Table of Contents

Data Manager
Archiving a Project
Archive to Tape
Archive to Multiple Tapes
Updating an existing Archive
Deleting Projects
Moving a Project
A Poor Man's Decompose on DS
Dither when processing
DG Fastchannel compatible files
Dual-Boot
Case study: MTV Networks
What Versions Work with Which?
How to start a project in Symphony and finish it on DS
Using DMS Broker
Making a workstation standalone
DNxHD Codec
Inserting onto Dolby E tapes
DPX Headers and how to edit them
Dreamcolor Monitoring
Dropped Samples
Using HD_Speed to test drives
Case Study
Drive Array Configuration
How to detect duplicate footage in your sequence
Importing from a DVD
DVD authoring
DVE
Keyboard Shortcuts
Quality Settings
Motion Path
Motion Blur

Data Manager


PURGING MEDIA-view media usage details. Shows all projects w/media usage.
% indicator shows percentage of media a project is using out of total media residing on
the drive.

Deleting Timewarp Media
Any unused portions of clips inside Timewarp containers will not be purged.

To purge extra material inside Timewarp containers (because they could easily be
holding a complete 30 minute roll depending on how you captured your original
material),you need to dip into the container and razor away the clip either side of the
"Active area" markers. Any timewarps you do this to will require reprocessing.

(See also manually purging media under MEDIA PURGING)

PROJECT MANAGER- Delete, manage projects. Media: Each piece of media has a
cryptic ID number for each project that is appended to each media file.

Delete: Project / Delete will delete the media file folder (media) for that project.

NOTE: Any file in a project that has been copied from a CD, such as an audio file,
maintains read-only status, even if it has been copied to your hard drive. DS cannot
delete these files when deleting the project, unless they have been changed to read/write
in Windows.

Archiving a Project


When you archive a project, you must archive the entire project.

ARCHIVE—Selects a project for archiving. Shows the project size. Project data and audio are archived to F/ Project Archive or the drive letter chosen during the Avid|DS installation..

FILES- sets a data path for archiving. Archives all project data. Audio media DOES NOT archive to tape.. it goes in the archive data..

DS will not backup a project if it won't fit on one videotape.

Archive to Tape

Video only. Indicates how much time is needed for tape. No ability to update archive, must redo the whole thing when updating. Set the tapes’ starting timecode in the in-point field on the output panel.

VERIFYING ARCHIVE TO TAPE
Inside the archive folder there is a file called ARCHIVETAPELOG. Open this file and verify that the timecode for the last clip matches the timecode on the videotape.

When you RESTORE a project, select the clips or sequences you wish to restore and begin the restoration process. Allows for a selective restoration.


Archive to Multiple Tapes

DS does not archive to multiple tapes. Here’s a workaround that works for DS versions up to 7.6:

Close DS. Go inside your videostorage folder for that project and move half of your files out to a folder called something else, temp video for example. YOU MUST PUT IT OUTSIDE OF YOUR SHARED VIDEOSTORAGE FOLDER. Open DS and archive, it should only be seeing what is left in your folder. Once the archive is finished, swap the video files and archive again. When you restore, restore both archives with media.

Another workaround: When DS complains about the tape running out, eject the tape
and then stripe the beginning of a new tape with the last minute or so of the original's timecode. Hit OK on the DS error message and it picks up where it left off. (Note from Avid Support: this is an unsupported procedure. Use at your own risk). This does not work with DS 8.x or 10.x

Archive will fail if your project folder contain any files with illegal characters in the name. Use the procedure outlined in the SEQUENCES section to remove such files.

Put LINKED FILES and AUDIO FILES in the project folder to archive. Put the Original files that were linked to in the project, too. Additionally, you can insert a note (.txt) containing information about project files, fonts, linked files, or anything else that may be helpful when the project needs to be revisited in the future.

IMPORTANT NOTE: Files that were imported or copied from CD must not be read-only, in order to be properly deleted from a project. Go to File-Properties and deselect read-only on all files copied from CD.

Updating an existing Archive

Unarchive the project (data only), add graphic or new material, save a new sequence, and copy it into the sequences folder in the archive. NOTE: THIS IS AN UNDOCUMENTED PROCEDURE. USE AT YOUR OWN RISK!!

Deleting Projects

It is OK to delete a projects’ folder in Windows. But be sure to delete their associated media folders too (audio & Video). You'll see the sourcemodel name in the project name\system\sourcemodels folder. (This cryptic-named folder is a Windows GUID actually - Globally Unique Identifier). Do this only if DS cannot delete the project inside the software (happens...).


