-4F7D-AFED-5691E8B4C724.htm",
"description":"You can animate the position of geometries by defining a Point Tracker and assigning it to the axis of the geometry.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Animating the Point Tracker","href":"./files/GUID-F1DF14F7-4EED-48BD-979E-BE840AE0D20A.htm"}]},
{"title":"Animating the Shape of Geometries with the Point Tracker",
"href":"./files/GUID-B4BDFEC0-0189-47FE-91C0-91D1790B74AE.htm",
"description":"You can use the Track Geom button to animate the shape of a geometry when using Point Tracker. When you animate the shape of a geometry, the vertices of the geometry change position as the moving elements in the shot are tracked.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Animating the Point Tracker","href":"./files/GUID-F1DF14F7-4EED-48BD-979E-BE840AE0D20A.htm"}]},
{"title":"Assigning and Unassigning Point Trackers to Geometries",
"href":"./files/GUID-9329FB05-20B0-4FEE-81A1-C6C7E3D31DDB.htm",
"description":"You can assign Point Trackers to, or unassign Point Trackers from, geometries at any time after you create them.",
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{"title":"Soloing and Ganging Point Trackers",
"href":"./files/GUID-90BD48B5-D0D9-4832-8F5A-8D94C2C27F7B.htm",
"description":"You can solo or gang Point Trackers. Solo a Point Tracker when you want to view and generate tracking data for the current tracker only. Gang Point Trackers when you want to view and generate tracking data for multiple Point Trackers at the same time.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Animating the Point Tracker","href":"./files/GUID-F1DF14F7-4EED-48BD-979E-BE840AE0D20A.htm"}]},
{"title":"Deleting Point Trackers",
"href":"./files/GUID-1B85467B-1DE6-480D-A34B-790B46698026.htm",
"description":"You can delete Point Trackers from a shot.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"},{"title": "Animating the Point Tracker","href":"./files/GUID-F1DF14F7-4EED-48BD-979E-BE840AE0D20A.htm"}]},
{"title":"Loading Tracker and Stabilizer Data from Autodesk Applications",
"href":"./files/GUID-059EA76E-CB71-4A82-88B2-A06F18770611.htm",
"description":"You can load tracker and stabilizer data created with other Autodesk products (Flint, Flame, Inferno, Fire, Smoke, and Autodesk Combustion) into Lustre. To import tracker and stabilizer data, you must export it from the applicable Autodesk product as a raw setup file, and then save it in the C:\\Program Files\\Autodesk\\<version number>\\settings\\geompresets folder (Windows), or in the /usr/autodesk/<version number>/settings/geompresets directory (Linux).",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Loading Garbage Mask Setups from Autodesk Applications",
"href":"./files/GUID-0E9CBCD8-D694-4745-9F12-4930B437CA58.htm",
"description":"You can load garbage mask setups created with other Autodesk products (Flint, Flame, Inferno, Fire, and Smoke) to use as geometries in Lustre. To import a garbage mask setup, you must export it from the applicable Autodesk product as a raw setup file, and then save it to the Lustre program directory. You can then load the garbage mask setup to the current secondary for use as a geometry.",
"ancestors":[{"title": "Secondary Colour Grading","href":"./files/topichead_d3e28695.htm"}]},
{"title":"Creating Lustre Sparks Effects",
"href":"./files/topichead_d3e32617.htm",
"description":"",
"ancestors":[]},
{"title":"About Lustre Sparks Plugins",
"href":"./files/GUID-2A1C4477-00EF-449B-83C6-204CEC01E729.htm",
"description":"You can apply effects to your shots using Lustre Sparks plugins created by Autodesk or third-party developers. These plugins are image processing effects that you can add to individual shots. You can apply up to six effects to the same shot.",
"ancestors":[{"title": "Creating Lustre Sparks Effects","href":"./files/topichead_d3e32617.htm"}]},
{"title":"Installing Lustre Sparks Plugins",
"href":"./files/GUID-D73DEAFF-5D18-489D-96FE-0F76A58525D0.htm",
"description":"Lustre Sparks plugins are installed automatically during Lustre installation. They are included with all Lustre configurations, as well as with all render components, including the Linux render farm package for background rendering.",
"ancestors":[{"title": "Creating Lustre Sparks Effects","href":"./files/topichead_d3e32617.htm"}]},
{"title":"Lustre Sparks Plugin Descriptions",
"href":"./files/GUID-81041EF8-2EB0-4942-B62A-3AF3FC47352C.htm",
"description":"There are several Lustre Sparks plugins that are included with Lustre. These plugins, and their parameters, are described in the following sections.",
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{"title":"Creating an Effect with a Lustre Sparks Plugins",
"href":"./files/GUID-4B57DDFB-DD89-4AFB-B90A-19F446458C32.htm",
"description":"Load and use Lustre Sparks plugins from the Effects menu. You can load up to six plugins at a time.",
"ancestors":[{"title": "Creating Lustre Sparks Effects","href":"./files/topichead_d3e32617.htm"}]},
{"title":"Disabling and Re-enabling Lustre Sparks Plugins",
"href":"./files/GUID-78A6FB9E-E532-4B16-A869-3C50D685D031.htm",
"description":"You can disable and re-enable loaded Lustre Sparks plugins. Disabling a plugin allows you to temporarily view the shot without the effect while retaining the settings.",
"ancestors":[{"title": "Creating Lustre Sparks Effects","href":"./files/topichead_d3e32617.htm"}]},
{"title":"Developing Lustre Sparks Plugins",
"href":"./files/GUID-2FDC1B10-B2F7-413C-B692-D725DA29727B.htm",
"description":"An application programming interface (API) is available to third-party developers for creating Lustre Sparks. The API is provided on the Lustre CD. If you are interested in developing commercial Lustre Sparks, you must apply to the system Sparks program. To request an application, send an e-mail to and indicate your interest in developing specifically for Lustre. For more information, see the Plugin Reference Guide.",
"ancestors":[{"title": "Creating Lustre Sparks Effects","href":"./files/topichead_d3e32617.htm"}]},
{"title":"Animation",
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"description":"",
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{"title":"About Animation",
"href":"./files/GUID-99ECBC1D-A513-487A-9585-5FFE2F40FDB1.htm",
"description":"In Lustre, you create animations with the Channel Editor by making channel values change over time. When you set values for a channel, they are plotted on a curve in the Channel Editor. This curve maps frame numbers (time) on the horizontal axis and channel values on the vertical axis.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"}]},
{"title":"Accessing the Channel Editor",
"href":"./files/GUID-529E90F3-C03F-4F21-B923-0C967550C321.htm",
"description":"Use the animation curves in the Channel Editor to create animations.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"}]},
{"title":"Animation Curves Window",
"href":"./files/GUID-3AE2DC8E-4945-47C9-8C40-4E0BE764AD03.htm",
"description":"You perform most animation operations in the Animation Curves window.",
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{"title":"Channel Hierarchy",
"href":"./files/GUID-42B2C484-926B-4630-A1CA-5D527F6007D1.htm",
"description":"Use the Channel hierarchy to select the channels to animate. In the following example, Green Gain is selected. You can then set keyframes for this channel and create an animation. See Animating with Keyframes.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Accessing the Channel Editor","href":"./files/GUID-529E90F3-C03F-4F21-B923-0C967550C321.htm"}]},
{"title":"Animation Controls",
"href":"./files/GUID-F6B1854C-A55F-4F37-99CF-856BDE2CB3E9.htm",
"description":"Use the Animation controls to modify channels. The settings are displayed when the Anim Controls toggle button is enabled in the Animation editor or the Dissolve editor (some options are unavailable in the Dissolve editor).",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Accessing the Channel Editor","href":"./files/GUID-529E90F3-C03F-4F21-B923-0C967550C321.htm"}]},
{"title":"Animation Options",
"href":"./files/GUID-47234515-D2D4-42C9-821F-0EF27F6F428C.htm",
"description":"Use the Animation Options to determine the way in which the animation channels function. The settings are displayed when the Anim Options toggle button is enabled. The default settings for these options are set in the Animation panel of the Tools Settings page (some options are unavailable in the Dissolve editor).",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Accessing the Channel Editor","href":"./files/GUID-529E90F3-C03F-4F21-B923-0C967550C321.htm"}]},
{"title":"Animating with Keyframes",
"href":"./files/GUID-23EB7E05-88E4-49BD-9F31-C3C0AE7BFB42.htm",
"description":"To create an animation, you select channels with animatable parameters, and then you add keyframes at points in time where the parameters change. The following procedure outlines the basic steps required to create an animation.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"}]},
{"title":"Selecting Channels",
"href":"./files/GUID-F9957CAF-37DE-472D-8C0B-B7D8EF547E23.htm",
"description":"To create an animation, you select channels with animatable parameters, and then you add keyframes at points in time for which the parameters change. You select animation channels in the Channel hierarchy. Once you select a channel, its curve appears in the Animation Curves window.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Animating with Keyframes","href":"./files/GUID-23EB7E05-88E4-49BD-9F31-C3C0AE7BFB42.htm"}]},
{"title":"Adding Keyframes",
"href":"./files/GUID-496FB9E4-0372-4731-8008-BBB0D1E18F47.htm",
"description":"You can add keyframes at any point in your animation curves. There are three methods of adding keyframes:",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Animating with Keyframes","href":"./files/GUID-23EB7E05-88E4-49BD-9F31-C3C0AE7BFB42.htm"}]},
{"title":"Setting Interpolation",
"href":"./files/GUID-043D3473-EF49-4F81-AE2C-97811BA7D0C6.htm",
"description":"Interpolation defines the shape of an animation curve between keyframes. You can choose from the following interpolation settings depending on how you want the channel values to change over time.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Animating with Keyframes","href":"./files/GUID-23EB7E05-88E4-49BD-9F31-C3C0AE7BFB42.htm"}]},
{"title":"Setting Extrapolation",
"href":"./files/GUID-EB444035-1541-4A8C-A3AF-DE0324A0CEA2.htm",
"description":"Extrapolation defines the shape of the animation curve outside the keyframes. You can set up a cycle in which channel values change repeatedly in the same manner over time. You can set the extrapolation before the first keyframe separately from the extrapolation after the last keyframe.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Animating with Keyframes","href":"./files/GUID-23EB7E05-88E4-49BD-9F31-C3C0AE7BFB42.htm"}]},
{"title":"Editing Keyframes",
"href":"./files/GUID-86E65D33-03E0-4439-8F5C-B235F3D76DFF.htm",
"description":"As you create animations, you may need to edit keyframe values, modify animation curves, and manipulate keyframes. Make sure that you are in the appropriate Edit mode when selecting and editing keyframes.",
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{"title":"Selecting Keyframes",
"href":"./files/GUID-9A65C5F8-F2B1-4FA9-B823-46CA6BCA1DFF.htm",
"description":"You need to select keyframes in order to edit them. You can select one keyframe at a time, marquee select a group of keyframes, or select all keyframes in a given channel.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Editing Keyframes","href":"./files/GUID-86E65D33-03E0-4439-8F5C-B235F3D76DFF.htm"}]},
{"title":"Modifying Your Animation",
"href":"./files/GUID-ED489698-1B9F-4BF9-A0DE-417A611EC064.htm",
"description":"The rate at which your animation changes depends on the slope of the animation curve. A steep slope results in a more rapidly changing animation. A gradual slope represents a slower change in channel values over time. By changing the shape of the animation curve, you can modify the speed at which the animation occurs between keyframes. Although you can use Constant or Linear interpolation to create animations, with Bezier and Hermite interpolation you have much more control over the shape of the animation curve, and therefore, the speed of the animation.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Editing Keyframes","href":"./files/GUID-86E65D33-03E0-4439-8F5C-B235F3D76DFF.htm"}]},
{"title":"Synchronizing Keyframe Functionality",
"href":"./files/GUID-BA594BA8-5634-4373-86D5-43A251B5BE3A.htm",
"description":"When you assemble with the Record base of assembly, dissolved shots become one shot on the timeline and the dissolve start and end points are automatically keyframed. The ACS Animation System option ensures consistent keyframe animation functionality between the control surface and the Lustre user interface. This means that if you modify colour settings that occur before the dissolve, the colour settings will fade into the next shot correctly whether you are using the control surface or the user interface.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Editing Keyframes","href":"./files/GUID-86E65D33-03E0-4439-8F5C-B235F3D76DFF.htm"}]},
{"title":"Breaking Tangent Handles",
"href":"./files/GUID-56499CFE-2668-4CAF-84D4-C5A15BD65502.htm",
"description":"Normally when you move one Bezier or Hermite tangent handle, the other moves in the opposite direction. You can break tangent handles so that you can adjust each tangent independently and create abrupt changes in your animation.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Editing Keyframes","href":"./files/GUID-86E65D33-03E0-4439-8F5C-B235F3D76DFF.htm"}]},
{"title":"Resetting Tangent Handles",
"href":"./files/GUID-A4BF340F-41A9-4F43-9BDC-0E96020D09D7.htm",
"description":"Use Repair mode to reset broken tangent handles to an unbroken state.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Editing Keyframes","href":"./files/GUID-86E65D33-03E0-4439-8F5C-B235F3D76DFF.htm"}]},
{"title":"Hiding Tangent Handles",
"href":"./files/GUID-5B235930-2080-40C2-8851-644CA01E24BE.htm",
"description":"You can hide tangent handles for keyframes that are not selected.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Editing Keyframes","href":"./files/GUID-86E65D33-03E0-4439-8F5C-B235F3D76DFF.htm"}]},
{"title":"Reversing Keyframes",
"href":"./files/GUID-BAE6DF0B-6D0C-42FE-8790-0F4E848F7215.htm",
"description":"You can reverse the order of keyframes in time. When you reverse keyframes, the first keyframe takes the place of the last, and the last takes the place of the first.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Editing Keyframes","href":"./files/GUID-86E65D33-03E0-4439-8F5C-B235F3D76DFF.htm"}]},
{"title":"Inverting Keyframes",
"href":"./files/GUID-6D3FE34F-BFD0-4BF8-B294-C7D17E092257.htm",
"description":"You can invert the value of keyframes. When you invert keyframes, a mirror of the value is produced about the horizontal time axis.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Editing Keyframes","href":"./files/GUID-86E65D33-03E0-4439-8F5C-B235F3D76DFF.htm"}]},
