Page 1 Matrox RT.X2 User Guide May 27, 2008 Y10979-301-0360...
Page 2 Unauthorized recording or use of broadcast television programming, video tape, or other copyrighted material may violate copyright laws. Matrox Electronic Systems Ltd. assumes no responsibility for the illegal duplication, use, or other acts that infringe on the rights of copyright owners.
Page 3: Table Of Contents
Chapter 1 Introducing Matrox RT.X2 Welcome to Matrox RT.X2 ...2 Matrox RT.X2 SD key features ...2 Matrox RT.X2 and RT.X2 LE key features ...2 About this manual ... 3 Style conventions...3 How video formats are expressed ...4 Other documentation ...4 Chapter 2 Working with .mxf, .mp4, and .avi Files...
Page 4 Specifying your video capture settings ... 28 Specifying your audio capture settings ... 31 Notes about capturing to Matrox .m2v files ... 34 Capturing HDV material on Matrox RT.X2 SD ... 35 Exporting to a Matrox .avi file... 36 Selecting your MPEG-2 I-frame settings ... 39 Selecting your MPEG-2 IBP settings ...41...
Page 5 Cropping your clip ...55 Using Select Crop ...56 Applying a mask to your effect ... 57 Using Select Mask ...58 Creating a primary color correction...59 Using Split View ... 61 Working with Split View in the Program Monitor ... 61 Using RGB curves...63 Adjusting tonal range ...65 Using the color balance graph ...66...
Page 6 Matrox RT.X2 realtime guidelines ...149 Supported graphics formats ... 150 Limitations ... 150 Chapter 5 Using Matrox RT.X2 with Video for Windows Programs Overview...152 Using VFW programs without the RT.X2 hardware...152 Before you start rendering ...153 Selecting color space conversion options ... 154 Rendering material to a Matrox VFW .avi file ...156...
Page 7 Working with SD “24P” material ... 176 486p @ 23.98 fps workflow example ...177 Working with HD projects ... 178 1440 ×1080i/p workflow example...179 720p workflow example ... 180 Capturing HDV and SD material to edit in SD on Matrox RT.X2 ... 181 Contents...
Page 8 Capturing HDV and SD material on Matrox RT.X2 SD ...182 Using the Matrox MPEG-2 I-frame HD codec ...183 MPEG-2 I-frame HD codec workflow example for offline editing... 183 MPEG-2 I-frame HD codec workflow example for online editing... 185 Using Matrox RT.X2 to edit Matrox Axio offline HD projects...186 Supported video compression formats ...
Page 9: Introducing Matrox Rt.x2
Cha pter Introducing Matrox RT.X2 This chapter outlines some of the features of the Matrox RT.X2 product line, and describes the available Matrox RT.X2 documentation.
Page 10: Welcome To Matrox Rt.x2
Pro, and are ideal for corporate communicators, event videographers, project studios, educational facilities, and digital filmmakers. Matrox RT.X2 SD is for users who want to deliver in SD only, while Matrox RT.X2 and RT.X2 LE give you the flexibility to edit, view, and output HDV and SD material.
Page 11: About This Manual
(Not supported on RT.X2 LE.) About this manual This manual explains how to use Matrox RT.X2 with the provided Matrox software, including how to use your RT.X2 system with Adobe Premiere Pro. ¦ Note Throughout the Matrox RT.X2 documentation, the term “RT.X2”...
Page 12: How Video Formats Are Expressed
• 1080i @ 29.97 fps 29.97 frames per second. Other documentation In addition to this user guide, the following Matrox RT.X2 documents are available: • Matrox RT.X2 Quick Installation Guide Provides brief installation instructions to help you quickly set up your Matrox RT.X2 system.
Page 13: Working With .Mxf, .Mp4, And .Avi Files
Cha pter Working with .mxf, .mp4, and .avi Files This chapter shows you how to work with .mxf, .mp4, and .avi files on Matrox RT.X2.
Page 14: Working With Native .Mxf Files In Adobe Premiere Pro
AVI file format. ¡ Important When using a Panasonic P2 camera to shoot material at 486p @ 23.98 fps for use with Matrox RT.X2, you must set the camera to Advanced mode (486/24pA). Steps for using .mxf files in your projects Connect your Panasonic P2 device to your Matrox RT.X2 computer as per...
Page 15: Working With Native Xdcam Ex (.Mp4) Files In Adobe Premiere Pro
¦ Note Matrox RT.X2 SD does not support XDCAM EX files. Matrox RT.X2 supports realtime playback of Sony XDCAM EX 1080i/p and 720p .mp4 files in Adobe Premiere Pro. Both 1080i/p HQ-mode (1920 ×1080) and 1080i/p SP-mode (1440×1080) clips are supported in your 1080i/p projects, and will be automatically scaled to your project’s frame size as needed.
Page 16: Displaying Information For Clips In Windows Explorer
Adobe Premiere Pro’s Import dialog box. Thumbnails preview Matrox RT.X2 allows you to view thumbnails of .mxf and .avi files in Windows Explorer. The thumbnail will display the first frame of the clip. Without Matrox RT.X2, only the default Windows icon would appear. In a folder containing .mxf or .avi files, enable the thumbnails view as follows:...
Page 17: Creating Matrox Ez-Mxf Files For Playback With Vfw Applications
¦ Note The Matrox EZ-MXF utility is not available on RT.X2 SD because Matrox RT.X2 SD does not support .mxf files. Many animation, compositing, and motion graphics applications used by video editors read Video for Windows (VFW) .avi files, but these applications are not designed to read .mxf files.
Page 18: Panasonic P2 Folder Structure
¡ Important Once the Matrox EZ-MXF files are created, do not change the location or name of the referenced .mxf files or your VFW program won’t be able to locate your .mxf material. If this occurs, Matrox RT.X2 will display an appropriate error message.
Page 19: Creating Matrox Ez-Hdv Avi Files For Playback Of Large Hdv Clips With Vfw Applications
When you select an .mxf file in the VIDEO folder, Matrox EZ-MXF looks for any associated audio .mxf files in the AUDIO folder, and creates the reference .avi and associated .wav files in the VIDEO folder. For example, if you select the file 00001A.mxf from the VIDEO folder, the reference .avi file (00001A.avi) and all associated audio files, such as 00001A00.Mono.wav and 00001A01.Mono.wav, will be created in the VIDEO folder.
Page 20: Converting A 32-Bit .Tga Sequence To An .Avi File With Alpha
Converting a 32-bit .tga sequence to an .avi file with alpha Matrox RT.X2 allows you to create a single .avi file with alpha from a 32-bit .tga sequence. The created .avi file will contain the alpha-key information, which means that when you place the file on the timeline in Adobe Premiere Pro, the clip will be automatically keyed.
Page 21 Formats that are not supported by your Matrox RT.X2 hardware are identified with an asterisk (*) in the list. If you create an .avi file using an unsupported format, it will not play back in real time on your Matrox RT.X2 system.
Page 22 Click the Configure button to specify various options for the MPEG-2 I-frame compression. The configuration options are the same as when you capture or export video using Adobe Premiere Pro (see MPEG-2 I-frame settings” Under Destination Folder , either select Same folder as TGA , or click Browse existing file specified folder.
Page 23 Cha pter Defining Your Adobe Premiere Pro Settings This chapter explains how to define various settings for using Matrox RT.X2 with Adobe Premiere Pro. This includes specifying your project and export settings.
Page 24: Defining Your Adobe Premiere Pro Settings
Click OK , and click the Recording tab. From the list of available devices, double-click the device (input) that you want to use as the audio source, such as Line-in , with your Matrox RT.X2 system. Click the Levels tab, and make sure the volume slider is at an appropriate level, such as at midpoint.
Page 25: For Windows Xp
Repeat steps for every audio input source that you intend to use with your Matrox RT.X2 system. For example, if you intend on recording audio from a microphone, set the volume levels for the Microphone input. Click OK . Click OK to close the dialog box.