Moving a Project


  1. You need to do it by making a new project and following the rules.
  2. Create (Call it "xyz repaired for archive" or something)
  3. From within navigate to , right-click and import everything into
  4. Confirm that everything exists satisfactorily within
  5. Still in go to the Media tool
  6. List all media, right-click it all, and select "Move". Select the storage that you are offered (assuming you only have one video storage).
  7. If there's a lot of media go and have several cups of coffee.
  8. Archive and confirm archive is good.
  9. Quit DS and from Explorer navigate to and take a look in System-->Sourcemodels and make a note of the sourcemodel for that project. Now delete everything from that you are able. This will leave you with just the project folder with one 0kB file in it.
  10. Launch DS and from the Project Browser window select to remove from the list. It'll always be there, but it'll only take up around 4bytes and you'll learn to forget it exists ;o)
  11. Check on the VideoStorage folder for a media folder with the name of project> sourcemodel. Delete it.
  12. As 11, but Audio Storage


A Poor Man's Decompose on DS

I you don't have MC or Xpress Pro (or DS v 10, which comes with Media Composer) and you need to use your DS to do a Decompose, here are the steps:

  1. Take the bin into Media Log and create AFE of the sequence.
  2. Conform AFE into DS. All master clips will have their original long durations.
  3. Export EDL.
  4. Import EDL with "create logs only" selection. Select a new empty folder to place the clips in. Set desired handles.

The clips you create through reimporting the EDL will represent only the material actually used in the project plus handles. There is an occasional off-speed glitch here and there but it generally works.

(Thanks to Igor Ridanovic)



Dither when processing


Q: What does the "Dither when …" check box mean when you are processing material on a DS?

A: Working in 4:2:2, your storage is only ever 8 or 10-bit. However internally DS can render at 8, 16, or 32-bit float. Dither makes DS dither pixels from the processing bit depth into the storage bit depth when it's higher than 8-bit, rather than just quantizing the bits.

This can smooth out all kinds of things like large low-contrast gradients, vignettes, etc. when rendering with 16-bit processing in an 8-bit sequence for instance. Make a solid color and put a vignette or gradient on it at say 20% opacity and render it in 8-bit all around, and you'll get banding. Process it at 16-bit with dithering, and the edges of the bands should be much less noticeable as DS dithers the neighboring colors into each other.

This can however introduce unwanted 'noise' in some cases as the dithering pattern changes from frame to frame, but most notably it will do bizarre things to solid color Generators (or even bars) as the dithering algorithm gets confused and starts messing with things it doesn't need to, causing little vertical stripes in your solid colors.

(Thanks to Jim Fink and "Sexy" Bob Maple)



DG Fastchannel compatible files

(added 10.24.2007 from the List MH)
Delivery specifications:

Encoding MPEG-2
Min 10 Mb/s
Max 25 Mb/s
Preferred 25 Mb/s
Scanning 480 60i (upper field first)
Pixel Aspect Ratio 0.9
Aspect Ratio 4x3
Chroma 4:2:2 (MP@ML) (720x480)
GOP All Allowed, IBBP preferred
Frames per second 29.97 (NTSC)
Stream Type Program Stream
Audio-MPEG-1, Layer 2 384kb/s Stereo
Audio-Dolby AC3 NA
AVG Digital Audio Level -17dBfs
AVG Analog Audio Level +4dBm
Luminance Level Max 100 IRE
Chroma Level Max 120 IRE
Setup level 7.5 IRE
Timecode Non Dropped Frame

As an IMX format can be generated straight out of DS, it seems like a good thing to send to DG if you have the bandwidth to allow for such low compressed files to be sent to them. They (DG) will repack it into another 4:2:2 format once they get it - this time with P and B frames - depending on where it's going.


Dual-Boot

(Added 11.28.2007 MH)
To get a switch (or replacement) for your computer, please go to Indus Technologies Website

(added 11.03.2007 MH)

Case study: MTV Networks

DS-Symphony Dual Boot Machine Configuration
Please note: This configuration is working at MTV networks. Earlier dual-boot systems use the HP multisystem BIOS option where one may choose which system to boot at startup with one system set as default.