{"title":"Deleting Keyframes",
"href":"./files/GUID-16BE27C6-6C26-4AC1-870F-7DF60EFCD93F.htm",
"description":"You can delete keyframes when they are no longer needed. You can:",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Editing Keyframes","href":"./files/GUID-86E65D33-03E0-4439-8F5C-B235F3D76DFF.htm"}]},
{"title":"Copying and Pasting Keyframes",
"href":"./files/GUID-A46DCEA2-2B1C-468A-9FE5-8BDE8DB1BF6D.htm",
"description":"Copying and pasting keyframes eliminates the need for manually duplicating your creative accomplishments. With copying and pasting, you only need to set up a keyframe once and then you can reuse it as many times as your project demands. With Lustre, you can easily copy a single keyframe or multiple keyframes from a source channel or folder (group of channels) and paste them in a target channel or folder in the Channel hierarchy.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"}]},
{"title":"About the Copy/Paste Keyframe Controls",
"href":"./files/GUID-735CAEDC-377F-4DAC-A8C0-04E83FDB71DB.htm",
"description":"The Copy/Paste Keyframe controls are located in the Channel hierarchy, which is displayed in the user interface in all but the following menus:",
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{"title":"About Copy/Paste Hotkeys",
"href":"./files/GUID-0B767750-9023-4A11-B748-A641C026E6DB.htm",
"description":"You can use the copy/paste hotkeys in any of Lustre\'s menus to copy and paste keyframes. For the procedures below, the following hotkeys can be used:",
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{"title":"Copying and Pasting Keyframes on the Current Frame",
"href":"./files/GUID-0BA3DE17-DD8C-4E64-B74E-C1F6BBC1573E.htm",
"description":"This procedure enables you to copy from the source only the keyframes on the current frame and paste them in the target where the positioner is located.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Copying and Pasting Keyframes","href":"./files/GUID-A46DCEA2-2B1C-468A-9FE5-8BDE8DB1BF6D.htm"}]},
{"title":"Copying and Pasting All Keyframes in a Shot",
"href":"./files/GUID-0529B253-BEA1-4115-8FBD-9CB00192F3CE.htm",
"description":"Copying a sequence of keyframes and pasting it in a target that has no keyframes selected, overwrites any keyframe data that are present, beginning at the location of the positioner (for the length of the source sequence). For example, if the source sequence of keyframes is ten frames long, then only ten frames of keyframes are overwritten in the target, beginning at the location of the positioner.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Copying and Pasting Keyframes","href":"./files/GUID-A46DCEA2-2B1C-468A-9FE5-8BDE8DB1BF6D.htm"}]},
{"title":"Copying and Pasting a Selection of Keyframes",
"href":"./files/GUID-68EBA128-23CA-44A5-9274-DA5AEB37B9E2.htm",
"description":"This procedure enables you to copy a manual selection of keyframes in a shot for the selected channel or folder.",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Copying and Pasting Keyframes","href":"./files/GUID-A46DCEA2-2B1C-468A-9FE5-8BDE8DB1BF6D.htm"}]},
{"title":"Copying and Pasting Over a Selection of Keyframes",
"href":"./files/GUID-4F4CB1DC-0FB4-46DC-8285-C09EF4F3EB56.htm",
"description":"This procedure enables you to copy and paste keyframes over a selection of existing target keyframes while preserving unselected target keyframe(s).",
"ancestors":[{"title": "Animation","href":"./files/topichead_d3e33612.htm"},{"title": "Copying and Pasting Keyframes","href":"./files/GUID-A46DCEA2-2B1C-468A-9FE5-8BDE8DB1BF6D.htm"}]},
{"title":"Pasting a Keyframe Sequence That Exceeds a Shot Boundary",
"href":"./files/GUID-2FF8AB39-361D-4142-B576-BE9A0BCECC02.htm",
"description":"Pasting a keyframe sequence that extends beyond the boundary of the target shot can be really useful when creating a dissolve. See .",
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{"title":"Guidelines for Geometries, Point Trackers, and Effects Plugins",
"href":"./files/GUID-EDC218F7-0252-4906-AE80-5F4338F5E127.htm",
"description":"When copying and pasting keyframes for geometries, point trackers, and Effects plugins, you need to be aware of the following guidelines:",
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{"title":"The Track Editor",
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"description":"Use the Track Editor to adjust animation timing after you create an animation. With the Track Editor, you can select and view all the keyframes and channels in your animation, but you do not see the animation curves. Instead, you see a track representation of each animation curve. Using the handles on the track, you can move the keyframes in time, but you cannot modify their value. This makes it easier to change animation timing to match on-screen occurrences.",
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{"title":"Accessing the Track Editor",
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"description":"Use the Track Editor to adjust animation timing for an existing animation.",
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{"title":"Selecting Tracks",
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"description":"Before you can adjust an animation\'s timing, you must select the channel in the Channel hierarchy.",
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{"title":"Adjusting Animation Timing",
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"description":"Using the Track Editor, you can adjust a keyframe\'s timing without adjusting its value. You can also slide the entire animation ahead or back in time, and change the duration of an animation.",
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{"title":"Adjusting Animation Scaling",
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"description":"Using the Track Editor, you can independently modify the animation\'s start or end point. This changes the animation\'s overall duration and scales the keyframes. Dragging the start or end point compresses or stretches the keyframes in the selected channels. If you want to simply move the first or last keyframe to another point in time, drag the keyframe.",
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{"title":"Animating in Other Menus",
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"description":"You can create animations directly in the other menus without having to access the Animation menu. For example, you can change the Grading settings directly in the Colour menu. In the following example, you create an animation using a blur plugin effect.",
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{"title":"Undoing and Redoing Operations",
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"description":"When working in the Animation menu, you can undo and redo all operations except the following:",
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{"title":"Stereoscopy",
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"description":"",
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{"title":"Stereoscopy",
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{"title":"About Stereoscopy",
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"description":"The Stereoscopy features of Lustre allow you to grade shots and see them in stereoscopic context. Stereoscopy allows you to take your shots and create the illusion of depth, within the image. In order to create this illusion of depth, you need to present each eye with a slightly different image. This is done by having two sets of footage or conformed timelines; one designated for the left point of view (Left Eye) and the other designated for the right point of view (Right Eye). Once you have one set of footage for the Left and Right Eye, you would use the encoding/decoding scheme to display the image. Encoding is done at the stereoscopic display level by the graphic SDI board and decoding is done by the glasses. This chapter shows you how to enable and use the Stereoscopy features.",
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{"title":"Creating a Stereoscopic Project",
"href":"./files/GUID-C60EAB0C-FDFE-43CF-91AD-BA2D4FC3E29E.htm",
"description":"When you create a stereoscopic project, the Left and Right folders are automatically created in the Library for your stereoscopic footage. See Project Settings",
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{"title":"Enabling Stereoscopy",
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"description":"You can enable the Stereoscopy feature in one of the following ways:",
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{"title":"Setting Up the Stereoscopic Footage",
"href":"./files/GUID-938A5EDA-0F68-4B27-9CFA-840C78794DEF.htm",
"description":"Once you have created a Stereoscopic project, a Library with Left and Right folders, as well as a stereo timeline with a left and right layer is automatically created.",
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{"title":"Assembling a Stereoscopic EDL",
"href":"./files/GUID-40E2475B-B2BC-45B2-BE7F-9FCCE1DE8D3B.htm",
"description":"Use an EDL to rebuild a timeline using the original footage that matches the edited timeline from the offline editing stage of post-production.",
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{"title":"Repositioning the Left Eye and Right Eye",
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"description":"Repositioning is fully supported in a stereoscopic project. When Sync mode is enabled, you can reposition both eyes at the same time. (For example, the image in both eyes are offset horizontally by the same amount.)",
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{"title":"Viewing From One Eye to the Other",
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"description":"As you are grading your Left and Right Eye footage, there is an easy way for you to switch the footage that is being displayed in the Player. The Left and Right Eye button allows you to switch between the footage with ease.",
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{"title":"Viewing Stereoscopic Footage in Dual View",
"href":"./files/GUID-4B417FD4-4C45-4ED3-A48D-FF5B4CE49567.htm",
"description":"Once a stereoscopic project is enabled, you can display each eye at the current frame at the same time in Dual View mode. As in A/B mode, you can view the images side by side (2-up mode), or a portion of each image in the same viewer (Vertical Wipe and Horizontal Wipe modes).",
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{"title":"Synchronizing the Left and Right Eye",
"href":"./files/GUID-84F2080D-F1DC-4A3C-A456-2C7E466F89B3.htm",
"description":"Since the Player only displays either the Left Eye or Right Eye, it is difficult and tedious to edit and grade one eye and create the same changes for the other eye. An easy way for you to make sure any editing or grading is automatically applied from one eye to the other is by using the Sync option. When this feature is enabled, any editing or grading you do on one eye is applied to the other.",
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{"title":"Editing the Stereoscopic Timeline",
"href":"./files/GUID-A21907E3-02FB-4B0E-8A21-DAD928C7D08E.htm",
"description":"When the Sync button is enabled, all editorial operations (Cut, Trim, Copy, Delete, add a Dissolve, add black frames, Solo, etc.) and all structural operations (add a Track/Layer, add a Container, Collapse) are supported when working on stereoscopic timelines. The sync button affects only the editorial operations. Structural operations are always performed in sync. See .",
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{"title":"Grading Stereoscopic Footage",
"href":"./files/GUID-9C3CAC22-7D4A-48BA-9F58-E27982B8E1A7.htm",
"description":"When Sync mode is enabled, grading operations (including dragging and dropping) are applied to the respective destination eye. For example, grading data dragged from a Right Eye layer is always applied to a Right Eye destination layer, even if it is dropped on the Left Eye. See .",
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{"title":"Working with Grade Files",
"href":"./files/GUID-34253DDE-7028-4CB0-BCD9-1F3173F599AB.htm",
"description":"In a stereoscopic project, grade files contain data for both the Left Eye and Right Eye.",
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{"title":"Bypassing Menu Parameters of an Eye",
"href":"./files/GUID-C19911F5-A21F-4F42-B5A5-B572EB451C19.htm",
"description":"You can use the Bypass button to view the original shot of one eye or both eyes. See .",
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{"title":"Rendering Stereoscopic Footage",
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"description":"The procedure for rendering your stereoscopic footage is the same as for rendering normal shots (i.e., mono mode). See .",
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{"title":"Rendering",
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"description":"",
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{"title":"About Rendering in Lustre",
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"description":"Render individual shots, layer(s) in the timeline, or complete scenes in Lustre to create a new version of the footage with all colour grading, animation, repositioning, and dust removal data applied. Rendering is necessary for output and viewing both frames of interlaced footage at the same time. Furthermore, rendering 2K material with effects applied allows you to view your work in real-time.",
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{"title":"Rendering Shots",
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"description":"You can use the Render menus to render your work. You can render selected shots, all shots in a cut, a specific layer in the multi-layer timeline, or the flattened result of a multi-layer timeline. To prepare for rendering, do the following:",
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{"title":"Specifying the Shots to Render",
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"description":"Renders are done on a shot-by-shot basis—you can render one shot, several selected shots, or all shots in a scene. To specify a shot for rendering, you flag it. You can flag shots manually or have Lustre automatically flag any shot to which changes have been applied. By default, all shots are automatically flagged for rendering.",
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{"title":"Setting the Resolution for the Render",
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"description":"You can render your original shots at full resolution, which is the same resolution as the original footage, or at half resolution. You can also render resized shots at either full or half resolution. If you use half-resolution scans as the source, they can affect the quality of the output but are usually faster to process. You may opt to do this if you want a quick, intermediate render as opposed to a final quality render.",