Page 26: Loading Project Presets
Loading project presets The Matrox realtime plug-in for Adobe Premiere Pro includes project presets that you can load to immediately apply appropriate Matrox RT.X2 settings. For more information about using the Matrox project presets for working with different types of projects, see °...
Page 27: Setting Up Your Scratch Disks
Mixing interlaced and progressive clips in a project When editing on Matrox RT.X2, you can mix interlaced and progressive clips in the same project, as long as the clips have the same frame size and frame rate. Both the interlaced and progressive clips will play back in real time. For example, when working in an NTSC project you can import NTSC clips as well as 486p @ 29.97 fps clips, and 1440 ×...
Page 28: Mixing Sd And Hd Clips In A Project
Mixing SD and HD clips in a project Matrox RT.X2 supports realtime playback of SD clips in an HD project, and HD clips in an SD project. To do this, however, the clips must be scaled to your project’s frame size. If you want the scaling to be performed when you import the clips into your project, choose Edit >...
Page 29: Defining Your General Settings
The Matrox Playback Settings dialog box has several pages that you can use to specify various settings for editing in Adobe Premiere Pro on Matrox RT.X2. When you select a Matrox project preset, such as DV Standard , a Matrox editing mode is automatically set for your project, and many settings are optimized for editing on Matrox RT.X2.
Page 30 Under Realtime Indicator Threshold , drag the slider to set the threshold at which Matrox RT.X2 determines that a segment in the Timeline panel is realtime. Drag to the left to set a lower (safer) threshold, or to the right to set a higher (more aggressive) threshold.
Page 31 Under Memory Usage , select Optimize memory usage to reduce the amount of system memory that Matrox RT.X2 allocates to work with your project. Although this optimizes memory usage, the changes in memory management could affect realtime performance depending on the content of your project.
Page 32: Selecting Options For Accelerated Premiere Pro Effects
Disable accelerated transitions realtime/accelerated playback of Premiere Pro transitions that support this feature. Because Matrox RT.X2 emulates Premiere Pro’s non-realtime version of these transitions, if you don’t like the emulation you can disable the accelerated transitions to revert to Premiere Pro’s non-realtime version that requires rendering.
Page 33: Specifying Your Video Output Settings
to the Matrox move & scale effect. You can map to the Matrox 3D DVE effect only if you have a display card that supports the Matrox hardware-accelerated effects. For more information, see disabling the Matrox hardware-accelerated effects in Adobe Premiere Pro”...
Page 34 proportions on an NTSC or PAL monitor, select the 16:9 display setting on the monitor. If the Pulldown Method list is available, select the pulldown method you want to be applied to your output video ( Standard 2:3 or Advanced 2:3:3:2 ).
Page 35: Selecting Your Dv-1394 Output Settings
Defining your Video Rendering settings When you select a Matrox project preset, your Video Rendering settings for editing on Matrox RT.X2 are automatically set for you. You can specify additional Video Rendering settings as explained in your Adobe Premiere Pro documentation.
Page 36: Defining Your Capture Settings
Adobe Premiere Pro on Matrox RT.X2. Remarks • When you specify your capture settings on Matrox RT.X2, VU meters will be displayed to let you monitor your audio input levels. For more information, see •...
Page 37 Matrox RT.X2 sets the Input Format to NTSC or PAL for an SD project. If you’re working with a 1440×1080i project, your analog source video must be full-size 1080i (1920×1080), but it will be captured to 1440×1080i...
Page 38 Matrox MPEG-2 I-frame using the 4:2:2 Profile @ Main Level at a selected data rate (SD resolution only). For the best results when capturing video clips on which you’ll be applying chroma key effects, you should use this codec instead of a DV codec.
Page 39: Specifying Your Audio Capture Settings
Matrox RT.X2. Remarks • When you capture to an .avi file on Matrox RT.X2, the clip’s video and audio are saved to the .avi file, and the clip’s audio is also saved to one or more separate .wav files.
Page 40 Select None if you don’t want a particular .wav file to be created. When Matrox RT.X2 saves each .wav file, it assigns a .Stereo.wav or .Mono.wav suffix to the base name you gave for the associated video file.
Page 41 If you select Show VU meters on the Audio Capture Settings page, each time you configure your Matrox RT.X2 capture settings or open the Capture panel to start a capture in Adobe Premiere Pro, VU meters will be displayed to let you monitor the levels of your currently selected audio input source.
Page 42: Notes About Capturing To Matrox .M2V Files
Notes about capturing to Matrox .m2v files When capturing to Matrox .m2v files, keep the following points in mind: • Automatic scene detection (Scene Detect) is not supported, but batch capture is supported. • The associated .wav files for your .m2v clips are not automatically imported to the Project panel.
Page 43: Capturing Hdv Material On Matrox Rt.x2 Sd
Capturing HDV material on Matrox RT.X2 SD On Matrox RT.X2 SD, you can capture native HDV 1080i/p (1440×1080i/p) material over the 1394 interface in an SD project using Adobe Premiere Pro’s HDV capture feature. Depending on your project’s video format, you can capture: •...
Page 44: Exporting To A Matrox .Avi File
Exporting to a Matrox .avi file Several software codecs are included with Adobe Premiere Pro so that you can export your video to different formats. Your Matrox RT.X2 system adds several Matrox codecs to the ones included with Premiere Pro. Because the Matrox codecs use your RT.X2 hardware to accelerate rendering, they can export video...
Page 45 From the menu on the left side of the dialog box, choose Video . From the Compressor list, select the compression format you want for your exported file. ¡ Important The Matrox codecs are listed in all supported SD and HD formats.
Page 46 It’s recommended that you do not select Recompress . This retains the quality of your video. It also optimizes the speed of the export because realtime video segments that have no effects will be copied directly to disk without recompression, assuming that the compression and video format of your video clips matches the format to which you’re exporting.
Page 47: Selecting Your Mpeg-2 I-Frame Settings
Selecting your MPEG-2 I-frame settings When you select the Matrox MPEG-2 I-frame or Matrox MPEG-2 I-frame HD format to capture or export your video using Adobe Premiere Pro, you can specify various settings for the MPEG-2 I-frame compression. ° To select your MPEG-2 I-frame settings: Click the Configure button.
Page 48 ¦ Note The higher the DC precision value that’s used to capture or render your video, the more likely that the DC content will be increased at the expense of the AC content in the encoded stream. This may result in lowering the overall quality of the compressed stream at a specified data rate.
Page 49: Selecting Your Mpeg-2 Ibp Settings
Selecting your MPEG-2 IBP settings When capturing video to a Matrox .m2v file using Adobe Premiere Pro, the capture format is set to Matrox MPEG-2 IBP. You can specify various settings for the MPEG-2 IBP compression. ° To select your MPEG-2 IBP settings: Click the Configure button.
Page 50 Variable bit rate (VBR) • based on the complexity of the video. The target data rate you select is used as the average data rate for the compression. , Target , and Max sliders Use these sliders to select your desired data rate.
Page 51: Exporting Using Matrox Media Encoder
Exporting using Matrox Media Encoder You can use Matrox Media Encoder to export clips from a sequence in the panel to various formats for specific media delivery, such as Windows Timeline Media or RealMedia streaming media format, or MPEG-2 format for DVD or Blu-ray Disc.
Page 52: Exporting Using Matrox Clip Notes
Matrox DV/HDV device control lets you control DV-1394 devices when capturing or exporting material to tape in Adobe Premiere Pro. ¦ Note To capture HDV material on Matrox RT.X2 SD, you must use Adobe Premiere Pro’s DV/HDV device control as explained in material on Matrox RT.X2 SD”...
Page 53: Exporting Your Sequence To Tape
Exporting your sequence to tape Your Matrox RT.X2 system lets you export your Adobe Premiere Pro sequence to tape using DV-1394 or RS-422 device control. You can use Matrox DV/HDV device control to control DV-1394 devices. For RS-422 devices, you can use Adobe Premiere Pro’s serial device control as explained in your Adobe Premiere...