Two SATA boot drives. Key switch delegates which drive gets power. Typical configuration is XP 32bit for the Symphony drive and XP64bit for the DS drive. RAID 5 storage is used. It is a common media drive for both Symphony and DS. Media can be shared between the Symphony and the DS. Audio and Video can go on the RAID 5 protected media drives.

Projects are saved to a second partition of the system drive - the standard DS configuration. That media volume is assigned as the "Archive" location as well, so you have data protection. The media drive is one volume - in MTV Network's case to RTX320 chassis - 10TB of drives. We created "VideoStorage" and "AudioStorage" folders on that volume. Now all media is raid protected. The Symphony also uses that same media volume.

The DS is configured to write to the media volume in MXF format only. MTV Networks also has the Symphony's MXF file location as a "read-only" DS media location. This allows the use of media digitized on the Symphony to be available to the DS, but no chance of digitzing files into the Symphony MXF folder from the DS.

MTV Networks lost a drive in the media array on day two. They received a replacement drive from Avid popped it in as a hot swap - no downtime no lost data - no problem.

A small tip for those with dual boot, Symphony/MCA products:
Digitizing is done by mistake to a non-media drive on the computer. There is a setting to prohibit writing to the system drive, but all other local drives available to the computer are fair game as a target drive.
To prohibit this on any potential target drive:

If they already exist, move the contents to the appropriate media drive folders and remove the "Avid MediaFiles" and "OMFI MediaFiles" folders. Create two "TEXT" files - "OMFI MediaFiles.txt", and "Avid MediaFiles.txt".
When an attempt to record to one of these drives, an error message will come up and the system will not record to it.

Special thanks to Tom Edwards for this information.

Tom amplified his comments above:

We changed to the MXF format rather than DS's native .GEN for video and wave format for audio because of the need to be more compatible with other systems. The storage configuration tool is where you make the choice of MXF or .GEn/Wave or both. If you setup the system for both, then in the capture tool you will see those choices in the media drive select pull-down window. Another thing I have done is label the media shares so you can tell what you are doing.

The DS creates share names by default as "ds_media", ds_media_1" etc. After I have initially setup the storage folders, I go back into the Windows Share setup and create a new share on the DS storage folder - for example, the VideoStorage folder. I create anew share called "MXF_VIDEO" - (you must grant everyone permissions on this share as well). I then delete the "ds_media" share.

I then return to the storage configuration tool and I see that DS is confused about the location of the storage (since I just removed the old share name). I simply redirect it back to the "VideoStorage" folder and all is well. I could also do this with the .GEN storage location if I wanted the option of both. In that case I would have two entries for video (.GEN and MXF) and two entries for audio (Wave and MXF). In the capture tool I then see, in this example "MXF_VIDEO" as the target location to digitize. This eliminates the need to try and remember that ds_media_1 is .GEN and ds_media_2 is MXF Video etc.

Side note…
The DS caches are always in .GEN and Wave formats no matter how the storages are configured.

It is my understanding that the DNX and DNX-TR coding schemes are independent of the MXF wrapper. However; there is a relationship between the two when it comes to compatibility. The burden is on Avid to make the DNX coding scheme compatible with the MXF specifications as it would be with any manufacturer who develops a proprietary bit reduction scheme, but expects the resultant file to play well with others.

MXF works with SD and HD media. There has not been much testing and/or acceptance of DNX coding at MTV Networks. The initial tests were impressive, but for now, the workflow is still to use the best method of recording with the available technology, rather than have surprises down the road when media is re-purposed and transcoding problems arise and the only master you have is already compromised.

What Versions Work with Which?


Avid DS / Symphony Nitris (Classic) Dual Boot Compatibility

Current configuration


Previous configurations

There was no dual boot support for Avid DS prior to version 8.0 and Avid Symphony Nitris prior to version 1.5.

Avid DS and Symphony Nitris Configuration Differences on HP xw9300
Avid DS Nitris specifics:
BIOS revision
BIOS settings
XP boot.ini
Windows Updates
2 partitions
Storage

Avid Symphony Nitris specifics
BIOS revision
BIOS settings
XP boot.ini
Windows Updates
1 partition
Storage

(Thanks to Marc Fisher and Randall Rike)


How to start a project in Symphony and finish it on DS

(added 03.15.2008)

  1. In Symphony export an AFE of the sequence with everything set to "Link" to media.
  2. Open DS and configure the storages through "My Network Places." Wait for Indexer... See note.
  3. Import AFE and if you waited for the Indexer to finish before import then you are DONE! If not, the media will be offline until the indexer tracks it all down.