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{"title":"Resizing Shots",
"href":"./files/GUID-15BF1171-3FD7-44C8-9074-990398380754.htm",
"description":"Resize shots prior to rendering them to conform to a different destination output format. For example, if you plan on playing out a cut to a video format, use the controls in the Resize menu to select the appropriate video format and then render the cut at that format to use as the version you play out to a VTR. After you have selected the output format, you can set crop and resize options to control how the image fits into the new format.",
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{"title":"Specifying the Destination for Local Render Files",
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"description":"The render files are saved in the location specified in the Renders Full Home or Renders Half Home, in the Project Settings. The sub-folders are named according to the render mode used, (i.e. Normal, One Sequence, etc.), which Lustre automatically creates when you render your first shots.",
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{"title":"Rendering the Multi-Layer Timeline",
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"description":"Lustre renders out what is displayed in the multi-layer timeline and Player, according to:",
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{"title":"Rendering Dust Metadata",
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"description":"You can render shots with or without dust metadata. This is a workflow decision. You can render dust metadata either from the Render Local menu or from the Image Dust menu. See .",
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{"title":"Burning Timecode into the Render",
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"description":"You have the option of burning the timecode into the render files. For example, burn a timecode into the black border of a letterboxed shot to identify the location of the shot.",
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{"title":"Rendering with the Viewing LUT",
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"description":"For linear work, you can render shots to 8-bit BMP files using the currently loaded viewing LUT with the Viewing option. Use this option when you want to render the image displayed in the monitor.",
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{"title":"Rendering Head and Tail Frames",
"href":"./files/GUID-A5B906EC-5356-45A0-80B3-8CF67FE4BEAF.htm",
"description":"When rendering shots or timelines, you can render the grade on the head and tail frames. This can be useful if, for example, the graded shot needs to be changed to include a longer dissolve and requires additional frames.",
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{"title":"Specifying the Output Format of the Render Files",
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"description":"You can render your shots to the same file format as the original footage or select a different one. By default, shots are rendered to the same format as the original footage. Currently supported formats are DPX and Cineon at 10 and 8 bits per channel, TIFF at 8 and 16 bits per channel, TARGA, SGI, and BMP at 8 bits per channel and OpenEXR . When OpenEXR is set as the output format, the resulting files are encoded as single channel RGB OpenEXR 16-bit half float.",
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{"title":"Setting Colour Space Options",
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"description":"You can convert the colour space of the output shots from Log to Lin or vice versa. Whether you are outputting in Log or Lin colour space, you have several options for setting the LUT used on output. You can:",
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{"title":"Rendering the Selected Region",
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"description":"Once you have set all the rendering options, you can render flagged shots within a scene region using the Render Local menu, or just render one shot at a time by enabling the shot region.",
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{"title":"Saving and Loading Colour Mapping Presets",
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"description":"When you create output LUTs in the Render Output menu, you can save them as presets and re-use the presets on future renders. The output colour space setting (Log or Lin) and colour mapping values are saved with the presets.",
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{"title":"Generating and Viewing Proxies",
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"description":"When working with high-resolution material in Lustre installations that do not include Incinerator, the speed of interaction can decrease substantially as grading effects are added, compromising real-time playback. For faster interaction with the application, you can generate lower resolution proxies of your footage and perform the colour grading on the proxies. After the grading is complete, you can easily render the colour grading data to the full-resolution version.",
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{"title":"Locking Colour Grading",
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"description":"You can lock the colour grading on the current shot so that no colour changes can be made to the shot. This is useful to avoid accidental modification once the grading is complete. For example, you might want to lock the colour grading after it has received final client approval.",
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{"title":"Cleaning Up Render Files",
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"description":"You can remove unneeded render files. Because renders are created separately for each grade (that is, grd01 to grd99), you may want to delete renders for grades that are not used anymore to free up storage.",
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{"title":"Rendering Shots as You Work",
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"description":"You can render shots as you work on them using a slave rendering machine. As you move from shot to shot in the timeline, the previous shot is rendered using the Slave Renderer, so your work is not interrupted during rendering. If several shots are changed before Lustre has had time to render the last one, the changed shots are sent to a job queue.",
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{"title":"Rendering with Burn for Lustre",
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"description":"Burn for Lustre allows you to render shots using Linux servers set up on the network, speeding up the rendering process and freeing up the Lustre stations. On a 2K film project, you might, for example, want to render half-resolution versions using the local machine and render 2K final versions using Burn for Lustre, as this takes much longer. Or, when you are satisfied with the grade of a reel, use the render farm to render 1K or 2K versions of it.",
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{"title":"Remote Rendering with Burn and Wiretap",
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"description":"Burn for Lustre allows you to render footage stored in the local storage array, or footage imported via Wiretap, to a destination specified in the Burn Render Fulls Home. The destination could be the local storage array, shared network storage, or the Stone filesystem via Wiretap.",
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{"title":"Starting Backburner Manager",
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"description":"Before you can start a network render, you must start Backburner Manager on a Windows or Linux workstation designated as the Manager, and start Backburner server on each rendering server.",
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{"title":"Submitting a Remote Render Job",
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"description":"You can render one shot, several selected shots, or all shots in a scene using Burn for Lustre. Jobs are submitted from the Render Backburner menu, where you can also monitor job progress.",
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{"title":"Monitoring the Render Tasks with Backburner Monitor",
"href":"./files/GUID-690963B8-74BD-4190-BB0A-88696222C2ED.htm",
"description":"During an active render session, you can use Backburner Monitor on any Windows workstation on the network to view and edit jobs that are in process or in the job queue.",
"ancestors":[{"title": "Rendering","href":"./files/topichead_d3e36152.htm"},{"title": "Rendering with Burn for Lustre","href":"./files/GUID-3246079F-BBD7-4B0B-98E0-5E940A1691B0.htm"}]},
{"title":"Command Line Renderer",
"href":"./files/GUID-BB4D978E-81EE-4310-98AD-E18F02B8ACA7.htm",
"description":"The Command Line Renderer allows you to render shots by entering a command in a Linux shell instead of using the Render Backburner menu.",
"ancestors":[{"title": "Rendering","href":"./files/topichead_d3e36152.htm"},{"title": "Rendering with Burn for Lustre","href":"./files/GUID-3246079F-BBD7-4B0B-98E0-5E940A1691B0.htm"}]},
{"title":"Rendering Grades Created in Releases Prior to Lustre 2011 Extension 1",
"href":"./files/GUID-51C6FE25-DC76-4A39-BFB3-13AAB1865398.htm",
"description":"Due to the enhancements in the GPU, we do not recommend using Lustre to render grades created in Lustre 2011 or earlier if you are looking for pixel accuracy rendering.",
"ancestors":[{"title": "Rendering","href":"./files/topichead_d3e36152.htm"}]},
{"title":"Video Capture and Video Playout",
"href":"./files/topichead_d3e38629.htm",
"description":"",
"ancestors":[]},
{"title":"About Capture and Playout",
"href":"./files/GUID-836F31B5-652D-41EE-942D-1C3CB631F220.htm",
"description":"During the colour grading process, you may need to capture or playout video and audio from, or record to, an external device, such as a VTR.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"}]},
{"title":"About Audio Tracks",
"href":"./files/GUID-86F7ED63-3B41-4DD7-9593-A4035500DCB9.htm",
"description":"When capturing and recording, you can transfer one video track and up to 16 audio tracks (eight tracks of DVS/AJA AES audio, or 16 tracks of embedded AJA audio). In Lustre, audio tracks are identified as A1 through A16. You can select non-consecutive tracks (for example, you can select tracks A1, A5, and A8).",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "About Capture and Playout","href":"./files/GUID-836F31B5-652D-41EE-942D-1C3CB631F220.htm"}]},
{"title":"Capture Menu Options",
"href":"./files/GUID-4FA8154F-6882-4D29-A6C4-7A0BDC938ACD.htm",
"description":"Use the Capture menu to perform your VTR capture operations.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"}]},
{"title":"Controlling the VTR",
"href":"./files/GUID-20C92F96-1FD7-41AB-B1EA-79AA31FFC284.htm",
"description":"When working with a VTR, you can use the VTR transport controls to play through the video tape and locate your footage. As you find your footage, you can capture it immediately, or add shots to a list that you can batch digitize all at once.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"}]},
{"title":"Capturing Material",
"href":"./files/GUID-5F12AC71-986A-4F31-9460-5F23E1E479B3.htm",
"description":"Use the Capture menu to digitize material from an external source. You can digitize in any one of the following ways:",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"}]},
{"title":"Selecting a Raster for Capture",
"href":"./files/GUID-3B7FB0E2-3086-491C-AD88-A9E7297CB486.htm",
"description":"Whenever capturing material, you must select a raster. For a list of the supported rasters, see .",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Capturing Material","href":"./files/GUID-5F12AC71-986A-4F31-9460-5F23E1E479B3.htm"}]},
{"title":"Removing Pulldown when Capturing",
"href":"./files/GUID-3C68404B-5E8D-4E8F-AFEA-D2D2052FB213.htm",
"description":"Depending on the type of source material you are working from, you may need to remove 3:2 pulldown frames at capture time. For more information about 3:2 pulldown, see .",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Capturing Material","href":"./files/GUID-5F12AC71-986A-4F31-9460-5F23E1E479B3.htm"}]},
{"title":"Setting In and Out Points",
"href":"./files/GUID-FA21F983-AB4A-4CD2-9D8F-527117EEB863.htm",
"description":"You can set in and out points to select the material to capture from an external video source.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Capturing Material","href":"./files/GUID-5F12AC71-986A-4F31-9460-5F23E1E479B3.htm"}]},
{"title":"Capturing from Timecode",
"href":"./files/GUID-9D9B6989-DD57-4FCA-B219-6767E64DF601.htm",
"description":"In capturing from timecode mode, you capture one shot by marking the length of the shot with in and out timecode values. You can either enter the timecode values manually or scrub the VTR to the in and out points. You also have the option of capturing video only, audio only, or audio along with the video.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Capturing Material","href":"./files/GUID-5F12AC71-986A-4F31-9460-5F23E1E479B3.htm"}]},
{"title":"Capturing Media with Timecode Breaks",
"href":"./files/GUID-16B960EA-27BB-421E-A50E-6164E00AF8A2.htm",
"description":"The Capture with Timecode Breaks feature allows you to capture all the content of a tape, regardless of the number of timecode breaks. When you use this option, Lustre begins capturing from the given in point until the duration point has been reached. A file sequence is created for each continuous timecode section.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Capturing Material","href":"./files/GUID-5F12AC71-986A-4F31-9460-5F23E1E479B3.htm"}]},
{"title":"Logging and Batch Digitizing",
"href":"./files/GUID-A20A0E94-D74F-4E60-8879-4DF75463C665.htm",
"description":"You can log shots and batch digitize them. To do this, you shuttle through the tape, mark in and out points that correspond to the sections you want to digitize, and then add those sections to a list of shots to digitize all at once.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Capturing Material","href":"./files/GUID-5F12AC71-986A-4F31-9460-5F23E1E479B3.htm"}]},
{"title":"Auto-conforming an EDL",
"href":"./files/GUID-A560C8C7-862D-4CB3-9F2F-07AED99E77CF.htm",
"description":"You can automatically digitize material using instructions contained in an EDL, and then assemble the digitized events into a cut which appears in the Storyboard and the timeline.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Capturing Material","href":"./files/GUID-5F12AC71-986A-4F31-9460-5F23E1E479B3.htm"}]},
{"title":"Performing a Live Capture from a Non-Controlled Source",
"href":"./files/GUID-0887E17E-3956-43E2-8BC8-4FEB4625A363.htm",