Page 54: Exporting To Dv Tape Using Dv-1394 Device Control
If you’re exporting to an HDV device, Premiere Pro will detect that you’re using an HDV device when you perform the export to tape and the video will be exported in native HDV format. (Matrox RT.X2 SD does not support exporting to an HDV device.) If you’re using a camcorder, switch it to VTR mode.
Page 55: Creating An Sd Project In 16:9 Format
4:3 standard TV screen format, or the widescreen 16:9 format. ° To create an SD project in 16:9 format on Matrox RT.X2, do the following: Record your video onto tape with your camera set to the widescreen 16:9 format.
Page 56: Your Notes
Your notes Chapter 3, Defining Your Adobe Premiere Pro Settings...
Page 57: Setting Up Realtime Effects With Adobe Premiere Pro
Cha pter Setting Up Realtime Effects with Adobe Premiere Pro This chapter explains how to set up realtime effects using the Matrox realtime plug-in for Adobe Premiere Pro.
Page 58: Available Effects
Adobe software. For example, you apply a Matrox transition to your clips in Adobe Premiere Pro just as you would any other type of Chapter 4, Setting Up Realtime Effects with Adobe Premiere Pro on page 169. “Matrox RT.X2 realtime...
Page 59: How To Apply A Matrox Video Effect In Adobe Premiere Pro
transition, except that the controls provided let you create a Matrox transition, as is explained in this chapter. For instructions on how to apply effects to your productions in Adobe Premiere Pro or Adobe After Effects, refer to your Adobe documentation. ¡...
Page 60: Transforming Your Clip
Transforming your clip Many of the Matrox effects allow you to adjust the scale, position, and rotation of a clip by applying various transform settings. You can adjust the transform settings in two ways: • Use the transform controls in the Effect Controls panel to adjust the settings you want.
Page 61 • (X, Y) Scale Use these controls to make your clip smaller or larger. Full-screen size is represented as 100%. You can shrink your clip to 0% or enlarge it to 1000%. Note, however, that by enlarging your clip, the resolution may become blurry.
Page 62: Transforming A Clip In The Program Monitor
Transforming a clip in the Program Monitor You can use your left mouse button to resize, position, and rotate your clip directly in the Program Monitor. Effects that support transforming a clip in the Program Monitor have the Transform icon to left of the effect name in the Effects Controls Transform icon ¦...
Page 63: Cropping Your Clip
Cropping your clip Many of the Matrox effects allow you to apply crop settings to your clip. To apply crop settings, click the triangle next to Crop to expand the property list. ¦ Note If you’re applying a Matrox effect that doesn’t provide the Crop property, you can apply realtime cropping to your clip using Adobe Premiere Pro’s crop effect (available in the Video Effects bin under Transform ).
Page 64: Using Select Crop
Using Select Crop To apply crop settings to your clip using the Select Crop dialog box, click the triangle next to the Select property to expand it, then click the Select Crop button: ¦ Note When working with the Matrox cube effect, Select Crop is available only for the primary source.
Page 65: Applying A Mask To Your Effect
Applying a mask to your effect Many of the Matrox effects allow you to add a mask to define the area where you want to apply your effect. For example, you may want to apply a color correction to only one area of your clip and leave the rest of the clip untouched. Adding a mask to the chroma or luma key effect and selecting Transparent lets you disable keying in the area outside the mask so that only Outside Mask...
Page 66: Using Select Mask
Using Select Mask To apply a mask to your Matrox effect using the Select Mask dialog box, click the triangle next to the Select property to expand it, then click the Select Mask button: Select Mask • Click and drag directly in the Select Mask window to create the rectangular area where you wish to apply the mask.
Page 67: Creating A Primary Color Correction
Creating a primary color correction Color correction is important for all productions, whether you want to achieve continuity when cutting between shots, ensure broadcast safe levels, or establish and emphasize a “look.” Matrox color correction provides basic proc amp control, three-way color correction complete with master, shadows, midtones, and highlights control, and input and output level control.
Page 68 the clip will remain unchanged. For more information, see View” on page 61. ¡ Important This option is for preview only. You should clear it before you render your clip, otherwise the split will appear in your video output. • Proc Amps The processing amplifier (proc amp) controls allow you to adjust different aspects of your clip: Saturation Contrast...
Page 69: Using Split View
luminance of your clip directly within the graph. For more information, see “Using the luma mapping graph” Numerical Lets you adjust the luma mapping settings numerically by entering values in the text boxes, or by dragging the corresponding sliders. Input Levels (Black •...
Page 70 The area within the split view rectangle will display any color correction you make, while the area outside remains unchanged. In the following example, the split view rectangle has been moved to display the color correction in the area surrounding part of the Chinese character on the wall: Remarks •...
Page 71: Using Rgb Curves
Using RGB curves ¦ Note The RGB Curves settings are available only with the advanced versions of the Matrox primary and secondary color correction effects. With RGB curves, you can individually adjust the red, green, and blue color channels across the entire tonal range of your clip, or adjust all three color channels simultaneously with a master curve.
Page 72 Click the R , G , or B button to select the curve corresponding to the color channel you want to adjust, or click the Master button for the master curve, and then drag the curve to obtain your desired effect. For example, click the R button and drag the top right end point towards the top left of the grid to increase the slope of the curve and add red to the clip.
Page 73: Adjusting Tonal Range
If you want to reset the Master , R , G , or B curve to its default setting at any time, click the appropriate Reset button. ¥ Tip By applying a mask to your clip, you can adjust the RGB channels for that specific area of your clip, or invert the mask to isolate that same area from being affected by your RGB adjustments.
Page 74: Using The Color Balance Graph
Using the color balance graph The color balance graph allows you to modify the Color Balance settings for each tonal range directly within the color maps. You can also perform an auto balance or a color match using the buttons beneath the color maps. For more information, see between two clips”...
Page 75 want to decrease. For example, if you move the handle towards red, you also decrease cyan by the same amount, as shown in the following diagram: ¥ Tip For increased precision, hold down the If you want to reset the color balance ( Hue and Saturation) setting, click the Reset Color Balance button under the color map you are using.
Page 76 luminance for only the shadows, drag the luminance slider under the Shadows color map. Chapter 4, Setting Up Realtime Effects with Adobe Premiere Pro Luminance slider...
Page 77: Performing An Auto Balance
Performing an auto balance Before matching colors, you can perform an auto balance on your target clip to automatically apply a color shift to your clip to compensate for different lighting conditions. To do this, click the Auto Balance button under the corresponding color map and use the eyedropper to select the area you want to correct in your clip.
Page 78: Matching Colors Between Two Clips
Matching colors between two clips You can perform a color match to match colors between two clips (such as skin tone, sky, etc.). The color match lets you select colors from a reference clip to match to your target clip. You can affect the colors globally ( Master ), or just the Shadows , Midtones , or Highlights .
Page 79 Select a reference color from your reference clip by using the Reference Color eyedropper under the color map you want to affect ( Master , , Midtones , or Highlights ). Shadows Reference Color eyedropper For example, to match a very dark color in your reference clip to your target clip, click the Reference Color eyedropper under the Shadows color map, and click (or click and drag) on the desired color in your reference clip.
Page 80: Using The Luma Mapping Graph
Using the luma mapping graph To modify your luma mapping values directly in the graph, click the triangle next to the Luma Mapping Graphical property to expand it: • Map This is the default view when you first expand the Graphical property.
Page 81 • Plot Click this button to plot the luminance values in the current frame of your clip to the histogram (the plot will reflect any color correction changes you’ve made). Each luminance value present in your image appears as a vertical line in the histogram.
Page 82: Creating A Secondary Color Correction
Creating a secondary color correction Matrox secondary color correction offers all the properties found in Matrox primary color correction, with the added capability of limiting the color correction to a specific range of pixels using the selective key properties. For example, secondary color correction can be used to change the color of a dress, deepen the background sky color, or to achieve an effect where only one object or person remains in color while the rest of the image becomes black and white.