No copying media. No deleting files. No EDL's.

Note: Sylvain Labrosse states that every time you reboot the CPU, the Media Indexer will run. So, when going from Symph to DS, be prepared to wait for the indexer.

This apparently works well on Dual boot configurations.

(Special thanks to Bob Keuler and Roman Rossell for this workflow)



Using DMS Broker

Making a workstation standalone

(added 03.17.2008_MH)
Exit the DS application.
Go within the "Conifigure DS workgroup" utility (the same tool that you used to make the DS a standalone system) and go at the bottom of the menu within "configure Avid DMS Broker" to select "Do not use Broker". This should set everything properly.

Start up DS.
Go to "Data management>configure storages" and make sure that each and every DS storage that you are using have throttling disabled. It's a setting that's sometimes forgotten when a DS goes from "workgroup with RP" status back to its standalone status, and it adversely affects performance.

Thanks to Benoit.





DNxHD Codec


DNxHD is compatible across all Avid products. Obviously, you should try to keep versions as close as possible to be in sync with implementations or enhancements. For more information on the Codec, please see Avid's DNxHD page




Inserting onto Dolby E tapes

(added 06.12.2008 from the list)

It is perfectly safe to do video-only inserts onto Dolby-encoded tapes, as the video signal will not interfere with the audio.

If you are doing audio inserting:
Make sure to have audio edit set to "cut" mode in the audio page... Also if you are laying down Dolby-E make sure to set up audio record tracks to non-audio mode. Correct video ref is crucial when dealing with Dolby-E.

Capture using DS Nitris will not retain the Dolby information, either with DS hence modification to an existing master through the DS should be avoided unless you have the requisite Dolby E decoder (for capture) and encoder (for laying off to tape). (Thanks to Karim Arbaoui at Softimage)

The Symphony Nitris Version 3 will maintain a Dolby E datastream, as long as you don't do anything silly like change gain, panning, or cut on a non-frame boundary (which you can't do in Symphony anyways). Dolby Labs have been trying to track down where the DS software breaks the data, but it seems to do so at multiple points in the path. Dolby Labs only has the DS software here, but they have verified with a Symphony Nitris that it works. It would be quite handy to be able to assemble pre-E-encoded clip reels without having to fuss with decoding and re-encoding, and the resultant sync offsets.

FYI, it's always best practice to monitor the output of your final tape with a Dolby E decoder, but if you can digitize and edit the E datastream along with picture without corrupting it, while maintaining sync with the picture, there's nothing wrong with that. (Thanks to Kevin Perry at Dolby Labs)

If you are working with Dolby E with something other than DS:
  1. The audio should be 20bit
  2. Set the audio channels on your VCR to "data" mode

Remember: A 23.976 stream will not work with a 29.97/59.94 and vice versa. Also 29.97 NDF and 29.97 DF are not cross-compatible.


DPX Headers and how to edit them


DPX is a modern file format introduced by SMPTE (ANSI/SMPTE 268M-1994). It's verstile . It can be either Log or Linear, can be 8, 10 or even 16 bits per channel. There is more than enough embedded information such as keycode, timecode, frame count, etc.

Oriental Post is offering RenderNan as freeware for editing DPX headers.


Dreamcolor Monitoring

Using HP's Dreamcolor Monitor for 2K monitoring for 2k

Dreamcolor is an option but there are some intricacies as far as proper gamut mapping. In certain modes it only scales everything up to it's on wider gamut so ironically, the color rendition is incorrect. I am using it with HDMI via Blackmagic HDlink. In this mode all LUTs are disabled and the monitor uses the native gamut. This gives me very saturated color and a brighter gamma curve.
- Igor Ridanovic

It does scale 2K into 1920x1080... and getting it color accurate is bit of a song & dance... fortunatly you only have to do it once... and once it's there it's pretty stable.
- Dermot Shane

I discussed DreamColor with HP about whether or not the monitor needed to be calibrated separately for each input, and was told :

We built and designed the display so that all digital connections (DVI, DisplayPort, and HDMI) are all processed by the same chip. This means that a calibration performed on one of the digital inputs is valid for all three digital inputs. We did this because we recognized that it was unlikely that someone would have a computer with an HDMI output that would allow them to calibrate via that port. So calibration via DVI is the way to go. (Note that we don’t recommend calibration via DisplayPort at this point. There are issues with the DisplayPort drivers and implementation from NVIDIA and ATI which can cause the calibration to fail.)