"description":"You can capture live from any non-controlled source. A non-controlled source is any source with an SDI Out, such as another Lustre workstation, or a Smoke or Flame workstation. For example, you have footage residing on a Flame workstation that you need. You can connect to that workstation and input the footage directly, without going through tape output and input.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Capturing Material","href":"./files/GUID-5F12AC71-986A-4F31-9460-5F23E1E479B3.htm"}]},
{"title":"Playout Menu Options",
"href":"./files/GUID-2273CD7C-2FB2-471B-BA06-3D102F0555E5.htm",
"description":"Use the Playout menu to play out media to a VTR.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"}]},
{"title":"Playing Out to a VTR",
"href":"./files/GUID-60D19C89-F03C-436F-8EE6-57BD6247D9C4.htm",
"description":"Use the Playout tool to play out frames from Lustre so that they can be recorded to an external device.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"}]},
{"title":"Playout Workflow",
"href":"./files/GUID-52A705C8-08ED-435E-8370-CC0BBBD5B99E.htm",
"description":"The recommended steps for playing out video to a VTR are as follows.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Playing Out to a VTR","href":"./files/GUID-60D19C89-F03C-436F-8EE6-57BD6247D9C4.htm"}]},
{"title":"Selecting a Raster for Playout",
"href":"./files/GUID-54FA5AB0-1F08-4904-83F5-8AF5E3A1928A.htm",
"description":"When playing out to an external device, you must select a raster. See .",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Playing Out to a VTR","href":"./files/GUID-60D19C89-F03C-436F-8EE6-57BD6247D9C4.htm"}]},
{"title":"Defining In and Out Markers when Playing Out to Tape",
"href":"./files/GUID-8584681F-4424-4E35-AA1C-8A26A56623FD.htm",
"description":"Users can create a video tape from a specific segment of the timeline by setting in and out points for playing out to tape. This is done using the same hot keys as for setting in and out points for playing shots in the Player. A new option has been added to the Editing > Playout menu that lets you select the marked section for playout to tape.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Playing Out to a VTR","href":"./files/GUID-60D19C89-F03C-436F-8EE6-57BD6247D9C4.htm"}]},
{"title":"Recording in Insert Mode",
"href":"./files/GUID-0CE57F2F-226F-4521-816D-4DDB6C6BC4AB.htm",
"description":"Use Insert mode when you want to insert video only, audio only, or both video and audio onto a tape that already contains material. The entire area to which you are recording must have a valid, continuous control track, as this mode only plays out the video (existing timecode and audio are not affected).",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Playing Out to a VTR","href":"./files/GUID-60D19C89-F03C-436F-8EE6-57BD6247D9C4.htm"}]},
{"title":"Recording in Assemble Mode",
"href":"./files/GUID-533343CE-8631-4CD6-AE52-61EFA3DFBD0E.htm",
"description":"Use Assemble mode when recording on a tape that contains a valid control track up until a certain point, but you need to record beyond that point. In Assemble mode, you are attaching video and audio to existing material. For example, yesterday you played out your work onto a blank tape using Record mode. Today, you have completed additional work and would like to add it to the end of the tape. In this case, you cue the tape to the in point (at a point where there is a valid control track) and begin playing out in Assemble mode. The timecode is continued from the previously recorded material.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Playing Out to a VTR","href":"./files/GUID-60D19C89-F03C-436F-8EE6-57BD6247D9C4.htm"}]},
{"title":"Recording in Record Mode",
"href":"./files/GUID-8F7B1C2E-92EF-4AAF-923F-B279047DBBA5.htm",
"description":"Use Record mode to record an entire cut to a VTR. Record mode overwrites the entire contents of the tape (including timecode). To use Record mode, you must set the VTR timecode to Preset or Auto timecode.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Playing Out to a VTR","href":"./files/GUID-60D19C89-F03C-436F-8EE6-57BD6247D9C4.htm"}]},
{"title":"VTR Emulation",
"href":"./files/GUID-D2D0EE82-50FB-40F2-BA38-7318B3759CB0.htm",
"description":"When configured to emulate a VTR, Lustre can be controlled, using an RS-422 interface, by a third-party application or device. You control Lustre VTR emulation from the application or device that treats Lustre as a VTR device. Lustre supports SD and HD emulators.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Playing Out to a VTR","href":"./files/GUID-60D19C89-F03C-436F-8EE6-57BD6247D9C4.htm"}]},
{"title":"Writing Telecine-Style Tape",
"href":"./files/GUID-61E534E8-5BF0-41AA-8A47-108D79477666.htm",
"description":"The Telecine feature allows you to emulate grading with telecine tape. The original source timecodes are written to tape, and each shot is separated by a black sequence of duration equal to Black Length value field.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"}]},
{"title":"Playout and GPU Acceleration",
"href":"./files/GUID-7666A98C-97C9-487F-AFD3-B2C458319EA8.htm",
"description":"It is possible to play out real-time content to tape without having to first process by using the power of the graphical processing unit, or GPU.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"}]},
{"title":"Creating Real-Time Deliverables from the Timeline or Rendered Material",
"href":"./files/GUID-5342BA8E-D1CE-4E90-89BC-0FCC37BEB964.htm",
"description":"You can record 10-bit, multi-format video deliverables to tape from existing source or rendered footage without having to perform additional render passes. These deliverables are processed in real time and are subject to high-quality resizing.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Playout and GPU Acceleration","href":"./files/GUID-7666A98C-97C9-487F-AFD3-B2C458319EA8.htm"}]},
{"title":"Playout from Timeline with GPU Acceleration",
"href":"./files/GUID-55C8DA4B-61EB-4D83-A59D-0F2DD1B8A25B.htm",
"description":"You can now use GPU acceleration to play out source material in real time with Print LUT, primary and secondary grading, and GPU-accelerated plugins applied. While Real-Time Deliverables mode allows you to play out directly to tape, it only permits primary grading, resizing, pan and scan, and LUT processing. The Playout From Timeline option lets you play out source material containing secondary grading without having to first perform a rendering pass.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Playout and GPU Acceleration","href":"./files/GUID-7666A98C-97C9-487F-AFD3-B2C458319EA8.htm"}]},
{"title":"About 3:2 Pulldown",
"href":"./files/GUID-06AA8A54-F744-4067-B27D-2F6C79DCBB0E.htm",
"description":"When capturing from or playing out to a VTR, you may want to convert footage using a 3:2 pulldown raster if the incoming video is NTSC or 1080i HD.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"}]},
{"title":"Converting Logarithmic to Linear",
"href":"./files/GUID-68BE29A5-6F52-4A69-83FB-BD29DF847B9D.htm",
"description":"You can output your film scans to video once you have completed the film grading. There are two general workflows you can use to convert logarithmic images to linear ones:",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"}]},
{"title":"Supported Video SDI and GFX SDI Rasters",
"href":"./files/GUID-82A0DD4D-E6C5-4CC9-9AD3-FCC683636A5A.htm",
"description":"When capturing from or recording to a VTR, you must select the appropriate raster. The raster defines the video capture/playout SDI timing and the graphic SDI timing. Lustre supports many DVS and AJA video SDI rasters and GFX SDI graphics rasters. See and .",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"}]},
{"title":"Video SDI Rasters",
"href":"./files/GUID-362835FC-0C76-457B-9F0C-BF5C543CF558.htm",
"description":"The following table lists the video SDI rasters that are available for capture and playout in Lustre.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Supported Video SDI and GFX SDI Rasters","href":"./files/GUID-82A0DD4D-E6C5-4CC9-9AD3-FCC683636A5A.htm"}]},
{"title":"GFX SDI Rasters",
"href":"./files/GUID-57C88BC1-388E-4D9C-8237-E64766663B9E.htm",
"description":"The following table lists the GFX SDI rasters that are available for capture and playout in Lustre.",
"ancestors":[{"title": "Video Capture and Video Playout","href":"./files/topichead_d3e38629.htm"},{"title": "Supported Video SDI and GFX SDI Rasters","href":"./files/GUID-82A0DD4D-E6C5-4CC9-9AD3-FCC683636A5A.htm"}]},
{"title":"Audio",
"href":"./files/topichead_d3e42542.htm",
"description":"",
"ancestors":[]},
{"title":"About Audio",
"href":"./files/GUID-7DF5E09F-7F8F-40E6-87D0-7B2AE9DDBE78.htm",
"description":"There are a few ways you can hear audio during a timeline playback:",
"ancestors":[{"title": "Audio","href":"./files/topichead_d3e42542.htm"}]},
{"title":"Audio Workflow",
"href":"./files/GUID-9E740100-B279-4F45-BDB3-79182BC7F122.htm",
"description":"Use the following typical workflow to add audio to your video playback.",
"ancestors":[{"title": "Audio","href":"./files/topichead_d3e42542.htm"}]},
{"title":"Importing an Audio File",
"href":"./files/GUID-0D852481-5531-41E9-99A3-506DB93EEB4F.htm",
"description":"Lustre can use the audio files that you import into the scene\'s Library\\audio directory or embedded in media imported from the Wiretap or Wiretap Gateway server.",
"ancestors":[{"title": "Audio","href":"./files/topichead_d3e42542.htm"}]},
{"title":"Importing Audio From Wiretap",
"href":"./files/GUID-4492FAE7-A553-4B7C-BF1A-3E24037A9661.htm",
"description":"You have the option of including audio tracks when you import content containing audio from the Wiretap server. Since the content contains raw audio, you can import the audio tracks as a WAV or AIFF file (the bit depth of the file is preserved and the Single File Capture option is not applicable). To set audio file type, see .",
"ancestors":[{"title": "Audio","href":"./files/topichead_d3e42542.htm"},{"title": "Importing an Audio File","href":"./files/GUID-0D852481-5531-41E9-99A3-506DB93EEB4F.htm"}]},
{"title":"Capturing an Audio File",
"href":"./files/GUID-DB139FFC-F560-4A30-8A45-31E32B895385.htm",
"description":"You can capture an audio signal of up to 16 tracks as a single 48 kHz (16-bit or 24-bit), interleaved WAV or AIFF file. The audio is saved in the scene\'s Audio folder. If using the Linux version of Lustre, the filename uses forward slashes.",
"ancestors":[{"title": "Audio","href":"./files/topichead_d3e42542.htm"}]},
{"title":"Playing Back Audio with the Timeline",
"href":"./files/GUID-20818947-6592-498B-A148-49C6EC951B51.htm",
"description":"Once the audio file is in the audio folder, you can play it back at the same time as your timeline.",
"ancestors":[{"title": "Audio","href":"./files/topichead_d3e42542.htm"}]},
{"title":"Audio Monitoring Options",
"href":"./files/GUID-4A9C9AD0-A66C-480A-AD3A-F80032FCA785.htm",
"description":"When you are playing back audio with your video, you need to make sure your playback settings correspond to your audio configuration. Typically, each track is played through a corresponding port (e.g., track 1 passes through port 1, track 2 passes through port 2, etc.), but your system might be configured to have multiple tracks going through a single port (e.g., tracks 1, 3, and 5 pass through port 1). The Monitoring option allows you to set how the tracks are played back.",
"ancestors":[{"title": "Audio","href":"./files/topichead_d3e42542.htm"},{"title": "Playing Back Audio with the Timeline","href":"./files/GUID-20818947-6592-498B-A148-49C6EC951B51.htm"}]},
{"title":"Offsetting the Audio File",
"href":"./files/GUID-B4D834D3-8203-46D4-8B18-A0F81C454C31.htm",
"description":"When you playback the audio with the timeline, both the audio and video begin at the same time. If you want your audio to play before, or after, the video has begun, you need to enter an offset for the audio file. Use the Audio Slip option to offset the audio file. For example, if the audio file starts two seconds after the start of the timeline, create a two second offset.",
"ancestors":[{"title": "Audio","href":"./files/topichead_d3e42542.htm"},{"title": "Playing Back Audio with the Timeline","href":"./files/GUID-20818947-6592-498B-A148-49C6EC951B51.htm"}]},
{"title":"Sync Options",
"href":"./files/GUID-36B3F295-2155-4B89-A808-A1742F9A003C.htm",
"description":"Depending upon the output device you are using to view the timeline, the audio and video might not be in sync. Use the Sync Options feature to sync the audio and video. When you enable a sync option, a pre-calculated default is already applied. You only need to enter a value if the audio and video are still not in sync.",
"ancestors":[{"title": "Audio","href":"./files/topichead_d3e42542.htm"},{"title": "Playing Back Audio with the Timeline","href":"./files/GUID-20818947-6592-498B-A148-49C6EC951B51.htm"}]},
{"title":"Playback Using the LTC Chase Option",
"href":"./files/GUID-8F8846AD-69F8-4139-8AF4-E1DA54D7E0C0.htm",
"description":"The LTC Chase Options allow you to send the timeline\'s timecode through the DVS or AJA BOB to an audio device that can chase the LTC timecode. By default, the LTC timecode is the same as the record time (REC TC). For example, if the start timecode for the timeline is 10:00:00:00, the LTC will be 10:00:00:00. When you move the shot positioner to a further position in the timeline and press play, the LTC value is also updated so it is in sync with the record timecode. If the Telecine option is enabled in the Editing>Playout menu, the LTC timecode is the same as the source timecode.",
"ancestors":[{"title": "Audio","href":"./files/topichead_d3e42542.htm"}]},
{"title":"Use Explicit Timecode",
"href":"./files/GUID-3FDBD398-C6CD-46B1-A3EE-AB69750094BC.htm",
"description":"If the audio device has a different timecode than the timeline, you can set a different timecode by enabling the Use Explicit TC button. For example, if your source timecode starts at 10:00:00:00 and your audio timecode begins at 11:00:00:00, you can enable the Use Explicit TC option and create an offset of 1:00:00:00.",
"ancestors":[{"title": "Audio","href":"./files/topichead_d3e42542.htm"},{"title": "Playback Using the LTC Chase Option","href":"./files/GUID-8F8846AD-69F8-4139-8AF4-E1DA54D7E0C0.htm"}]},
{"title":"Playout of Audio and Video",
"href":"./files/GUID-FBB4203E-B3EF-4F47-B5A6-E4151C771E1A.htm",
"description":"Once you have verified the playback of your audio file/track(s) and timeline, you can play out the timeline to tape. See .",
"ancestors":[{"title": "Audio","href":"./files/topichead_d3e42542.htm"}]},
{"title":"Working with Wiretap",
"href":"./files/topichead_d3e43143.htm",
"description":"",
"ancestors":[]},
{"title":"About Lustre and Wiretap",
"href":"./files/GUID-39AA2F71-2860-40B5-AC09-917E81F5B94B.htm",
"description":"Wiretap is Autodesk\'s cross-platform client-server interoperability framework, providing Lustre with high-performance access to remote media and metadata. With Wiretap, you can work with material from Autodesk Visual Effects and Finishing applications, without duplicating media. Import timelines directly from the host application, and read/write clips and frames on remote FS and Standard FS storage devices with the same ease as you would local media. In addition, Wiretap allows you work with multi-layer and stereoscopic timelines.",
