Avid Media Composer ® ® ™ Adrenaline HD Editing Guide m a k e m a n a g e m ove | m e d i a ™ Avid ®
Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software.
even if Ray Sauers Associates has been advised, knew or should have known of the possibility of such damages. The following disclaimer is required by Videomedia, Inc.: “Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect to its merchantability or its fitness for any particular purpose.” “This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc.
“Tigers: Tracking a Legend” — Courtesy of www.wildlifeworlds.com, Carol Amore, Executive Producer. 'The Big Swell” — Courtesy of Swell Pictures, Inc. Windhorse — Courtesy of Paul Wagner Productions.
Contents Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Accessing the Online Library and Tutorial . . . . . . . . . . . . . . . . . . . .
Retrieving Files from the Avid Attic Folder . . . . . . . . . . . . . . . . . . . . . . 42 Starting the Avid Application . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 Chapter 3 Starting a Work Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Opening and Closing a Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Changing Users. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Deleting a Bin or Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Emptying the Trash in the Bins List . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Managing Folders and Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Managing Bins and Memory. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating a New Workspace Setting. . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Linking User Settings and Workspaces. . . . . . . . . . . . . . . . . . . . . . . . 111 Switching Between Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Assigning a Workspace Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Displaying System Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Reviewing a Log of Errors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Getting Information with the Console . . . . . . . . . . . . . . . . . . . . . . . . . . 135 Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136 Using the Communication (Serial) Ports Tool . . . . . . . . . . . . . . . . . . . . . . .
Sifting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Locking and Unlocking Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . 162 Selecting Offline Items in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Selecting Media Relatives for an Object . . . . . . . . . . . . . . . . . . . . . . . 163 Selecting Sources Used by an Object . . . . . . . . . . . . . . . . . . . . . . . . . 164 Selecting Unreferenced Clips . . . . . . . . . .
Chapter 7 Managing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 Working with Media Files in an Avid Unity Environment . . . . . . . . . . . . . . . 202 Configuring Avid Editing Systems to Work with MediaManager and TransferManager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Support for an Avid Unity LANshare Workgroup . . . . . . . . . . . . . . . . . 203 Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Explanation of Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Lining in the Digital Realm. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 Script Integration Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Using Script Integration in Video Projects . . . . . . . . . . . . . . . . . . . . . . 237 Script Window Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Adding Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Deleting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Displaying Take Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Changing the Representative Frame for a Take . . . . . . . . . . . . . . . . . 257 Loading Takes . . .
Tracking Format Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Displaying the Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Displaying Timecode in the Timecode Window. . . . . . . . . . . . . . . . . . 283 Understanding Composer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . 285 Playing Video to the Client Monitor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285 Connecting a Client Monitor . . . . . . . . .
Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Marking IN to OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 Moving IN to OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 Marking an Entire Clip or Segment . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Performing a Replace Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 Single-Mark Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 Using Phantom Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 Setting One Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356 Adding a Second Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Restoring the Default Timeline View . . . . . . . . . . . . . . . . . . . . . . . . . . 376 Setting the Scroll Option for the Timeline . . . . . . . . . . . . . . . . . . . . . . . 376 Timeline Settings Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Exploring the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Using the Position Indicator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404 Monitoring Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405 Patching Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408 Locking and Sync Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409 Adding a Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Reviewing the Trim Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436 Reviewing an Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437 Trimming On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437 Dual-Image Playback During Trims . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 Trimming During a Playback Loop . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 Creating Overlap Edits . .
Audio Gain Staging and an Audio Editing Workflow . . . . . . . . . . . . . . 468 Adjusting Clip Gain and Pan Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 Adjusting One Audio Track at a Time . . . . . . . . . . . . . . . . . . . . . . . . . 471 Ganging and Adjusting Multiple Tracks . . . . . . . . . . . . . . . . . . . . . . . . 475 Rendering an Audio Effect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475 Modifying Pan Values . . . . . . . . . . . . . . . . . .