This came from Greg Staten, DreamColor Solutions Architect. The point about the DisplayPort may have changed by now.
-Troy Thompson

The dreamcolor [Avid has] does not allow us to use the color management menu when the HDMI is enabled and from Igor message it looks like his does not either. It is well possible that the calibration does indeed apply to the three inputs, this does not however mean that you get access to all of the presets in the color management menu.
-Jean-Marc Porchet





Dropped Samples

(added 04.08.2008)
If you are getting sample dropped when you are capturing:

Take a look at the conditions when it works and when it fails

Also, if you are capturing all media as MXF, switching to .GEN (or native for DS) will reduce overhead on capture.


Using HD_Speed to test drives


Using HD Speed to test the stripe volume speed is only half of the testing you need to do.
You should next test (or stress) each of the drives in your stripe and check the MB result. It should be about the same value for all. If one or more drives are giving lower results, they might be spinning more slowly or having errors and revealing an oncoming failure.

  1. Speed test the entire volume at a sampling of % points - it's normal for individual drives to have slightly different performance at the outer and inner tracks (eg. 60MB/s @0% vs 50 MB/s@90% using 1meg chunks - NOT auto)
  2. If you're still having intermittent (but frequent) problems - run individual instances of HD_Speed on ALL drives in the array (yes, this would be 24 instances on a 24 drive U320 array, running HD_Speed on all the drives simultaneously and not one after another).

It's normal for the first few drives on each bus to run at full speed - then as the bus is saturated to see the individual drives slow down. What you want to look for is one(or two) drive that is having trouble keeping up - if it has retries or can't maintain sync it will dramatically and intermittently slow the array.

Example: If you have a 24 disk array and 23 drives are giving 30MB/s and one is giving 18MB/s (arbitrary numbers) then the slow drive will cause the array to give significantly reduced performance - much less performance than you would expect if you just added the total of all 24 drives.

Mismatched drives can definitely cause problems - either faster or slower - the issue is that they may not synchronize properly. If one or two drives are getting their chunks of data early or late it can throw off the array performance significantly.

(Thanks to Rich and Sylvain)

Case Study


I usually run HD_Speed using the smallest block size and look for each striped set to give me at least 430mb/sec or higher. I'll run the speed test on each drive and/or striped set for 10 to 15 seconds to get a rough idea, sometimes longer but you usually get the average speed pretty quickly. Now if I start to see a fluctuation in a striped set, dipping and rising radically like an EKG (medical), then it might be an indication of a drive or more going bad. Either that or your cables need re-seating. But usually if it's a cable issue, the workstation will have trouble reading the array as a whole. HD Speed will give you the list of drives individually as well, and I would run the test on each drive and look for one or more to give you a lower mb/sec rate than the others.

-Sean Stall

Q: What should I choose for Block Size?

A: I usually pick 1MB. The important bit for benchmarking over time is to always use the same value. I'm not sure how big of an IO request DS makes when playing video.

Q:What speed should I see for healthy drives?

A: Depends on the drives and the number of them, the config, the above block size, the phase of the moon... My 12 x 136gb (or something) drives striped dual-bus on a ATTO UL4D gets ~380mb/sec average at 1MB block size; ~410mb/sec at 2MB blocks; ~430mb/sec at 4MB blocks. Any individual drive gets ~64mb/sec at 1MB blocks.

A: Real-world is always less since HD Speed is doing sequential reads through the disk whereas in real life the drives are typically going all over the place.

Q:How long should I run test on each drive?

A: You should get a good average after only a few seconds. Although if a drive is failing there might be a "problem spot" somewhere later on the drive which could kill performance and you won't see that unless you just let it run and run. You can also "spot check" by typing in various numbers in the 'Position %' box which will make it start reading x% into the drive instead of from the beginning.

Q:Also, sorry if I seem dense, but I'm not sure if I have single or dual bus. I have 2 chassis with a SCSI cable from each going into the xw8400. I'm guessing this is a clue that points to dual bus? (or not?)

A: In your case each chassis is running in single-bus mode. Dual bus here typically refers to a single chassis hooked up via 2 cables; the drives are split by the chasis, half on one bus and half on the other.

A: Whether you then stripe all the drives into a single set or treat them as two separate striped arrays is another matter. If you have all 24 drives striped together, then you could say that overall you are running as dual-bus, because you're considering all 24 drives as a single unit but they are connected via two separate data buses.