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{"title":"Working with Wiretap Timelines",
"href":"./files/GUID-8A0CBDEB-5B0A-49AC-9CCA-CCBFB759D53F.htm",
"description":"Lustre can interpret a Visual Effects and Finishing timeline as a single one-sequence clip, or as an imported timeline. When you reference a Wiretap timeline in Lustre, the dissolve and splice transitions are maintained. The Wiretap timeline appears on the Lustre Storyboard as a series of shots and transitions. Each shot comprising the timeline is added separately to the Library. Working with remote timelines containing soft-imported clips is equally possible.",
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{"title":"Wiretap Timelines and Soft-Imported Media",
"href":"./files/GUID-CF375F5A-EBD5-4BCF-868D-02B1B44914DD.htm",
"description":"Recall that in Autodesk Visual Effects and Finishing products, clips using soft-imported media contain only links to the media at its original location, so that no media is actually imported and duplicated in the Autodesk managed storage.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "About Lustre and Wiretap","href":"./files/GUID-39AA2F71-2860-40B5-AC09-917E81F5B94B.htm"}]},
{"title":"Wiretap Timelines and Wiretap Gateway Media",
"href":"./files/GUID-E824D591-1D46-4636-ADA7-CAC77409D3A2.htm",
"description":"Autodesk Visual Effects and Finishing applications can import a wide variety of media formats from the Wiretap Gateway. It is important to note that Lustre can read all these formats, when you import a Wiretap timeline where they are used.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "About Lustre and Wiretap","href":"./files/GUID-39AA2F71-2860-40B5-AC09-917E81F5B94B.htm"}]},
{"title":"Wiretap Playback Speed",
"href":"./files/GUID-743D2301-14FB-4C11-A28E-442EF0F780C3.htm",
"description":"Regarding clip playback speed, network bandwidth and traffic play the expected role. On an optimized GigE network, for example, you can achieve up to 80 MB/sec throughput. This is enough for real-time playback of SD clips, or about 1/4 real-time for 2K material. Better results can be achieved using InfiniBand or 10 GigE. Note that the Visual Effects and Finishing application on the Wiretap server host workstation can also affect performance. Visual Effects and Finishing applications have guaranteed access to the \'local\' framestores—remote access by Lustre over Wiretap is at a lower priority. If you notice playback is suffering, consider generating local proxies for the remote material.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "About Lustre and Wiretap","href":"./files/GUID-39AA2F71-2860-40B5-AC09-917E81F5B94B.htm"}]},
{"title":"Rendering to Wiretap",
"href":"./files/GUID-CA8309E8-9274-4185-925E-72C2FEDA4073.htm",
"description":"Once you are finished grading the material from the Stone FS or Standard FS, there are different rendering possibilities. As with any Lustre grading project, you can render to the local storage array. Under Wiretap it is also possible to render back to the Stone FS or Standard FS, and to publish soft-import links to rendered media.",
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{"title":"Before You Begin",
"href":"./files/GUID-CB2B406D-F443-4DDD-B865-859707CD71B5.htm",
"description":"This section presents important points to consider before beginning to work with Wiretap.",
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{"title":"Timeline Considerations and Restrictions",
"href":"./files/GUID-E12A1068-2BAF-4CEE-B293-447630EACEDD.htm",
"description":"When creating a Visual Effects and Finishing timeline for use in Lustre, please note the following.",
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{"title":"Wiretap Limitations",
"href":"./files/GUID-85A17E30-809C-4F82-837D-DEAB981B9683.htm",
"description":"It is important to note the following limitations:",
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{"title":"Wiretap Gateway Limitations",
"href":"./files/GUID-87077929-DA69-48D0-90DF-03AF9281C3FD.htm",
"description":"When ingesting media using the Wiretap Gateway, please note the following:",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Before You Begin","href":"./files/GUID-CB2B406D-F443-4DDD-B865-859707CD71B5.htm"}]},
{"title":"Incinerator Limitations",
"href":"./files/GUID-D56F8B81-7A19-4E36-9582-0C4F04DE86EB.htm",
"description":"Incinerator provides in-line processing by several computers for Lustre, dramatically increasing the power of real-time playback. The following Wiretap and Wiretap Gateway features are not supported when an Incinerator cluster is connected:",
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{"title":"Wiretap Backwards Compatibility",
"href":"./files/GUID-8D5D0E56-875D-4452-BA21-F816D8C139BD.htm",
"description":"You can view and write back to projects created in any current Visual Effects and Finishing application. However, if a project was created using an earlier version of the software, Lustre has read-only access to it. Similar considerations apply to the Wiretap server. That is, Lustre has read/write access to media via any current Wiretap server. Earlier Wiretap servers may provide read-only access. The version of the Wiretap server is shown in the Lustre browser.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Before You Begin","href":"./files/GUID-CB2B406D-F443-4DDD-B865-859707CD71B5.htm"}]},
{"title":"Networking",
"href":"./files/GUID-F02B0175-C55E-4B74-A6EB-5247A263B54F.htm",
"description":"Lustre and Visual Effects and Finishing applications communicate through Wiretap over a network connection. The network infrastructure can be GigE or InfiniBand. A GigE connection is sufficient for SD and HD 8-bit workflows. An InfiniBand connection is recommended for high-resolution projects like HD 10-bit, 2K, and beyond.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Before You Begin","href":"./files/GUID-CB2B406D-F443-4DDD-B865-859707CD71B5.htm"}]},
{"title":"Supported Filesystems and Media Types",
"href":"./files/GUID-9303809B-8221-4EB0-BC75-9C9A61401868.htm",
"description":"From the perspective of the Lustre user, there are no operational differences between accessing media on a Stone FS and a Standard FS for colour grading. However, there may be differences in performance. Performance varies when using Standard FS, depending on the configuration. Refer to “Standard FS Performance Expectations” in the Autodesk Visual Effects and Finishing Installation and Configuration Guide.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"}]},
{"title":"Supported Image File Types",
"href":"./files/GUID-2F07BF1E-B783-41BF-AA33-6858155F3EF3.htm",
"description":"Lustre can access the following compressed and uncompressed image files from a Stone FS or Standard FS.",
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{"title":"Soft-Imported Media",
"href":"./files/GUID-DBC5CD83-9454-49F4-AC01-7E4B3C294363.htm",
"description":"In a Visual Effects and Finishing application, soft-importing creates a clip that references unmanaged media. Unmanaged media typically resides on shared network storage, such as a SAN or NAS, where numerous applications can have equal access to it, avoiding data duplication. If soft-imported media is overwritten, the clip referencing it is updated accordingly. If soft-imported media is deleted, the clip referencing it displays a checkerboard pattern indicating that the media files can\'t be found. Inversely if, in the Effects or Finishing application, all clips referencing media are deleted, the source media remains unaffected. Basically, soft-imported media is unmanaged, whereas imported media is managed.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Supported Filesystems and Media Types","href":"./files/GUID-9303809B-8221-4EB0-BC75-9C9A61401868.htm"}]},
{"title":"Published Media",
"href":"./files/GUID-38CE00B7-A47A-4494-A1CE-8C04ED4EC4F1.htm",
"description":"Publishing consists of exposing managed or unmanaged media to a location accessible by other applications. Once published, the media is still being referenced in a clip library, just like any other clip, but automatically becomes soft-imported and unmanaged media. If the publish destination resides on the same volume and if the format of the published files is the same as the original file format, hard links to the managed media can be created as an option. This media is accessible to Lustre and unmanaged by the Effects and Finishing application.",
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{"title":"Soft-Import Streaming Media Support",
"href":"./files/GUID-18C47868-CF68-4E69-9B31-9E0ADA89D793.htm",
"description":"With Wiretap and the Wiretap Gateway, Lustre can read compressed media file types that are otherwise not natively supported. For example, users can access soft-imported formats, such as Quicktime, over the network because the Wiretap Server converts the media on-the-fly without Lustre having to decode the files.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Supported Filesystems and Media Types","href":"./files/GUID-9303809B-8221-4EB0-BC75-9C9A61401868.htm"}]},
{"title":"Mixed Media Support",
"href":"./files/GUID-39325853-56B9-4D1A-87E9-8F42B84B3C1D.htm",
"description":"A \'mixed\' clip or timeline contains media of different storage formats. Typically, this kind of timeline contains both media from a Stone FS framestore and media soft-imported from a Standard FS framestore. In earlier versions, these clips could not easily be used by Wiretap clients without an explicit stonifize or publish from within the Visual Effects and Finishing application. As a result of server-side video media conversion, this is no longer necessary.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Supported Filesystems and Media Types","href":"./files/GUID-9303809B-8221-4EB0-BC75-9C9A61401868.htm"}]},
{"title":"Proxy Media",
"href":"./files/GUID-353569B6-727A-43B1-AA54-CF002B73E987.htm",
"description":"A Lustre user can see proxy media on a Wiretap server by enabling the Half resolution button in the player. It is also possible to generate local proxies for Wiretap content. See and . Lustre can create proxies as you are rendering the hires content to the Wiretap server by enabling the Proxy Rendering button within Network Rendering of the user configuration settings. See .",
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{"title":"Sample Workflows",
"href":"./files/GUID-C121512C-51E7-43AC-9247-D2AE4068AC05.htm",
"description":"The ability to access remote footage makes it possible for Lustre to share footage with other Autodesk products. The example workflows provided below offer high-level descriptions of how Lustre could be integrated into different post-production pipelines.",
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{"title":"Workflow #1: Importing One-Sequence Clips",
"href":"./files/GUID-01BBFB1A-BB6D-49BA-820F-057D71DF5B7B.htm",
"description":"In the one-sequence workflow, you work with a single clip representing the timeline coming from Wiretap. In this case, files are first imported into Smoke from the Stone FS and assembled into a timeline created especially for Lustre. The timeline does not contain any splices or soft transitions. Lustre then accesses the timeline as a one-sequence clip by way of Wiretap. This workflow is particularly useful as a guide for a confidence check or scene detection.",
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{"title":"Workflow #2: Importing Timeline",
"href":"./files/GUID-3799BBF4-E767-4265-8264-DBCAAA17EEBB.htm",
"description":"Importing a Timeline allows you to work with an editorial sequence that contains shots and soft transitions (such as dissolves). In this case, timelines are created in a Visual Effects and Finishing application and Lustre gains access to the timeline by way of Wiretap. This is a useful workflow for shot-to-shot grading.",
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{"title":"Workflow #3: Smoke Renders Final Version",
"href":"./files/GUID-604CFBEB-14B2-40E2-9E90-CB6C5935BC58.htm",
"description":"Smoke and Lustre users each access the same files from the external SAN or NAS, and work on them simultaneously. The Smoke user assembles the files and creates a multi-layer timeline while grading is performed on the one-sequence clip in Lustre. At any time during the process, Smoke can be made to publish metadata to reflect editorial changes. Lustre can then be used to re-conform and create a new version of the timeline based on updates performed in Smoke. When grading is complete, the source clips are rendered by Lustre to the external storage using any of the standard Render Place controls in the Render Local menu. See . The timeline can then be updated in Smoke by soft-importing the graded sources. Finishing touches are applied to the timeline in Smoke prior to rendering the final clip.",
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{"title":"Workflow #4: Lustre Renders Final Version",
"href":"./files/GUID-D05344C4-6499-4C42-85AF-605B884EAA01.htm",
"description":"As in the previous example, files are soft-imported into Smoke and Lustre in order to be worked on at the same time. The only differences are: instead of referencing the timeline as a one-sequence clip, it is referenced as an timeline; Lustre renders the final version of the timeline, instead of Smoke.",
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{"title":"Workflow #5: Simple Source Grading",
"href":"./files/GUID-138CA43C-54C2-4E17-96EF-ECBD091D5B97.htm",
"description":"The following procedure illustrates a possible workflow for source grading for complex projects that include multi-layer timelines with numerous effects, transitions, etc. Since Wiretap flattens the timelines it imports from a Visual Effects and Finishing application, for complex projects, it is worthwhile creating a new single-layer timeline in the Visual Effects and Finishing application. In this way, all the material needed by the Effects and Finishing artists can be made available.",
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{"title":"Preparing the Wiretap Timeline for Lustre",
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"description":"Before you can read a Visual Effects and Finishing timeline using Wiretap, the Visual Effects and Finishing artist must prepare the timeline.",
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{"title":"Configuring Wiretap and Lustre",
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"description":"Before you begin using Wiretap with Lustre, some one-time configuration is required. Depending on how you will be using Wiretap, the following items might require configuration:",
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{"title":"Configuring Dual Network Support",
"href":"./files/GUID-FB4E963A-BF3B-45A2-B3DE-3F82FF37B38C.htm",