Page 83 • Enable Split View Select this option to split your clip into two sections in the Program Monitor and on your video monitor. One section will display your clip as you adjust the color correction controls, and the other section of the clip will remain unchanged.
Page 84 luminance of your clip directly within the graph. For more information, see “Using the luma mapping graph” Numerical entering values in the text boxes, or by dragging the corresponding sliders. Input Levels (Black • clip’s brightness and contrast by changing the luminance value that represents black, white, or gray.
Page 85 Use this to widen or narrow the aperture of the indicator Aperture to increase or decrease the range of colors on which you want to key. Softness Sets the amount of softness applied to the range of colors specified in the aperture region. This lets you select colors to be keyed (affected by the Saturation Key •...
Page 86 255 represents white. Intermediate settings represent different shades of gray, from very dark to very light gray. Low Gain to be partially affected based on the value set by the Low Clip control. As you increase the Low Gain setting, more luminance values become partially affected by the color correction.
Page 87: Using The Selective Key Graph
Using the selective key graph The selective key graph allows you to modify your selective key settings ( Hue , Saturation Key , and Luma Key ) directly in the graph. You can also perform an auto key. • Map This is the default view when you first expand the graphical property. You can drag the handles to move the indicator to different regions in the graph to adjust the Hue Key , Saturation Key , and Luma Key settings.
Page 88 each luminance value present in your image as a vertical line. A longer line indicates a higher amount of pixels in your image of that line’s luminance value. • Hue Click this button to enable or disable the Hue Key properties ( Hue , Aperture indicator and handles to modify the Hue Key properties in the selective key graph.
Page 89 be able to see the Sat Key indicator and handles to modify the Saturation properties in the selective key graph. Low Clip Low Gain • Lum Click this button to enable or disable the Luma Key properties ( Low Clip , Low Gain , High Gain , and High Clip ).
Page 90 ¦ Note If you want to reset the hue, saturation, and luma key properties to the default settings at any time, click the appropriate Reset button. • Show Key Click this button to display the matte used to define your selective key region.
Page 91 This allows you to see the original colors of your clip before any modifications were made. • Indicator Click this button to turn the indicator lines on or off. • Handles Click this button to turn the handles for the indicator lines on or off.
Page 92: Creating A Color Pass Effect
Creating a color pass effect You can use the Matrox secondary color correction to create a color pass effect to convert your clip to black and white, with the exception of one specified color. This can be useful if you want to isolate a single color to make it prominent. In the following example, the pink color of the girl’s shirt has been retained, while the rest of the clip has been converted to black and white: °...
Page 93: Creating A 3D Dve Effect
Creating a 3D DVE effect The Matrox 3D DVE effect lets you position your clips anywhere in 3D space while adding soft edges and rounded borders with color gradients in real time. ¦ Note If you want to create a picture-in-picture effect, the move & scale effect will provide a sharper picture (see page 120).
Page 94 Border Type , Gradient , or Alpha Edge ). Click the triangle on the right to expand Flat the list of border types. ¦ Note The Alpha Edge border type is for use with alpha-keyed graphics only. Border Width axes simultaneously. The higher the value, the wider your border becomes. If you clear Fixed Aspect Ratio , you can adjust each axis individually.
Page 95 • Crop Allows you to crop the edges of your clip. For more information, see “Cropping your clip” on page 55. • Enhance Sharpness Lets you adjust the sharpness of your clip. Creating a 3D DVE effect...
Page 96: Creating A 4-Corner Pin Effect
Creating a 4-corner pin effect The Matrox 4-corner pin effect lets you anchor each corner of a video or graphics clip onto points in an underlying clip, even if the underlying clip is angled or skewed. You could use this effect, for example, to overlay a video clip onto an underlying clip of a television screen.
Page 97 • Preview Settings You can select the following options for previewing your effect: Show Cursors Displays a diamond-shaped cursor at each corner of your clip on your video monitor only. These cursors can help you precisely determine where each corner is located. Each corner has a different colored cursor as follows: Top Left: Red •...
Page 98: Creating A Blur/Soft Focus Effect
Creating a blur/soft focus effect The Matrox blur/soft focus effect lets you create unique effects and simulate camera defocus. ° To set up a Matrox blur/soft focus effect: Click the triangle next to Matrox Blur/Soft Focus to expand the property list. •...
Page 99: Overview Of The Chroma Key Effects
Overview of the chroma key effects You can use the Matrox realtime plug-in to apply a chroma key or chroma key shadow effect to make certain areas of a foreground image transparent based on a color in that image, so that an underlying image can show through. In the following example of a chroma key effect, our foreground image is a video clip of a woman sitting in front of a green backdrop, and our underlying image is a video clip of a sand dune:...
Page 100: Creating A Chroma Key Or Chroma Key Shadow Effect
Creating a chroma key or chroma key shadow effect To set up a Matrox chroma key or chroma key shadow effect, click the triangle next to Matrox Chroma Key/Matrox Chroma Key Shadow to expand the property list: • Graphical that you can use to select your key colors, and also lets you perform an auto key.
Page 101 Click this button to automatically key on the most common Auto Key color at the current frame in your clip (except gray). For details on selecting key colors within the graph or performing an auto key, see “Using the chroma key graph to modify key colors and perform an auto key”...
Page 102 Suppression spectrum to return the person’s skin to a more natural-looking color. ¦ Note The following properties ( Luminance and Shadow Suppression ) are only available in the chroma key shadow effect. • Luminance Use this to adjust the luminance of your shadow. Negative values increase the brightness of the shadow, while positive values decrease the brightness.
Page 103: Using The Chroma Key Graph To Modify Key Colors And Perform An Auto Key
Using the chroma key graph to modify key colors and perform an auto key To modify your key colors directly within the chroma key graph or perform an auto key, click the triangle next to the Graphical property to expand it: •...
Page 104 vertical line. A longer line indicates a higher amount of pixels in your image of that line’s luminance value. ¦ Note The Plot graph will contain a luma plot histogram only if you are creating a chroma key shadow effect. You can drag the handle in the luma plot histogram to adjust the Luminance .
Page 105 Click the eyedropper button and click and drag anywhere on your clip to select a rectangular area containing colors on which you want to key. ¦ Note The Show Key mode and any chroma key applied will be temporarily deactivated in the Program Monitor when using the auto key eyedropper. This allows you to see the original colors of your clip before any modifications were made.
Page 106: Creating A Cube Effect
Creating a cube effect The Matrox cube effect lets you map video or graphics to the faces of 3D cubes. These cubes can then be rotated in 3D space to create transition effects such as those you often see during sports broadcasts. The Matrox cube effect supports up to three video sources (one primary source that the cube effect is applied on, and up to two additional sources).
Page 107 • Additional Sources References up to two additional sources that you identified by applying the Matrox Source Identifier effect. Source 1 Lets you select the unique ID number that you assigned to the first additional video source. Lets you select the unique ID number that you assigned to the Source 2 second additional video source.
Page 108 ¡ Important With the Matrox cube effect, the cropped area is automatically stretched to the original size of your clip. As a result, the output may exceed the cropped area. Color Source Options the corresponding face is set to display a color, as specified using Cube Face Source Color •...
Page 109: Creating A Crystallize Effect
Creating a crystallize effect The Matrox crystallize effect lets you choose from many different patterns that you can use to make your image or text appear as if it is made of crystals. ° To set up a Matrox crystallize effect: Click the triangle beside Matrox Crystallize to expand the property list.
Page 110 Select Shape the list of available mask patterns. Shape Transparency around the shape. At the default setting (0), the shape is completely opaque and the area around the shape is transparent. Dragging the slider to the left increases the transparency of the shape, which makes the crystallize effect less apparent.