(Thanks to Phil Coulloudon and "Sexy" Bob Maple)

If you notice a problem with your array or one or more drives, please read How to add a new drive to an array before you attempt it.

Drive Array Configuration




These are regardless of how many "striped sets" there are.

The number of striped volumes ("sets" being old NT stuff) is irrelevant. It could just be one volume of 24 disks or three volumes of 8 disks, for that matter. It only makes a difference when you configure your storages inside the DS application because DS guarantees two real-time HD video streams if you use at least one volume of 12 disks. Now how users configure their system is their own decision, and indeed the two 12 disks volumes is the most common and logical choice.

(Thanks to David Friedman and Sylvain Labrosse)


How to detect duplicate footage in your sequence


DS does not have a "Dupe Detection" feature like Media Composer does. Here's a "jover" that will work, albeit in a limited way:

  1. Park on the shot.
  2. Match-Frame.
  3. Click the Reverse Match-Frame button repeatedly to see every instance of that frame on the timeline.

This is time-consuming but it does work. There is no reverse-match frame function in DS versions prior to 7.5

Another (more manual) technique:

  1. Export timeline as EDL's.... you'll need to do one for each video track.
  2. Import EDL's into MS Excel.
  3. Merge EDL's into one big list.
  4. Sort by source time code



(Special Thanks to Tony Jover and Paul Murphy)


Importing from a DVD

(added 02.12.2008 from the List and edited for accuracy and clarity 4th Feb 09)
Please note: It is illegal to use copyrighted material without permission

  1. Place the DVD in your drive
  2. open DVD2AVI
  3. file>open
  4. select the first file from the vob you need (it will auto select the rest). This will probably be a VTS file, but you can scrub it to confirm that it's the correct file
  5. file>save project

DVD2AVI will create a clip .d2v that needs an extra step:

  1. Open VFAPI
  2. Select Add Job and import the .d2v file saved in step 5 above
  3. Click Run and in less than 10secs a new .avi file, referenced from the DVD is created
  4. Then just link that avi in DS and only when you need to, render it.
  5. Note that this is fast because it's a link, but that also means you have to keep the DVD in the drive (or copy its contents elsewhere)

DVDFab Platinum will clone, backup, take a DVD-9 to 5 (dual layer to single layer), even make iPod and PlayStation files as well as Divx or Xvid. So if you need something from an encrypted DVD, rip it to hard drive with DVDFab, then use other software to convert.



DVD authoring


CREATING FILES FOR DVD AUTHORING PROGRAMS
DVD authoring programs require a 720x480 file. To create this:
1. Output a Quicktime or .AVI reference of your sequence.
2. Create a new DS custom DS sequence sized at 720x480
3. In Sequence Preferences, select Center, Keep Original Size.
4. Capture the file created in step 1.
5. Drop the new clip into your new sequence.
6. Output the file.



DVE


Keyboard Shortcuts


D Rotate
F Crop
S Scale
T Tool Properties

A+click Add new vertix

XY Lock is on by default. Hold SHIFT key bypasses XY lock to change aspect
ratio by dragging screen handles.

Use DEFIELD to remove fields from blowups.

Quality Settings


Process Still images or anything that is frame based as FRAME rather than FIELD. If you DVE an animation rendered in a 3D software that is not field based, also use the frame option to keep the quality of the DVE effect. For anything video or field based, make sure it is field or “Same as Processing” (if field by default).

Filter Settings
The DVE filter filters the image to remove flickering lines, moiré etc. It can be set anywhere from 0 to 100. A setting of 2 is a good starting point. The default of 12 is generally a little too soft. If your image doesn't require it then don't use it.

When you make a DVE move see which quality setting looks best. Bilinear tends to look best. Multi-tap tends to look the worst.

(Thanks to Tony Jover)

Motion Path

Puts motion path in viewer w/keyframes to edit motion path. Use it to fly things across the screen, but not for much else. Checkers on path indicate individual frames.

R-click on points to change animation style

R-click on keyframes to adjust keyframe animation.

NOTE: MOTION PATH Data does NOT show up in the animation editor!

Motion Blur

Set samples and duration to suit visually. Higher numbers mean longer renders.

DVE VIEWING TIP
If you want to see the contents of the DVE as you move it around, hold down the [ALT] key as you grab and drag.

Revised: Aug 21, 2010 1:46 pm