"description":"If your facility has both a GigE network and an InfiniBand network, you can configure Wiretap to use both. The Wiretap server will then make use of the high-bandwidth network for moving media, greatly improving network performance and increasing reliability. The behaviour is transparent to end-users.",
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{"title":"Configuring Lustre to Work with Wiretap",
"href":"./files/GUID-0D073F40-887F-4C56-8F7C-27C89915283E.htm",
"description":"When starting Lustre, Visual Effects and Finishing systems running Wiretap servers on the same network are detected and displayed in the Browser by default. The Wiretap Server can be identified by its host name or IP address, depending on how the workstation\'s network settings have been configured. You can edit the init.config file to configure Lustre to restrict what is displayed to a specified selection of Wiretap servers if you want to limit access.",
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{"title":"Configuring the Wiretap Server to use a Shared Storage Mount Point",
"href":"./files/GUID-1E949461-A223-4B9F-9F16-D688BC64E280.htm",
"description":"By default, Wiretap enables access to Visual Effects and Finishing media by way of the Wiretap server. However, if the applications share a storage mount point, Lustre can gain access to the media directly, while reading the metadata off the Wiretap server. You configure this behaviour by adding entries to the Wiretap path translation file.",
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{"title":"Configuring for Soft-Imported Timelines",
"href":"./files/GUID-599B3833-22FB-400D-8E2E-D8D636E575C2.htm",
"description":"If you will be working with timelines containing soft-imported media, there are two configuration details to take care of. First, you must configure the Wiretap path translation table to permit the use of a shared storage mount point (as indicated in ). Next, you must correctly set up the directory structure on the shared storage mount point, as indicated in the following procedure.",
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{"title":"Setting Up the Lustre Wiretap Project",
"href":"./files/GUID-F300B81F-DC42-4CB9-B511-0124424CE0BA.htm",
"description":"Lustre projects that make use of Wiretap must be configured differently than regular Lustre projects. The choices you make depend upon several factors. These factors include whether you will render locally or to a SAN or NAS (as can be the case in non-Wiretap setups), or use Wiretap to render to a Stone FS or Standard FS. In addition, you need to decide whether you will generate local proxies for the clips, or make use of proxies that might already exist on the Stone FS or Standard FS. If your project will make use of soft-imported media, additional considerations apply.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"}]},
{"title":"Project Menu Settings",
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"description":"The following table explains the criteria to consider for each of the fields in the Project menu related to Wiretap projects.",
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{"title":"Rendering Menu Settings",
"href":"./files/GUID-5485587E-F552-4D57-9D8D-6E6083677811.htm",
"description":"If you are rendering to a Stone FS or Standard FS, enable the Same Format As Scans button. If you plan to render to shared storage, select the file format to be used (DPX, TIFF, etc.). Make sure the format you select is supported by the Wiretap server. See .",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Setting Up the Lustre Wiretap Project","href":"./files/GUID-F300B81F-DC42-4CB9-B511-0124424CE0BA.htm"}]},
{"title":"Network Rendering Menu Settings",
"href":"./files/GUID-38145B3B-D783-4286-808C-35A932D8D454.htm",
"description":"To improve interoperability of projects used by Lustre and a Visual Effects and Finishing application, enable the Proxy Rendering button. Proxies are automatically generated when you render the timeline. This makes it efficient to load clips in a Visual Effects and Finishing application as you no longer have to render proxies first.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Setting Up the Lustre Wiretap Project","href":"./files/GUID-F300B81F-DC42-4CB9-B511-0124424CE0BA.htm"}]},
{"title":"Viewing Local Proxies for Wiretap Media",
"href":"./files/GUID-5D06FD90-6B77-4718-987E-BCDC0BBFDF9A.htm",
"description":"As with non-Wiretap Lustre projects, proxy generation reduces processing time and can be helpful when working with large image formats. Wiretap projects will make use of Visual Effects and Finishing proxies, if available. This, nevertheless, involves transferring the proxies across the network. It can be advantageous to generate local proxies, regardless of proxy availability on the Visual Effects and Finishing side. Note that you can generate the local proxies at 100% of the original resolution. This allows you to work with high-resolution material on the local Lustre storage, avoiding network traffic without sacrificing image quality.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Setting Up the Lustre Wiretap Project","href":"./files/GUID-F300B81F-DC42-4CB9-B511-0124424CE0BA.htm"}]},
{"title":"Browsing for Remote Footage",
"href":"./files/GUID-5FA25482-837B-41B0-847F-F42944C2C4A9.htm",
"description":"Wiretap servers are displayed in the Lustre file browser as an IP address or server workstation name, followed by the Wiretap server version. When you manually open the Wiretap server entry in the browser, both Stone FS and Standard FS filesystems are visible.",
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{"title":"Viewing the Volume Hierarchy",
"href":"./files/GUID-390DCB05-8526-4C68-AA32-D20BCD0E4E29.htm",
"description":"Expanding a Wiretap volume presents its contents as a hierarchy.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Browsing for Remote Footage","href":"./files/GUID-5FA25482-837B-41B0-847F-F42944C2C4A9.htm"}]},
{"title":"Viewing Volume and Clip Details",
"href":"./files/GUID-2CD54286-F26A-4437-B256-C1B9B48912C7.htm",
"description":"Expanding the volume presents additional details.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Browsing for Remote Footage","href":"./files/GUID-5FA25482-837B-41B0-847F-F42944C2C4A9.htm"}]},
{"title":"One-Sequence and Timeline Views",
"href":"./files/GUID-94FF6D82-DF26-43A1-9E0D-58E5FB498748.htm",
"description":"By default, the Timelines Only button in the Browser is enabled, which allows Wiretap content to be presented in a timeline form. You can also choose to display the one-sequence representation of the Wiretap timeline by disabling the Timelines Only button, in which case both the one-sequence and timeline versions are displayed at the same time.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Browsing for Remote Footage","href":"./files/GUID-5FA25482-837B-41B0-847F-F42944C2C4A9.htm"}]},
{"title":"Importing the Wiretap Timeline",
"href":"./files/GUID-802AE26E-C1EF-4E3A-9499-5B3EA15E28FF.htm",
"description":"Please note the following points about importing footage from the browser:",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"}]},
{"title":"Dust Bust and Marry Grade",
"href":"./files/GUID-389E20C1-54B0-419A-8727-F871C26890E4.htm",
"description":"It is possible to perform dust removal on media imported via Wiretap. However, since media stored on a Stone FS or Standard FS filesystem cannot be replaced by Lustre, you can create dust metadata for use when rendering media only.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"}]},
{"title":"Working with Half Float Media",
"href":"./files/GUID-BBD84D3C-0840-4DF9-AFED-84CBB1887543.htm",
"description":"OpenEXR is a high-dynamic range (HDR) media format supporting multi-resolutions and an arbitrary number of channels and channel types, such as specular, diffuse, alpha, RGB, normals, in a single file. Lustre supports OpenEXR 16-bit RGB only (files with other channels cannot be read). This format is sometimes referred to as “16-bit half float”.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"}]},
{"title":"Working with Soft-Imported Media",
"href":"./files/GUID-BA3EAEF0-7EC5-497A-A2D4-5354A4195199.htm",
"description":"This section presents the considerations that apply when working with timelines or clips containing soft-imported media. When using soft-imported media, be aware that you have no control if another user modifies the original media files. All soft-imported clips that refer to the modified media files are updated to reflect the change. Ensure that all users accessing the same media are aware of these implications.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"}]},
{"title":"Creating Soft-Imported Links to Rendered Media",
"href":"./files/GUID-B7B7031C-4F8E-4F1E-9AFF-8F113E3173F7.htm",
"description":"You can create soft-imported clips from rendered material and write the generated timeline back to the Wiretap Clip Library. The rendered results reside in the destination specified in the project settings, and a soft-import link is created on the Stone FS or Standard FS.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Working with Soft-Imported Media","href":"./files/GUID-BA3EAEF0-7EC5-497A-A2D4-5354A4195199.htm"}]},
{"title":"Working with Stereoscopic Wiretap Timelines",
"href":"./files/GUID-1F5A65CE-0D7C-4FE4-BE84-68246B0239AA.htm",
"description":"Importing a stereoscopic Wiretap timeline follows all the principles and restrictions outlined for non-stereo Wiretap timelines (see ). Similarly, once in Lustre, it is indistinguishable from a “local” stereoscopic timeline. Under specific circumstances, however, when rendered back to the Wiretap server, the timeline will lose its stereo status in the originating application. The status can easily be regained.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"}]},
{"title":"Rendering Shots",
"href":"./files/GUID-28A47D82-9919-4DE4-B5AA-D831F1F31746.htm",
"description":"When you have finished grading the imagery from the filesystem, you can render to the local storage array, or write back to the Stone FS via Wiretap.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"}]},
{"title":"Rendering with Wiretap",
"href":"./files/GUID-3CA8412D-1FBD-4983-97BA-392E6901335B.htm",
"description":"When rendering with Wiretap, a new reel (based on the scene name, grade, and timeline name) will be created in the destination Clip Library that was defined when the project was created. See .",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Rendering Shots","href":"./files/GUID-28A47D82-9919-4DE4-B5AA-D831F1F31746.htm"}]},
{"title":"Rendering Wiretap Clips to Local or Network Storage",
"href":"./files/GUID-B6B56DCD-7A91-4A0E-9DA3-66AF862D75D5.htm",
"description":"The render directory structure for Wiretap clips is different from how local scans are rendered to the local or networked storage. The location and structure of the scene or grd directory depends on whether your shots are written on the Stone FS, or soft-imported into the Stone FS, and is based on your project directory structure. See .",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Rendering Shots","href":"./files/GUID-28A47D82-9919-4DE4-B5AA-D831F1F31746.htm"}]},
{"title":"Troubleshooting",
"href":"./files/GUID-B059E23D-F275-4E83-B9E7-F8887F7DD70C.htm",
"description":"This section presents a few helpful procedures relating to the Wiretap server and Lustre-server connectivity.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"}]},
{"title":"Verifying Connectivity between Lustre and the Wiretap Server",
"href":"./files/GUID-0C4D6511-D744-4101-B043-A1938AFCBF28.htm",
"description":"Verify that you have proper connectivity over the network.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Troubleshooting","href":"./files/GUID-B059E23D-F275-4E83-B9E7-F8887F7DD70C.htm"}]},
{"title":"Starting and Stopping the Wiretap Server",
"href":"./files/GUID-F06CBDEA-8F5D-4DDC-972C-2C31C63ABF76.htm",
"description":"The following utilities have been provided for starting, stopping, and restarting the Wiretap server.",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Troubleshooting","href":"./files/GUID-B059E23D-F275-4E83-B9E7-F8887F7DD70C.htm"}]},
{"title":"Verifying that the Wiretap Server is Running",
"href":"./files/GUID-E87049C8-7974-42BB-8B4D-A072E2413215.htm",
"description":"To verify a Wiretap server is running:On the Wiretap server, open a shell and type: ps -ef |grep wiretap Example system responseroot 19579 10 May14 ? 00:00:00 /bin/sh /usr/discreet/sw/sw_wiretapdroot",
"ancestors":[{"title": "Working with Wiretap","href":"./files/topichead_d3e43143.htm"},{"title": "Troubleshooting","href":"./files/GUID-B059E23D-F275-4E83-B9E7-F8887F7DD70C.htm"}]},
{"title":"Hotkeys",
"href":"./files/topichead_d3e45584.htm",
"description":"",
"ancestors":[]},
{"title":"Storyboard Navigation",
"href":"./files/GUID-F1DF5AFB-C8EB-4FBB-9B33-BAE33ED7D3C8.htm",
"description":"Use these hotkeys to navigate in the Storyboard and shot timebars.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"View Modes",
"href":"./files/GUID-7C7089A8-AA79-46A2-B928-7094438F7D32.htm",
"description":"Use these hotkeys to switch between the different view modes.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"Timeline Sort Modes",
"href":"./files/GUID-6E741BD9-EC4F-41BC-BA03-B7880DA23E9F.htm",
"description":"Use the following hotkeys to sort the shots in your timeline.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"Notes",
"href":"./files/GUID-0C6776B7-0DBB-474E-A22F-72CA308C2767.htm",
"description":"You can use any of the following standard text editor functions when drafting notes in the Notes window.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"Calculators",
"href":"./files/GUID-5FA50517-6CA3-479E-AE73-EB7655596F11.htm",
"description":"The following hotkeys can be used with the standard calculator and the timecode calculator.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"Dust Removal",
"href":"./files/GUID-49A5601C-C453-47D0-BFB7-F990B5F50D0F.htm",
"description":"Use these hotkeys when working in the Dust menu.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"Grain Removal",
"href":"./files/GUID-208F4A90-73EB-4E06-B7D0-A3C0A7364A36.htm",
"description":"Use these hotkeys when working in the Degrain menu.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"Editing",
"href":"./files/GUID-779C10AC-9988-4A98-B00C-FC14BCD1A71B.htm",
"description":"Certain editing hotkeys are available from any menu, whereas the rest are available exclusively from the Edit menu.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"Global Editing Hotkeys",
"href":"./files/GUID-F8C5156F-B9AC-4D35-8EAC-CC7741FCFCE6.htm",
"description":"When you enable the Editing While Grading button in the System & Menu page of the user configuration, you can access the following editing hotkeys from any Lustre menu (except the Colourist Timeline).",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Editing","href":"./files/GUID-779C10AC-9988-4A98-B00C-FC14BCD1A71B.htm"}]},
{"title":"Edit Menu Hotkeys",