Page 111: Creating A Garbage Matte Effect
Creating a garbage matte effect The Matrox 4-point, 8-point, and 16-point garbage matte effects let you use individual control points to determine the shape of a garbage matte applied to a clip to superimpose it onto another clip. You can use these effects to create a garbage matte for cropping unwanted objects from a foreground image in a chroma or luma key effect.
Page 112 • Edge Softness Lets you apply softness to the edges of your garbage matte. • Invert Matte Select this option if you want to invert the opaque and transparent areas of your garbage matte. • Show Matte Only Select this to display only the matte used to create your garbage matte (displayed as a white video clip).
Page 113: Creating An Impressionist Effect
Creating an impressionist effect The Matrox impressionist effect lets you choose from many different patterns that you can use to make your image appear similar to an impressionist painting. • Select Shape Click the button to the right of the current pattern to see the list of available impressionist patterns.
Page 114 set the X Size Variation value to 5%, the brush strokes will randomly grow between 0 and 5% of the X Mean Size value. Y Mean Size Y Size Variation stroke will grow in relation to the Y Mean Size value. For example, if you set the Y Size Variation value to 5%, each brush stroke will randomly grow between 0 and 5% of the Y Mean Size value.
Page 115 • Blend Over Original Use this to blend the brush strokes with your original image. This is useful when you are using smaller brush strokes and want to reduce any semi-transparent areas around the brush strokes. • Texture Map Method Use the menu on the right to choose how your brush stroke colors will be processed.
Page 116: Creating A Lens Flare Effect
Creating a lens flare effect The Matrox lens flare effect lets you simulate the light refractions caused by shining a bright light into the lens of a camera when taking a photo. You can choose from many different lens flare patterns. °...
Page 117 Adjusting the percentage on the x and y axes changes the lens flare’s width and height, respectively. Intensity Sets the opacity of the light refractions. Levels range from completely transparent (0) to opaque (100). Select this option to enable alpha for the lens flare, so it Enable Alpha will remain visible even on transparent (keyed) areas of your clip.
Page 118: Overview Of The Luma Key Effect
Overview of the luma key effect You can use the Matrox realtime plug-in to apply a luma key to make certain areas of a foreground image transparent based on the luminance in that image, so that an underlying image can show through. In the following example of a luma key effect, two video clips are combined to produce the effect of two cowboys riding through fire.
Page 119: Creating A Luma Key Effect
Creating a luma key effect To set up a Matrox luma key effect, click the triangle next to Matrox Luma Key to expand the property list: • Graphical Allows you to see a graphical representation of your changes when you adjust the property settings. You can adjust the luma key properties directly in the graph to select the luminance values on which you want to key.
Page 120: Using The Luma Key Graph
control as defining a “Transparent to Opaque” range for keying the dark areas of your foreground image. • High Clip This control is similar to Low Clip , except you use it to select the higher (brighter) luminance values to be keyed. •...
Page 121 You can select luminance values on which to key by adjusting the handles, or you can use the luminance eyedropper to automatically High Clip pick the luminance value you want to key on. The eyedropper can be used in two ways: Click the eyedropper button and click on the color with the desired luminance value in your clip.
Page 122: Creating A Mask Effect
Creating a mask effect The Matrox mask effect lets you choose from dozens of soft-edged cutout shapes that you can apply to a clip to superimpose it onto another clip. ° To set up a Matrox mask effect: Click the triangle beside Matrox Mask to expand the property list. •...
Page 123 • Transform Use these controls to apply or change various transform settings for your mask effect, such as the position, scale, and rotation of the mask. For more information, see • Crop Allows you to crop the edges of your clip. For more information, see “Cropping your clip”...
Page 124: Creating A Mask Blur Effect
Creating a mask blur effect The Matrox mask blur effect lets you create a “region of interest” by adding a mask to your clip and applying blurring to it. You can choose from many different mask patterns. ° To set up a Matrox mask blur effect: Click the triangle beside Matrox Mask Blur to expand the property list.
Page 125 Shape Transparency around the shape. At the default setting (0), the shape is completely opaque and the area around the shape is transparent. Dragging the slider to the left increases the transparency of the shape, which makes the blur less apparent. Dragging the slider to the right decreases the transparency of the area around the shape, which increases the amount of blurring outside the mask area.
Page 126: Creating A Mask Mosaic Effect
Creating a mask mosaic effect The Matrox mask mosaic effect lets you create a “region of interest” by adding a mask to your clip and applying a mosaic effect to it. You can choose from many different mask patterns. ° To set up a Matrox mask mosaic effect: Click the triangle beside Matrox Mask Mosaic to expand the property list.
Page 127 ¦ Note The Outside Transparency setting is applicable only if you’ve scaled down, moved, or rotated your mask using the transform controls so that the mask doesn’t cover the entire screen. Softness Lets you apply the mosaic effect to the edges of your mask. Select this option if you want to invert the opaque and Invert Mask transparent areas of your mask.
Page 128: Creating A Move & Scale Effect
Creating a move & scale effect The Matrox move & scale effect lets you position and scale your clips anywhere in 2D space while adding soft edges in real time. ¦ Note The move & scale effect provides the sharpest picture when creating a picture-in-picture effect.
Page 129 Nonlinear Softness softness region less obvious. Enabling this option makes your edge softness controls produce results similar to the border softness controls in the Matrox 3D DVE effect. • Crop Allows you to crop the edges of your clip. For more information, see “Cropping your clip”...
Page 130: Creating An Old Movie Effect
Creating an old movie effect The Matrox old movie effect lets you create an old film look on your clips by adding noise, dust, streaks, jitter, and flickers. ° To set up a Matrox old movie effect: Click the triangle beside Matrox Old Movie to expand the property list. •...
Page 131 Uses the green channel. Green Only • Blue Only Uses the blue channel. • Uses the alpha channel. Alpha Only • Luma Uses the luminance values. • Oversaturated Luma • • Noise Allows you to select a noise pattern. Click the button on Noise Pattern the right to see the list of available patterns.
Page 132 • Streak Streak Pattern the right to see the list of available patterns. Amount given time. Opacity completely transparent (0) to opaque (100). Color • Jitter Manual Control control the amount of jittering by using only the Offset control. Probability the more probable the jitter.
Page 133 follows a rhythmic beat. The higher the value the more random the flickering becomes. • Color Gain and Color Addition (Red, Green, Blue) You can use the controls under Color Gain and Color Addition to individually fine-tune the colors of your image. To proportionally increase or decrease the red, green, and blue values, select Lock Colors .
Page 134: Creating A Page Curl Effect
Creating a page curl effect The Matrox page curl effect lets you create page curls that are truly 3D with full-motion video on the reverse side, and realistic highlights. You can control the position, rotation, scaling, and zooming of the page curls in 3D space, and apply softness to the edges.
Page 135 Creates a soft edge on the section of the page that is Curl Softness curling. ¦ Note You will not be able to see the Curl Softness on your page curl if you adjust the scale or rotation settings in the transform controls. •...
Page 136: Creating A Pan & Scan Effect
Creating a pan & scan effect The Matrox pan & scan effect lets you easily convert footage from one aspect ratio to another. Tracking on-screen action to make accurate judgements is easy because you see the entire source clip and the section of it that will become the final result.
Page 137 ¦ Note If you are working in HD, your output will always be 16:9. Therefore, if you choose 4:3 as your Destination Aspect Ratio , your clip will be distorted. • Scale Use this to proportionally resize (enlarge or reduce) your clip. •...
Page 138: Creating A Ripple Effect
Creating a ripple effect The Matrox ripple effect lets you create 3D ripple patterns that simulate a flag waving, ripples in a pond, or a dream sequence. • Global Settings X Center Y Center Center Ripple in Crop Region position of the ripple to the center of your crop region. Progression In order to see your ripple pattern progress you need to apply at least two keyframes to your clip.
