7.0
Table Of Contents
- Site Settings
- Index Site Settings
- Avid Liquid Reference Manual
- Contents
- Introduction
- Documentation
- Basics
- Signup
- High Definition
- Input
- Logging and Digitizing (Capture)
- EZ Capture
- Starting EZ Capture
- Basics
- The Logging Tool and Its Functions
- Video Inlay, Timecode Fields and Status Field
- Player Source (D)
- Reels and Racks (E, F)
- Controls (Player and Edit Buttons, G)
- A/V Inputs (Selecting Source Tracks, H)
- Stereo or Mono (I)
- 4:3 or 16:9 (I)
- Selecting a Media Format/Codec Preset (J)
- Destination Volumes for Digitizing / Capture Volumes (K)
- Select Audio Monitor /Mute
- Video Tool / Calibration Control /IPB Settings
- Clip Tab: Naming and Numbering Clips
- Color Correction Tab
- Audio Tab
- Master Tab
- Media Tab
- Send Clips To Timeline (Direct Insert)
- Properties
- Methods
- File Ingest
- Background Live Capture
- Importing Objects
- Copying/Pasting Objects from Other Projects
- Media Management and Object Import
- Creating Objects
- Voice-Over
- Importing EDL/AVID MediaLog Files
- Exchange
- Administration
- The Project
- The Object
- Media Management
- Edit
- Video Editing
- Audio in the Timeline
- Special Functions
- Finish
- Effects in Avid Liquid: The Basics
- Detailed Description of Classic Effect Editors
- Realtime FX
- AFX PlugIns
- Special FX
- Timewarps and Color Correction
- Color Correction Editor
- Linear Timewarp
- Timewarp Editor
- Audio
- Audio Postproduction and Audio Effects
- Basics
- ASIO Driver and DirectSound
- 32-bit Floating Point Audio
- Special Characteristics of Audio Clips
- Inserting Audio Clips on the Timeline
- Assigning Tracks
- Stereo and Mono, Panorama and Balance
- Muting Timeline Tracks (Audio Playback)
- Audio Scrubbing - Digital or Analog
- Working with more than 16 Audio Source Tracks (Real- Time Playback)
- Audio Tool
- Audio Editor
- Special Functions
- SmartSound: Background Music Made to Measure
- Audio Effects
- Avid Liquid Plugin Audio Effects (VST)
- Basics
- Audio Postproduction and Audio Effects
- Titler
- DVD Authoring
- Export
- Customize Avid Liquid
- Glossary
- Index
1001
Burn to Disc (VCD, SVCD, DVD)
Extended resolution -
Generates larger images (extended height). NTSC: 512; PAL: 608. Attention: extended resolution
is not conforming to DVD specs.
Inverse Telecine (NTSC; with
Avid Liquid Blue
/
Avid Liquid Chrome HD
; IPB Cap-
ture only) -
Inverse Telecine makes sense only in NTSC because it reverses a “trick” used when converting
from film (24 frames per second) to NTSC video (29.97 or 30 frames per second). In the process
known as “Telecine”, individual film images are duplicated at specific intervals so that the playing
time of the original film and video do not diverge too greatly. Inverse Telecine eliminates these
identical and therefore redundant images during compression and consequently saves space.
Quality and Speed
This feature lets you choose your preferred optimization of the encoding process: speed, storage space on
the medium or visual quality (
Avid Liquid Blue
and
Avid Liquid Chrome HD
do not sup-
port the Quality <-> Speed selection in IPB Capture).
The bit rate also plays a role. You can select:
Optimal (fast)
Good (very fast)
Standard (fastest)
This selection influences several encoding parameters. Between levels, encoding speed increases by
approximately factor 2 (or decreases, when going down).
To illustrate the interdependency of the three criteria - speed, storage, quality - it is possible to set up a
small matrix. Note that the user’s time (or patience...) and the available space on the medium are the
defining criteria, and the quality the result:
Storage media has Æ
User has... È
... small capacity
(bit rate <= 4 Mbit/s)
... medium capacity
(bit rate ~ 6 Mbit/s)
... large capacity
(bit rate >= 8 Mbit/s)
... little time
selection = Standard
draft quality decent quality good quality
... sufficient time
selection = Good
near decent quality decent quality good quality
... lots of time
selection = Optimal
decent quality good quality very good quality