"href":"./files/GUID-20A3BDA8-55A8-48D8-A150-2502B6026DE9.htm",
"description":"Use these hotkeys in the Edit menu.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Editing","href":"./files/GUID-779C10AC-9988-4A98-B00C-FC14BCD1A71B.htm"}]},
{"title":"Timeline Menu Hotkeys",
"href":"./files/GUID-224C489C-6A05-4ABD-9D60-6CA6E66A3D3D.htm",
"description":"Use these hotkeys in the Timeline menu when your cursor is on the Timeline canvas.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Editing","href":"./files/GUID-779C10AC-9988-4A98-B00C-FC14BCD1A71B.htm"}]},
{"title":"Capture Menu Hotkeys",
"href":"./files/GUID-B8248984-5B09-4645-971E-692919F5D3F3.htm",
"description":"Use these hotkeys during the capture process.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Editing","href":"./files/GUID-779C10AC-9988-4A98-B00C-FC14BCD1A71B.htm"}]},
{"title":"Playout Menu Hotkeys",
"href":"./files/GUID-17EACFB0-0DF5-4123-8555-092C866065E7.htm",
"description":"Use these hotkeys during the playout process.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Editing","href":"./files/GUID-779C10AC-9988-4A98-B00C-FC14BCD1A71B.htm"}]},
{"title":"Colour Grading",
"href":"./files/GUID-55563E31-104C-494F-BFA0-FD9B8CD2D973.htm",
"description":"Use colour grading hotkeys to perform colour grading operations carried out in the Grading, Curves, and Secondaries menus.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"Global Colour Grading Hotkeys",
"href":"./files/GUID-5CD231CD-E4E6-46BA-8A70-FDDAFB84D000.htm",
"description":"Use these hotkeys in any of the Colour menus.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Colour Grading","href":"./files/GUID-55563E31-104C-494F-BFA0-FD9B8CD2D973.htm"}]},
{"title":"Grade Bin Hotkeys",
"href":"./files/GUID-5C2634FB-B647-4100-8598-14BDF1EE2C3E.htm",
"description":"Use these hotkeys for the Grade bin.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Colour Grading","href":"./files/GUID-55563E31-104C-494F-BFA0-FD9B8CD2D973.htm"}]},
{"title":"Expanded Grade Bin Hotkeys",
"href":"./files/GUID-544A1F14-446F-4F12-B075-0F57D93140DA.htm",
"description":"Use these hotkeys for the expanded Grade bin.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Colour Grading","href":"./files/GUID-55563E31-104C-494F-BFA0-FD9B8CD2D973.htm"}]},
{"title":"Secondary Layers Hotkeys",
"href":"./files/GUID-08DC7A59-A594-4D34-88C9-3015EC1EA9A2.htm",
"description":"Use these hotkeys when working with the secondary layer panel.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Colour Grading","href":"./files/GUID-55563E31-104C-494F-BFA0-FD9B8CD2D973.htm"}]},
{"title":"Curves Menu Hotkeys",
"href":"./files/GUID-57FE32DA-4707-4009-8518-FBCD2E00D80E.htm",
"description":"Use these hotkeys in the Curves menu.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Colour Grading","href":"./files/GUID-55563E31-104C-494F-BFA0-FD9B8CD2D973.htm"}]},
{"title":"Secondaries Menu Hotkeys",
"href":"./files/GUID-56649A42-1E61-4CE5-8EBD-F5CD5CCC2CC1.htm",
"description":"Use these hotkeys in the Secondaries menu.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Colour Grading","href":"./files/GUID-55563E31-104C-494F-BFA0-FD9B8CD2D973.htm"}]},
{"title":"Timeline Menu Hotkeys",
"href":"./files/GUID-808384DC-E21D-4AE5-82D5-F73F2B68AB40.htm",
"description":"Use these hotkeys in the colour grading Timeline menu.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Colour Grading","href":"./files/GUID-55563E31-104C-494F-BFA0-FD9B8CD2D973.htm"}]},
{"title":"Numeric Keypad",
"href":"./files/GUID-B9E22162-202E-4A19-BB3E-5749B23E8239.htm",
"description":"The numeric keypad hotkeys vary depending on the menu. The following section includes hotkey tables for the following menus:",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"Colour Menus — Grading and Secondaries",
"href":"./files/GUID-DA0A3317-4043-47B7-B5A5-3DA06F3B180C.htm",
"description":"Refer to the following table for numeric keypad hotkey functions when working in the Grading and Secondaries menus.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Numeric Keypad","href":"./files/GUID-B9E22162-202E-4A19-BB3E-5749B23E8239.htm"}]},
{"title":"Curves Menu — Hue, Lightness, Saturation and Luminance",
"href":"./files/GUID-D10D1919-F231-4047-8DFB-57504E258728.htm",
"description":"Refer to the following table for numeric keypad hotkey functions when working on the Hue, Lightness, Saturation or Luminance values in the Curves menu.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Numeric Keypad","href":"./files/GUID-B9E22162-202E-4A19-BB3E-5749B23E8239.htm"}]},
{"title":"Editing Menu—Edit",
"href":"./files/GUID-8B5B40BD-A648-473E-9D63-4537D035FE56.htm",
"description":"Refer to the following table for numeric keypad hotkey functions when working in the Edit menu.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Numeric Keypad","href":"./files/GUID-B9E22162-202E-4A19-BB3E-5749B23E8239.htm"}]},
{"title":"Editing Menus—Capture and Playout",
"href":"./files/GUID-2298D504-4C01-4F0C-BB3D-99CE13CDB546.htm",
"description":"Refer to the following table for numeric keypad hotkey functions when working in the Capture and Playout menus.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"},{"title": "Numeric Keypad","href":"./files/GUID-B9E22162-202E-4A19-BB3E-5749B23E8239.htm"}]},
{"title":"Stereoscopy",
"href":"./files/GUID-FFF11BB3-648D-49BD-9838-ABCD5D41A71C.htm",
"description":"Use these hotkeys when the Stereoscopy feature is enabled.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"Animation",
"href":"./files/GUID-BD65EEC3-0F11-4693-9CD2-71E247676DDF.htm",
"description":"Use these hotkeys in the Animation menu.",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"Miscellaneous Functions",
"href":"./files/GUID-CD30DE53-1AA5-4ADC-833A-995D18199316.htm",
"description":"These hotkeys are for assorted tasks (e.g., text editing, toggling render settings, and manipulating geometries).",
"ancestors":[{"title": "Hotkeys","href":"./files/topichead_d3e45584.htm"}]},
{"title":"XML in Lustre",
"href":"./files/topichead_d3e49082.htm",
"description":"",
"ancestors":[]},
{"title":"Lustre XML-Based Files",
"href":"./files/GUID-05FD929D-663F-46AC-9823-68DC86982023.htm",
"description":"Lustre\'s XML-based files are stored as plain text on disk so that you may view, generate, and, in certain cases, modify them. The three types of XML-based files are:",
"ancestors":[{"title": "XML in Lustre","href":"./files/topichead_d3e49082.htm"}]},
{"title":"Limitations",
"href":"./files/GUID-E051606A-F821-4D43-9245-05945503BE78.htm",
"description":"Lustre\'s XML-based files have the following limitations:",
"ancestors":[{"title": "XML in Lustre","href":"./files/topichead_d3e49082.htm"}]},
{"title":"CUT File Tags",
"href":"./files/GUID-8E73AAF3-D795-4164-8706-31551E5CC84D.htm",
"description":"The CUT file is located in the Library directory and contains the following shot information:",
"ancestors":[{"title": "XML in Lustre","href":"./files/topichead_d3e49082.htm"}]},
{"title":"CUT File Data Types",
"href":"./files/GUID-178BEF4F-B10B-4CC0-B546-CDA074D04CD7.htm",
"description":"The following data types are supported in CUT file tags.",
"ancestors":[{"title": "XML in Lustre","href":"./files/topichead_d3e49082.htm"}]},
{"title":"CUT File Example",
"href":"./files/GUID-216E4EEC-8CCC-4E0A-BE1A-231FEA5F2D0C.htm",
"description":"The following is an example of an XML-based CUT file.",
"ancestors":[{"title": "XML in Lustre","href":"./files/topichead_d3e49082.htm"}]},
{"title":"The Autodesk Control Surface",
"href":"./files/topichead_d3e50873.htm",
"description":"",
"ancestors":[]},
{"title":"About the Autodesk Control Surface",
"href":"./files/GUID-87EE2934-084E-4CD5-98B5-4FE674CEDC5B.htm",
"description":"The Autodesk control surface provides improved interactivity when colour grading film and video footage. You can perform many of the same tasks you do in the Autodesk Lustre user interface using the control surface. The modular design of the control surface also allows you to work on different grading stages simultaneously. For example, you can perform curves grading while modifying the image lift.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Connecting the Autodesk Control Surface",
"href":"./files/GUID-33C51FBA-C80A-448E-919C-E76F29ADF632.htm",
"description":"For information on connecting the control surface, refer to the Autodesk Lustre Installation and Configuration Guide for your operating system.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"},{"title": "About the Autodesk Control Surface","href":"./files/GUID-87EE2934-084E-4CD5-98B5-4FE674CEDC5B.htm"}]},
{"title":"Autodesk Control Surface Technical Information",
"href":"./files/GUID-C226A8FD-4BE8-4FC4-B505-7B289C04403D.htm",
"description":"For technical information about the Autodesk control surface, seehttp://www.tangentdevices.co.uk/downloads_documents.asp. For those who wish to mount the Autodesk control surface in a desk, this link provides the precise dimensions of the panels in millimeters.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"},{"title": "About the Autodesk Control Surface","href":"./files/GUID-87EE2934-084E-4CD5-98B5-4FE674CEDC5B.htm"}]},
{"title":"Control Surface Panel Descriptions",
"href":"./files/GUID-F49E88C0-7F67-4FC4-BEF8-9BE1C0D9686C.htm",
"description":"Each of the three control surface panels are designed to perform different functions.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Navigating the Storyboard",
"href":"./files/GUID-707C2A52-7F6E-4FE6-A2EB-2DF7EE06A3E2.htm",
"description":"You can use the Navigation panel to:",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Toggling Play Modes",
"href":"./files/GUID-10E75E1E-C6AF-40D9-A062-1D78458659C2.htm",
"description":"You can toggle the playback mode between looping a shot or looping the entire Storyboard.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Activating Mouse Functionality",
"href":"./files/GUID-2DCF097E-3800-4C99-89C5-59D777FBD9E2.htm",
"description":"You can enable mouse functionality on the Navigation panel.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Panning and Zooming the Image",
"href":"./files/GUID-B018A7A5-A5F8-417B-A64A-899F97394B2F.htm",
"description":"You can use the Navigation panel to pan and zoom the image.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Resetting Zoom and Pan",
"href":"./files/GUID-3F1D3DAF-9775-4894-920D-81C2A8FE3E6A.htm",
"description":"You can now reset the zoom and pan.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"},{"title": "Panning and Zooming the Image","href":"./files/GUID-B018A7A5-A5F8-417B-A64A-899F97394B2F.htm"}]},
{"title":"Customizing the View",
"href":"./files/GUID-52DAEFC2-DAA6-4B5A-88D3-F8F5A3149331.htm",
"description":"There are options for customizing the view on both the Navigation panel and the Function panel.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Customizing the Panel Sensitivity",
"href":"./files/GUID-E3308140-2CF4-420F-BB97-21D79AA98B28.htm",
"description":"When you enable the Edit function, you can modify the sensitivity of any modifier (e.g., knobs, wheels, and rings). These items include the Grading, Curves, Key, Geom, P&S, and Misc menu.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Saving the Sensitivity Modifications",
"href":"./files/GUID-238E71F4-AB24-4C74-BC67-126585C4E5E0.htm",
"description":"When you have completed making modifications to the sensitivity of your Autodesk control surface panel and tested the sensitivity, you must save your changes.",
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{"title":"Reverting the Panel Modifications",
"href":"./files/GUID-86674778-9B3D-492D-939F-DDA661811995.htm",
"description":"If you have made modifications to the panel control values and have not saved the changes, you can revert back to the previous saved values.",
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{"title":"Selective Backlighting of Active and Available Buttons",
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"description":"In order to make it easier to determine which functions are currently available on the Autodesk control surface panels, you can select Mid from amongst the options accessible from the Navigation panel.",
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{"title":"Toggling Playheads",
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"description":"You can toggle between the images assigned to Playhead A and B.",
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{"title":"Player Viewing Options",
"href":"./files/GUID-27B1041B-AA7C-4BAD-8E7C-BE1D37CD18D9.htm",
"description":"There are several ways you can view the shots within the Player. You can choose to display the shot(s) in a Single, Dual, or Multi view. These viewing options are accessible through the Navigation panel.",
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{"title":"Using the Undo List",
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"description":"You can access the undo list from the Navigation panel. The undo list works differently than it does in the user interface. When you use the panel, you must save your changes to the undo list using the Do button. Undo lists are saved on a shot-by-shot basis.",
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{"title":"Reverting to Previous Grades",
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"description":"You can use the Navigation panel to toggle between the grade that was applied to a shot when you first selected it in the Storyboard and the current grade.",
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{"title":"Comparing Grades",
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"description":"You can compare the current image with the grade you last committed to the undo list.",
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{"title":"Working with the Grade Bin",
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"description":"You can use the Navigation panel to access Grade bin functionality.",
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{"title":"Saving a Grade to the Grade Bin",
"href":"./files/GUID-4C550BF8-88C8-4C0C-8657-E602370ADDFD.htm",
"description":"Use Grade Save mode to save one or more grades to the Grade bin.",
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{"title":"Loading a Grade From the Grade Bin",
"href":"./files/GUID-14ADD9A0-C28D-4BEE-9EE6-985DE8C8CA4B.htm",
"description":"Use Grade Load-Recall mode to load grades from the Grade bin to one or more shots on the Storyboard.",
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{"title":"Saving the Current Grade",
"href":"./files/GUID-EFDEB0C7-A0B4-47B6-B183-E791C539C14E.htm",
"description":"You can use the Navigation panel to save the current grade file and cut.",
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{"title":"Adjusting Printer Lights",
"href":"./files/GUID-25F1ED22-C3B8-43F2-B3F0-9F08D60B4FDA.htm",
"description":"You can adjust printer lights on the Navigation panel. Printer light values are displayed in the Colour Grading panel\'s digital display.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Copying Grades",