Page 139 • Crop Allows you to crop the edges of your clip. For more information, see “Cropping your clip” ¡ Important Due to the shape of the ripple effect, your effect may exceed the cropped area. • Ripple Softness Use this to add softness to the alpha channel in the ripple so that the outline of the ripple will appear smoother.
Page 140: Creating A Shadow Effect
Creating a shadow effect The Matrox shadow effect lets you project a realistic shadow from any source containing key information, such as DVEs and titles with an alpha channel. You can tint the shadow, and position, scale, and rotate it to match the angle of the surface on which it is cast.
Page 141 • Top Right Corner Opacity Sets the opacity of the top right corner. Levels range from completely transparent (0) to opaque (100). • Top Left Corner Color Use this to set the top left corner color. • Top Left Corner Opacity Sets the opacity of the top left corner. Levels range from completely transparent (0) to opaque (100).
Page 142: Creating A Shine Effect
Creating a shine effect The Matrox shine effect allows you to create rays that shine through text, or add shimmer to an object in your clip. You can also use the shine effect to make two-dimensional text appear as three-dimensional text. °...
Page 143 Sets the opacity of the rays furthest from the light source. End Opacity Levels range from completely transparent (0) to opaque (100). • Preprocessing These controls allow you to isolate a channel as the input for the shine. For example, if you wanted to apply the shine to the alpha channel only, you would select Alpha Only as your mode.
Page 144 progresses from black to white and you want your gradient to end at dark gray, drag the slider to 10%. • Noise Use these controls to apply noise patterns to your shine effect. Noise Pattern the right to see the list of available patterns. Amount higher the value, the more apparent the noise pattern becomes.
Page 145 • Mask Settings Let you select a mask pattern and adjust the transparency settings to define the area where you want to apply your shine effect. Enable Mask Select this option to enable the mask. Allows you to select a mask pattern. Click the button on Mask Pattern the right to see the list of masks.
Page 146: Creating A Sphere Effect
Creating a sphere effect The Matrox sphere effect lets you wrap your clip around a true 3D sphere with shadow and highlight. The radius of the sphere, the position of the light, and the progression from a flat 2D clip to a fully formed sphere are all keyframeable. °...
Page 147 • Light Settings Show Light Position cursor that shows the position of the light source (highlight) on your sphere. Make sure you clear this option before exporting your final project. X, Y, and Z Light Position of your light source along the X, Y, and Z axes of your sphere. Shadow Intensity Use this to add shadow, and adjust the darkness of shadow on your sphere.
Page 148: Creating A Surface Finish Effect
Creating a surface finish effect The Matrox surface finish effect allows you to apply various textures to your clips, such as metal, brick, wood, or granite with color spot lighting. You can also adjust the transform controls to create a rotating slab with a different look on the front and back face.
Page 149 Back Face Control Blending Factor Blends the back face of the slab with the surface • texture. The higher the value, the more your clip blends in. A value of zero will display only the surface texture. Invert Video Orientation •...
Page 150 Relative Position • source relative to the center of your clip. For example, if you move your clip, the second light source will move with it. By default, the second light source is relative to the center of the screen. •...
Page 151: Creating A Track Matte Effect
Creating a track matte effect The Matrox track matte effect lets you superimpose one clip onto another using an animated matte, sometimes called a traveling matte, to determine how the two clips are composited (keyed). You can use any of the following types of clips as your matte: •...
Page 152 Place your foreground clip (the clip you want to superimpose onto your background clip) directly above your matte clip, and apply the Matrox Track Matte following example: Click the triangle beside Matrox Track Matte to expand the property list: Click the triangle beside Select Matte Source , and select the unique ID number that you assigned to your matte clip.
Page 153: Creating A Twirl Effect
Creating a twirl effect The Matrox twirl effect lets you create twirl patterns that twist and rotate your video and graphics clips into spirals, coils, or whirlpools. • X & Y Position Sets the position of the twirl along the horizontal and vertical axes.
Page 154: Creating A Wipe Transition
Creating a wipe transition The Matrox wipe transitions support standard dissolves, SMPTE wipes, and organic wipes with soft edges and color borders. ° To set up a Matrox wipe transition: Click the transition’s icon in your sequence, then click the Custom button in the Effect Controls Under Wipe Pattern , click the Select Pattern button and choose a pattern for your wipe.
Page 155 Lets you adjust the prominence of the border between image A Balance and image B. For example, positive values make the border more prominent in image B, while negative values make the border more prominent in image Reset Click this button to restore the default Border values. Use the controls under Softness to create a soft edge on the border of your wipe.
Page 156: Using The Matrox Chroma Clamper Effect
When you select a clip in a sequence, the fixed effects appear in the Effect Controls panel. Adobe Premiere Pro’s fixed effects include the Motion, Opacity, and Volume effects. Matrox RT.X2 provides realtime support for all of Premiere Pro’s fixed effects. Chapter 4, Setting Up Realtime Effects with Adobe Premiere Pro...
Page 157: Matrox Rt.x2 Realtime Guidelines
Premiere Pro. For more information, see hardware-accelerated effects in Adobe Premiere Pro” Matrox RT.X2 constantly analyzes your sequence as you work, and will identify which segments require rendering (with a red indicator bar above the segment). For example, once playback of the sequence has stopped, a red bar will appear over segments of the sequence that have dropped frames.
Page 158: Supported Graphics Formats
Supported graphics formats All full-screen single-frame graphics supported by Adobe Premiere Pro are supported in real time on Matrox RT.X2. This includes all titling formats that Premiere Pro supports, such as Adobe Title Designer .prtl files. For details on the supported formats, see your Adobe Premiere Pro documentation.
Page 159: Using Matrox Rt.x2 With Video For Windows Programs
Cha pter Using Matrox RT.X2 with Video for Windows Programs This chapter provides information you need to know when using Video for Windows programs to render material on your Matrox RT.X2 system.
Page 160: Overview
After Effects to render your effects with alpha to a Matrox VFW .avi file. • Although Matrox has tested many VFW programs, there may be certain operational limitations when using Matrox RT.X2 with some of these programs (as well as with untested programs).
Page 161: Before You Start Rendering
¦ Note You must have the Matrox RT.X2 hardware for full support of the Matrox MPEG-2 I-frame HD codec. The “+ Alpha” Matrox MPEG-2 I-frame codecs are available only on a system that has RT.X2 hardware. Before you start rendering Before you start rendering material to a Matrox .avi file, make the following...
Page 162: Selecting Color Space Conversion Options
Most options, however, are common to all the Matrox VFW codecs. When these options are set for a Chapter 5, Using Matrox RT.X2 with Video for Windows Programs to configure all the Matrox DV, MPEG-2...
Page 163 particular codec, they are also set for the other codecs that support those options. Standard Renders video using standard broadcast luminance levels. Super black and super white luminance levels are clipped. Renders video using luminance levels appropriate for DV DV-compliant material.
Page 164: Rendering Material To A Matrox Vfw .Avi File
If you selected a Matrox MPEG-2 I-frame codec, click the to configure your MPEG-2 I-frame settings. For details, see the following section. Chapter 5, Using Matrox RT.X2 with Video for Windows Programs Renders video to DV or DVCAM format. Renders video to DVCPRO format.
Page 165: Configuring The Matrox Mpeg-2 I-Frame Codecs
MPEG-2 I-frame codec (SD or HD resolution, with or without alpha), a dialog box similar to the following appears: ¡ Important Unless you have the Matrox RT.X2 hardware, you can use the Matrox MPEG-2 I-frame HD codec to render to a 1440×1080i/p file only. The “+ Alpha”...
Page 166 Chapter 5, Using Matrox RT.X2 with Video for Windows Programs Sets the regular (default) zig zag scanning pattern of the AC Sets an alternate zig zag scanning pattern of the AC coefficient...
Page 167: Using The Matrox Wysiwyg Plug-Ins
Cha pter Using the Matrox WYSIWYG Plug-ins This chapter explains how to use the Matrox WYSIWYG Control Panel and plug-ins available with Matrox RT.X2 so that you can display the contents of your composition or animation on your video monitor.
Page 168: Overview
Overview Together with your Matrox RT.X2 hardware, the Matrox WYSIWYG Control Panel and Matrox WYSIWYG plug-ins let you display the contents of your composition or animation on your video monitor. This lets you see the exact color temperature, safe-title area, and any interlaced artifacts as you work.
Page 169 DVI video monitor is unable to properly display your preview output, select Force DVI Output to 60 Hz (Bypass Autodetect) . Otherwise, make sure this option isn’t selected to allow Matrox RT.X2 to automatically detect the frequency rates supported by your DVI video monitor and set the DVI output frequency accordingly.
Page 170: Required Steps To Use The Wysiwyg Plug-Ins
Required steps to use the WYSIWYG plug-ins The following sections list the steps required to use the Matrox WYSIWYG plug-in for each application in order to preview your composition or animation on your video monitor. ¦ Note The following procedures may change with a subsequent release of the program.
Page 171: Newtek Lightwave 3D
NewTek LightWave 3D Start NewTek LightWave 3D and load the file you want to preview by choosing File > Load > Load Scene . Click the Render tab. Under Options on the left hand side of the screen, click Render Globals . From the Render Display menu, select Matrox WYSIWYG Preview .
Page 172: Your Notes
Your notes Chapter 6, Using the Matrox WYSIWYG Plug-ins...
Page 173: Monitoring Your Matrox Rt.x2 System
Cha pter Monitoring Your Matrox RT.X2 System This chapter explains how to use the Matrox X.info program to display important details about your Matrox RT.X2 system and installed hardware.
Page 174: Using X.info To Display Rt.x2 Information
If your Adobe Premiere Pro memory usage is very high, X.info will issue a warning message with additional information. Displaying system information To display information about your Matrox RT.X2 system, select System from the Display Information About list. On this page, you can see Install Information You can also create an HTML log file of your system information, which can be useful for troubleshooting.
Page 175 . If Open file after scan is selected, the HTML system log opens after it Create is created. Using X.info to display RT.X2 information...
Page 176: Displaying Hardware Information
Displaying hardware information To display information about your Matrox RT.X2 hardware, select Hardware from the Display Information About list. Your RT.X card and display card are each represented by a tab. Click a card’s tab to display a page with hardware information (for example, serial number and production date).
Page 177: Monitoring Your Rt.x2 Card's Operating Temperatures
To enable the Matrox hardware-accelerated effects in Adobe Premiere Pro you must be using Matrox RT.X2 with a display card that has at least 256 MB of onboard memory and supports Microsoft DirectX 9. You can’t enable the Matrox-hardware accelerated effects if Matrox has tested your display card and determined that it doesn’t support these effects.
Page 178 Your notes Chapter 7, Monitoring Your Matrox RT.X2 System...
Page 179: Understanding Standard And Advanced Pulldown
Appendix Understanding Standard and Advanced Pulldown This appendix describes the most common pulldown methods, and explains how and when these pulldown methods are employed by Matrox RT.X2.
Page 180: Overview
Pulldown can also be applied to your output video to meet certain requirements. When a pulldown is required in your project, Matrox RT.X2 performs either a standard 2:3 pulldown or an advanced 2:3:3:2 pulldown.
Page 181: Matrox Rt.x2 Implementation Of Standard Reverse Pulldown
In the case of batch captures, when the first frame of a clip that is to be captured might not always be an A frame, Matrox RT.X2 advances to the next instance of an A frame in the clip to start the pulldown sequence (if it’s required). In order for Matrox RT.X2 to perform standard reverse 2:3 pulldown accurately, the clips...
Page 182: Matrox Rt.x2 Implementation Of Advanced Reverse Pulldown
C in the diagram above, is tagged when the 23.98 fps progressive footage is recorded to tape. This information is present in the DV stream and when Matrox RT.X2 performs an advanced reverse pulldown, it reads this information to identify the additional frame that is then removed from the sequence.
Page 183: Matrox Rt.x2 Workflows
Appendix Matrox RT.X2 Workflows This appendix provides information about working with different types of projects in Adobe Premiere Pro on Matrox RT.X2.
Page 184: Overview
Some DV cameras that are capable of shooting 23.98 fps progressive video have the option of performing either a standard or advanced pulldown for recording material to tape or disk. In order to use the video with Matrox RT.X2, we recommend that you set your DV-1394 device to use advanced pulldown (called 24PA or 24P Advanced mode on some devices) to convert the footage to 29.97 fps interlaced video.
Page 185: 486P @ 23.98 Fps Workflow Example
¦ Note For all Matrox RT.X2 projects, you can choose to export to an MPEG-2 file for DVD authoring or export to a web format using Matrox Media Encoder as explained in “Exporting using Matrox Media Encoder”...
Page 186: Working With Hd Projects
HDV and MPEG-2 I-frame HD clips can be mixed in real time in the same HD project. You can also import SD clips to your HD project and Matrox RT.X2 will upscale the clips in real time as explained in project”...
Page 187: 1440×1080I/P Workflow Example
NTSC, Matrox RT.X2 will perform a standard 2:3 pulldown. • When using a Sony HVR-V1 camera to shoot HDV 1080p @ 23.98 fps material that you’ll be capturing on Matrox RT.X2, you must set the camera to Advanced mode (24A).
Page 188: 720P Workflow Example
.mxf files are played back on the timeline Panasonic P2 .mxf and Sony XDCAM EX 720p .mp4 files imported to project Appendix B, Matrox RT.X2 Workflows Native HDV 720p video footage on tape HDV clips captured natively over the 1394 interface...
Page 189: Capturing Hdv And Sd Material To Edit In Sd On Matrox Rt.x2
HDV camera, you can capture HDV material over the 1394 interface and edit the clips in SD on Matrox RT.X2. To do this, you create a 1440 ×1080i/p project and capture the HDV clips natively over the 1394 interface.
Page 190: Capturing Hdv And Sd Material On Matrox Rt.x2 Sd
Capturing HDV and SD material on Matrox RT.X2 SD On Matrox RT.X2 SD you can take advantage of the superior image quality offered by your HDV camera by capturing native HDV 1080i/p material over the 1394 interface in an SD project. To do this, you use Adobe Premiere Pro’s HDV capture feature as explained in on page 35.
Page 191: Using The Matrox Mpeg-2 I-Frame Hd Codec
The clips are captured with Matrox RT.X2 at a data rate of 50 Mb/sec and then used to complete an offline editing project. When the offline edit is complete, the project is trimmed, and the offline clips are unlinked and then recaptured using the Matrox MPEG-2 I-frame HD codec at a data rate of 90 Mb/sec or higher.
Page 192 This workflow scenario is represented in the following diagram: Analog component video footage shot as 1080i @ 29.97 fps or 25 fps Appendix B, Matrox RT.X2 Workflows Matrox MPEG-2 I-frame HD codec set at 50 Mb/sec used to capture clips...
Page 193: Mpeg-2 I-Frame Hd Codec Workflow Example For Online Editing
The clips are captured with Matrox RT.X2 at a data rate of 90 Mb/sec or higher and then used to complete an online editing project. A VFW application, such as Adobe After Effects, is used to create a composition that is rendered using the VFW MPEG-2 I-frame HD codec and imported into the online editing project.
Page 194: Using Matrox Rt.x2 To Edit Matrox Axio Offline Hd Projects
Matrox Axio offline HD projects. A Matrox Axio 720p project can be opened directly on Matrox RT.X2 and the offline HD clips will be supported in real time. A Matrox Axio full-size 1080i/p (1920×1080) project is not supported on Matrox RT.X2.
Page 195: Supported Video Compression Formats
DV-1394 export to tape On Matrox RT.X2 SD you can capture native HDV 1080i/p (1440 × 1080i/p) material over the 1394 interface in an SD project using Adobe Premiere Pro’s HDV capture feature as explained in Realtime playback is also supported for Panasonic P2 .mxf files in SD and 720p formats, Sony XDCAM EX .mp4 files in 720p and 1080i/p (HQ and SP) formats, and...