"href":"./files/GUID-950BE9D5-D8AC-4C82-91AD-156F662F6926.htm",
"description":"You can temporarily or permanently copy a grade to the current shot from another shot in the Storyboard.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Adding Keyframes",
"href":"./files/GUID-55000B9A-2DE0-4F5A-B9CE-3CC3A4FA893F.htm",
"description":"When you animate parameters, you can set keyframes using the Mark button.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Copying and Pasting Keyframes",
"href":"./files/GUID-18829B43-CC31-44EC-8B67-77019356127A.htm",
"description":"You can copy and paste keyframes using the Navigation and Function panels of the Autodesk control surface panel.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Selecting Menus",
"href":"./files/GUID-0D6B35FD-FE93-42B8-93C9-57CEAB4EC033.htm",
"description":"Selecting a menu from the first row of buttons on the Navigation panel determines which options are available in the second row of buttons. What you select in the Navigation panel also determines the features available on the Function panel.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Caching Memory",
"href":"./files/GUID-67208E96-63FD-4B78-B7D7-B4F93F9232BF.htm",
"description":"When a shot does not play back in real time, you can cache the frames into memory using the Mem button.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Bypassing Functions",
"href":"./files/GUID-234276A5-3E64-4EF2-BA90-DDA9A507B92B.htm",
"description":"Use the Bypass button on the Navigation panel to bypass the currently selected menu.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Resetting Functions",
"href":"./files/GUID-E1009192-4B2E-4104-BD0D-618AF3596D07.htm",
"description":"Use the Reset button on the Navigation panel to reset parameters for the current menu only, or to reset all parameters on the currently selected shot.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Repositioning Shots",
"href":"./files/GUID-CB984B71-AC6B-496C-B7F8-CCD8198C5495.htm",
"description":"You can reposition a shot by:",
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{"title":"Performing Colour Grading",
"href":"./files/GUID-6890FAD6-F6C5-474B-97F0-A73F9CA008BA.htm",
"description":"You can use the Autodesk control surface to perform input and output grading in Logarithmic or Linear mode.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Logarithmic Mode",
"href":"./files/GUID-CA75F018-93D3-43D5-A9F3-071BC1205084.htm",
"description":"When Log is enabled in the Setup Grade menu, the Colour Grading panel and the Function panel are activated with logarithmic colour grading functionality.",
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{"title":"Linear Mode",
"href":"./files/GUID-EA3E748A-4747-4D18-A454-A6798AB9F5DA.htm",
"description":"When Lin is enabled in the Setup Grade menu, the Colour Grading panel and the Function panel are activated with linear colour grading functionality.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"},{"title": "Performing Colour Grading","href":"./files/GUID-6890FAD6-F6C5-474B-97F0-A73F9CA008BA.htm"}]},
{"title":"Performing Curves Grading",
"href":"./files/GUID-C33735AE-E3D8-48F9-9553-5C7A35C9B285.htm",
"description":"When the Curves menu is enabled, you can use the Function panel to:",
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{"title":"Adding Secondary Layers",
"href":"./files/GUID-BBCEE5CA-F98A-4BBE-838E-3F06A1CB5C6D.htm",
"description":"Secondary layers are used to colour grade specific hues and areas within an image. You can create up to 48 secondary layers for each shot within your project. Secondary layers can be added to your shot by accessing the numerical buttons on the Navigation panel. You can add layers to your shot from the Grade, Curves, Key, or Geometry menu. Once a secondary layer has been created, it can be modified by generating keys and geometries, removing grain, or by adding Lustre Sparks Effects.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"Extracting Keys",
"href":"./files/GUID-36334459-7BD0-4AC1-AD01-9351EB3F2BE1.htm",
"description":"Lustre provides two separate keyers for extracting keys. When the Key menu is enabled, you can use the Function panel to work with:",
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{"title":"Extracting Keys using the HLS Keyer",
"href":"./files/GUID-7A901729-ECB6-43D6-A4F5-0096C7DF6026.htm",
"description":"Use the Navigation panel to:",
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{"title":"Toggling the Keyer Button and Keyer Channels On and Off",
"href":"./files/GUID-A6AEB71A-DB3B-4FC3-B013-1DB37EC3DAA1.htm",
"description":"Users can toggle the on or off status of the Keyer button visible on the Navigation panel. Users can also enable or disable any or all of the Hue, Luminance, or Saturation channels on the Function panel.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"},{"title": "Extracting Keys","href":"./files/GUID-36334459-7BD0-4AC1-AD01-9351EB3F2BE1.htm"},{"title": "Extracting Keys using the HLS Keyer","href":"./files/GUID-7A901729-ECB6-43D6-A4F5-0096C7DF6026.htm"}]},
{"title":"Extracting Keys using the Diamond Keyer",
"href":"./files/GUID-6264481E-02C6-407F-A3B2-2A2A3CCB07AA.htm",
"description":"Use the Navigation panel to:",
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{"title":"Toggling the Diamond Keyer Button On and Off",
"href":"./files/GUID-F7E6F277-DBF0-4EC5-96E7-37B539DD0802.htm",
"description":"Users can toggle the on or off status of the Diamond Keyer button visible on the Navigation panel.",
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{"title":"Creating and Grading Geometries",
"href":"./files/GUID-078D7790-DC98-45F4-B24E-AB5EB5D908B3.htm",
"description":"When the Geom menu is enabled, you can create and colour grade up to 12 secondaries by using the Function panel to:",
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{"title":"Geometry Invert Functionality",
"href":"./files/GUID-6AE57F23-8DB4-4DCB-9085-32A2B6B0CD63.htm",
"description":"Users can invert geometries on the current secondary layer using the Autodesk control surface.",
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{"title":"Cycling Among Geometries",
"href":"./files/GUID-4C197575-0071-45EC-A0F5-0382136BEAF0.htm",
"description":"You can now move from one geometry to the next in the order of their creation.",
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{"title":"Working with Stereoscopic Projects",
"href":"./files/GUID-EC919F0D-B41E-4CC7-A41E-1FC332752455.htm",
"description":"The Autodesk Control Surface panel accommodates common stereoscopic workflow operations. You must be in the Colour Grading or P&S menu to use these controls.",
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{"title":"Modifying the Appearance of the Autodesk Control Surface",
"href":"./files/GUID-AF647EFA-6E47-4A4A-8D8B-83B9998D7B26.htm",
"description":"You can customize the appearance of the control surface by accessing options from the bottom More button on the Navigation panel. Use these options to determine the brightness of:",
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{"title":"ACS Hotkeys",
"href":"./files/GUID-1CD06D5F-C692-407B-811D-30F682E958BA.htm",
"description":"Use these hotkeys on the Navigation panel.",
"ancestors":[{"title": "The Autodesk Control Surface","href":"./files/topichead_d3e50873.htm"}]},
{"title":"The Tangent CP100 Control Surface",
"href":"./files/topichead_d3e53707.htm",
"description":"",
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{"title":"About the Tangent CP100 Control Surface",
"href":"./files/GUID-0344E6C6-B41F-41C4-BDD1-2A7C4FF3C5F0.htm",
"description":"The Tangent CP100 control surface is designed to improve interactivity when colour grading film and video footage. You can accomplish many of the tasks you do in the Lustre user interface using the Tangent CP100 control surface.",
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{"title":"Customizing the View",
"href":"./files/GUID-29A6CAC9-9CD5-4C03-818A-191B3AADDE48.htm",
"description":"Use the controls on the lower right of the control surface to change the view as you work on your grades. For example, enable Half to view a half-resolution version of your shot in the Player.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"}]},
{"title":"Toggling Play Mode",
"href":"./files/GUID-FFB7360F-4D53-4253-9529-71D9549F8050.htm",
"description":"You can loop play a shot or the entire Storyboard using the ClipPl button. This button corresponds to the Play Mode button in the user interface.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"}]},
{"title":"Caching Memory",
"href":"./files/GUID-D36B56AB-42B2-4909-822B-1CBFF5E0444E.htm",
"description":"When a shot does not play back in real time, you can cache the frames into memory using the Cache button or by pressing M.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"}]},
{"title":"Navigating the Storyboard",
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"description":"Use the Player controls on the lower right and the scrolling controls on the left to navigate the Storyboard.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"}]},
{"title":"Undo List",
"href":"./files/GUID-274E3DDC-9F17-48C4-9291-6C375A1E404E.htm",
"description":"The undo list works differently on the control surface than it does in the user interface. Use the buttons on the lower right of the control surface to work with the undo list.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"}]},
{"title":"Saving to the Undo List",
"href":"./files/GUID-261C35DE-3194-4745-8427-D9AAA3610AF5.htm",
"description":"When you use the control surface, you must save your changes to the undo list. Undo lists are saved on a shot-by-shot basis. To save a change to the undo list, press Do. You can then press Undo and Redo to go through the undo list.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"},{"title": "Undo List","href":"./files/GUID-274E3DDC-9F17-48C4-9291-6C375A1E404E.htm"}]},
{"title":"Reverting to Previous Grades",
"href":"./files/GUID-563552FF-342E-4A7A-8486-6AA15C047492.htm",
"description":"Use the Alt button on the lower right to toggle between the grade that was applied to a shot when you first selected it in the Storyboard and the current grade.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"},{"title": "Undo List","href":"./files/GUID-274E3DDC-9F17-48C4-9291-6C375A1E404E.htm"}]},
{"title":"Comparing Grades",
"href":"./files/GUID-E3F42AE8-794A-42FC-8894-2D403A1F6B44.htm",
"description":"You can compare the current image with the grade you last committed to the undo list. To toggle between these settings, use the Mix button.",
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{"title":"Resetting Parameters",
"href":"./files/GUID-12C27564-2F4B-4BEE-ACCF-BD8DE414B964.htm",
"description":"On a shot-by-shot basis, you can reset the parameters set in some menus. You can also reset a single parameter.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"}]},
{"title":"Copying Grades",
"href":"./files/GUID-84AF4F41-79AB-4AEB-A227-A7469BA78F24.htm",
"description":"You can temporarily or permanently copy a grade from another shot in the Storyboard to the current shot.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"}]},
{"title":"Adding and Moving Keyframes",
"href":"./files/GUID-14B09468-CE34-48AB-9277-CB5A18A35CAA.htm",
"description":"When you animate parameters, you can set keyframes using the Mark button. You can also adjust the timing of the first and last keyframes in the shot.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"}]},
{"title":"Repositioning Shots",
"href":"./files/GUID-5AE5E9C3-0069-4B79-BFFB-3B05DE9554C6.htm",
"description":"You can reposition a shot by scaling it, or by panning it vertically and horizontally.",
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{"title":"Primary Colour Grading",
"href":"./files/GUID-DB5A7D94-8954-4834-924A-28C1596D4024.htm",
"description":"You can use the dials and trackballs in the centre of the control surface to perform primary colour grading. Primary colour grading can be done from the Grade menu.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"}]},
{"title":"Logarithmic Mode: Modifying Brightness and Contrast",
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"description":"You can modify brightness and contrast in several ways from the Grade menu. You can modify:",
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{"title":"Linear Mode: Modifying Gamma, Gain, and Lift",
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"description":"You can modify gamma, gain, and lift in several ways from the Grading menu. You can modify:",
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{"title":"Modifying the Hue, Saturation, and Lightness Curves",
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"description":"You can modify the hue, saturation, and lightness curves that appear in the Curves menu. You can modify the entire curve uniformly or modify individual vertices for RGBCMY channels (red, green, blue, cyan, magenta, and yellow). You must toggle between controls that modify the position of the red, green, and blue vertices and those that modify the position of the cyan, magenta, and yellow vertices.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"}]},
{"title":"Secondary Colour Grading",
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"description":"You can colour grade up to eight secondaries from the control surface.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"}]},
{"title":"Applying Secondaries to the Shot",
"href":"./files/GUID-84C046D8-588A-4C4D-BDB8-BB8542D70D50.htm",
"description":"Use the second row of buttons on the left side of the control surface to set basic parameters for secondaries.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"},{"title": "Secondary Colour Grading","href":"./files/GUID-CECC4056-31EF-4A6F-9556-4C87B2C06A76.htm"}]},
{"title":"Creating Keys",
"href":"./files/GUID-3049A1EC-3CEF-4FB4-A4BC-A9798DA1A210.htm",
"description":"Enable the Keyer button and then use the controls in the centre of the control surface to create a key.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"},{"title": "Secondary Colour Grading","href":"./files/GUID-CECC4056-31EF-4A6F-9556-4C87B2C06A76.htm"}]},
{"title":"Creating Geometries",
"href":"./files/GUID-1056E8A8-F20F-420E-8AD3-A36DA18E60B6.htm",
"description":"You can create and apply basic and free-form geometries to each secondary.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"},{"title": "Secondary Colour Grading","href":"./files/GUID-CECC4056-31EF-4A6F-9556-4C87B2C06A76.htm"}]},
{"title":"Moving Geometries",
"href":"./files/GUID-5C58AE1D-B5F6-442E-AC26-0DEF5833C185.htm",
"description":"You can move geometries from the control surface.",
"ancestors":[{"title": "The Tangent CP100 Control Surface","href":"./files/topichead_d3e53707.htm"},{"title": "Secondary Colour Grading","href":"./files/GUID-CECC4056-31EF-4A6F-9556-4C87B2C06A76.htm"}]},
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