Page 196: Supported Master Output Formats
Supported master output formats The following table lists the supported master output formats for Matrox RT.X2 depending on your project’s video format. ¦ Note Matrox RT.X2 SD supports SD projects only. Project video format NTSC 486p @ 23.98 fps 486p @ 29.97 fps 576p @ 25 fps 720p @ 23.98 fps...
Page 197: Matrox Rt.x2 Customer Support
Appendix Matrox RT.X2 Customer Support This appendix explains how you can register your Matrox RT.X2 and obtain customer support.
Page 198: Getting The Most Support
Registration You can register your Matrox RT.X2 in the Matrox RT.X2 Support section of our web site at www.matrox.com/video/support. To go directly to the registration page, choose Start > All Programs > Matrox Mx.tools > Register Your Matrox RT.X Product...
Page 199: Matrox Rt.x2 Glossary
Appendix Matrox RT.X2 Glossary This glossary defines many of the terms used in this manual and related documentation.
Page 200: Glossary Of Terms
Appendix D, Matrox RT.X2 Glossary A/B roll Typically, A/B roll is an editing technique where scenes or sounds on two...
Page 201 aspect ratio A width-to-height ratio. For example, a 12-by-9-inch image has an aspect ratio of 4:3 (four-to-three). Most TV screens have a 4:3 aspect ratio. HDTV screens have a 16:9 aspect ratio. assemble editing Recording new video and audio material sequentially onto tape. Because all the signals are recorded (video, audio, and control track), the new material completely replaces any previously recorded...
Page 202 These cubes can then be rotated in 3D space to create transition effects such as those seen during sports broadcasts. Appendix D, Matrox RT.X2 Glossary cut A direct switch from one video and/or audio source to another. D-9 Originally known as Digital-S. A variant of the DV format developed by JVC that uses a data rate of 50 Mb/sec (5.96...
Page 203 enhance display capabilities. Also called graphics card. See also GPU. dissolve A transition in which one image smoothly fades to another image. It is characterized by the gradual ending of one image occurring simultaneously with the gradual beginning of another. Also called crossfade.
Page 204 GPU Graphics processing unit. A processor that is used primarily for computing 3D functions, such as processing 3D DVEs and Appendix D, Matrox RT.X2 Glossary lighting effects. Because the calculations required to process these effects are CPU- intensive, the GPU lifts this burden from the CPU to allow it to perform more efficiently.
Page 205 camcorders and DV decks. Commonly referred to as 1394. I-frame compression See MPEG-2 I- frame. I-frame (Intra-frame) A frame created during the MPEG or MPEG-2 compression process that contains all the information required to reproduce a complete image. It allows random access points within a video stream, and acts as a reference point for B- frames and P-frames to be built.
Page 206 2D space while adding soft edges . See also DVE. Appendix D, Matrox RT.X2 Glossary Motion-JPEG A compression and storage standard used for motion video. The JPEG compression process is applied to each video field, in succession.
Page 207 PCI Express slots are available in different sizes (x1, x4, x8, and x16). The Matrox RT.X2 card is installed in a PCI Express slot. Also called PCIe slot. PCI-X slot A type of PCI slot that...
Page 208 29.97 fps interlaced video. See also 2:3 pulldown and advanced 2:3:3:2 pulldown. Appendix D, Matrox RT.X2 Glossary realtime effect An effect that is played back instantly, without having to be rendered by an editing program.
Page 209 SDTV Standard Definition Television. A television format with image resolutions up to 525 vertical scan lines for NTSC video and 625 vertical scan lines for PAL video. SDTV can have a 4:3 or 16:9 aspect ratio. See also HDTV. SECAM Séquentiel Couleur Avec Mémoire (sequential color with memory).
Page 210 (keyed). Appendix D, Matrox RT.X2 Glossary transform settings Settings that let you change the position, size, and rotation of a clip in the Matrox realtime plug-in. Transform settings can be applied on the x, y, and z axes of a clip.
Page 211 point. White balancing assumes that when a white object can be made to look white, the other color levels will also be accurate. White balancing is used to correct improper color levels of an image that are due to varying lighting conditions or incorrect camera settings.
Page 212: Your Notes
Your notes Appendix D, Matrox RT.X2 Glossary...
Page 213: Index
Numerics 1440x1080i/p projects working with 3D DVE creating mapping Motion effect to 3ds Max WYSIWYG plug-in See Autodesk 3ds Max WYSIWYG plug-in 486p @ 23.98 fps project working with 4-corner pin creating 720p projects working with A/V synchronization adjusting for playback of clips in a sequence Adobe After Effects WYSIWYG plug-in about required steps...
Page 214 required steps See also Matrox WYSIWYG plug-ins Autodesk Combustion WYSIWYG plug-in about required steps See also Matrox WYSIWYG plug-ins Automatic Gain Control selecting AVI files capturing using Adobe Premiere Pro creating from a 32-bit TGA sequence creating from MXF files using Matrox EZ- creating reference files for large HDV clips displaying information in Windows...
Page 215 Compressor selecting for VFW render CPU-based effects Cropping your clip using Select Crop Crystallize effect creating Cube effect creating Customer support Device control in Adobe Premiere Pro setting for DV-1394 devices Display card checking for Matrox-validated Dropped frames in realtime effects reporting DV material capturing native...
Page 216 HD projects scaling SD clips in supported compression formats HDV material capturing native on RT.X2 capturing native on RT.X2 SD editing in SD on RT.X2 editing in SD on RT.X2 SD exporting native Impressionist effect creating Input aspect ratio selecting Input device selecting Input source...
Page 217 Axio offline HD projects workflows Matrox RT.X2 LE See Matrox RT.X2 Matrox RT.X2 SD capturing HDV material in an SD project key features See also Matrox RT.X2 Matrox WYSIWYG Control Panel using Matrox WYSIWYG plug-ins about required steps Matrox X.info...
Page 218 Project presets for HD projects for SD "24P" material loading for Matrox RT.X2 See also Matrox RT.X2 workflows Pulldown description of advanced description of standard used in 1440x1080p @ 23.98 fps project used in 486p @ 23.98 fps project...
Page 219 Realtime threshold adjusting Registering your Matrox RT.X2 Rendering using Adobe Premiere Pro limitations to realtime effects Rendering using VFW programs before you start selecting color space conversion options selecting compressor...
Page 220 Setup level selecting for NTSC analog video Shadow effect creating Shine effect creating Sony XDCAM EX files using in projects Sound card recording and playback volume controls Source Identifier used in cube effect used in track matte effect Speed changes selecting speed control method Speed control method selecting...
Page 221 WAV files capturing using Adobe Premiere Pro exporting using Adobe Premiere Pro Widescreen format editing SD material on Matrox RT.X2 Windows Explorer displaying details for clips Wipe transitions creating Workflows for Matrox RT.X2 WWW site WYSIWYG Control Panel See Matrox WYSIWYG Control Panel...
Page 222 Your notes Index...
Page 224 www.matrox.com/video...

Matrox RT.X2 User Manual

Chapter 1 Introducing Matrox RT.X2

Chapter 2 Working with .Mxf, .Mp4, and .Avi Files

Chapter 3 Defining Your Adobe Premiere Pro Settings

Chapter 4 Setting up Realtime Effects with Adobe Premiere Pro

Chapter 5 Using Matrox RT.X2 with Video for Windows Programs

Chapter 6 Using the Matrox WYSIWYG Plug-Ins

Chapter 7 Monitoring Your Matrox RT.X2 System

Appendix A Understanding Standard and Advanced Pulldown

Appendix B Matrox RT.X2 Workflows

Appendix C Matrox RT.X2 Customer Support

Appendix D Matrox RT.X2 Glossary

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