Plug-in Limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 522 Troubleshooting AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . 522 Understanding Recording Voice-Over Narration. . . . . . . . . . . . . . . . . . . . . 523 Creating Voice-Overs Using the Audio Punch-In Tool . . . . . . . . . . . . . 525 Voice-Over Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 15 MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561 Understanding Grouping and Multigrouping Clips . . . . . . . . . . . . . . . . . . . 561 Creating Group Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 562 Creating Multigroup Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 564 MultiCamera Displays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tables Project Types for Media Composer Adrenaline HD Systems . . . . . . . . . . . . 48 Settings Scroll List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Settings Display Groups . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Navigation Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Object Icon Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide Congratulations on your purchase of an Avid editing application. You can use your application to create broadcast-quality output incorporating every possible production element from full-speed, high-resolution footage, to multimedia artwork and animation, to computer-generated effects and titling. This guide contains all the task-oriented instructions, conceptual information, and reference material you need to use the effects and titling features of your Avid editing application.
Using This Guide • Chapter 2 through Chapter 15 follow the natural flow of your work, with clear and comprehensive step-by-step procedures. • Finally, a detailed Index helps you quickly locate specific topics. Symbols and Conventions Avid documentation uses the following symbols and conventions: Symbol or Convention Meaning or Action n A note provides important related information, reminders, recommendations, and strong suggestions.
If You Need Help If You Need Help If you are having trouble using Avid Media Composer Adrenaline HD: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2. Check for the latest information that might have become available after the documentation was published: - n The ReadMe files are available in your Avid application folder. ReadMe files are also available from Help.
Using This Guide n You need Adobe® Acrobat® Reader® installed to view the documentation online. You can download the latest version of Acrobat Reader from the Adobe Web site. The effects reference guide requires Apple’s QuickTime® application to view the QuickTime movies. You can download the latest version of QuickTime from the Apple® Web site. To access the online library and tutorial from the CD-ROM: 1.
Chapter 1 Editing Overview This chapter provides an overview of the editing workflow. The editing process begins after you transfer your source material to the Avid system. For information about planning a project, capturing your source material, and outputting your final sequence, see the input and output guide.
Chapter 1 Editing Overview 6. View your clips in advance and mark IN points and OUT points, or create subclips based on selected portions of your master clips. See Chapter 9. 7. Build your sequence in Source/Record mode and in the Timeline. See Chapter 10. 8. Customize the Timeline view as appropriate for your needs. See Chapter 11. 9.
Starting a Project Starting a Project 1. Turn on and start your Avid system. 1. Turn on your equipment in a prescribed order and start the Avid application. See Chapter 2. 2. Select or create a new project: the job that will result in one or more finished sequences. See Chapter 3. 3. Set the Project settings from the Settings scroll list. See Chapter 4. 2. Select or create a project. 3. Set the Project settings. Settings scroll list 4. Create and organize bins. See Chapter 6. 4.
Chapter 1 Editing Overview Preparing to Edit 1. Batch capture, log and capture, or capture on-the-fly your source material into the Avid system. See the input and output guide. 2. Use bins to organize the project items. See Chapter 6. 1. Capture footage, creating master clips and media files. 2. Sort and organize clips in the bins. 3. Manage media files for storage efficiency and backup security. 3. Manage media files by using the Media tool. See Chapter 7. 4. Use the bins to create storyboards.
Editing a Sequence Editing a Sequence 1. Screen, mark, and subcatalog footage. 1. View your clips and mark IN and OUT points, or create subclips based on selected portions of your master clips. See Chapter 9. 2. Build your sequence in Source/Record mode, which provides nonlinear editing controls with Source and Record monitors, and in the Timeline. See Chapter 10. Source monitor Record monitor Timeline 2. Edit in Source/Record mode and the Timeline. 3. Fine-tune edits and effects. 3.
Chapter 1 Editing Overview 34
Chapter 2 Desktop Basics Although most of your work is performed within the Avid application, you need to use a few basic desktop procedures. For example, you use the desktop to move projects and user profiles between systems. This chapter describes the location of the various project files.
Chapter 2 Desktop Basics • Dragging Windows • Setting Your Screen Resolution Creating an Emergency Repair Disk You or your system administrator needs to create a Microsoft Windows emergency repair disk (ERD) to rebuild your system configuration if it becomes damaged. You need to update the ERD any time you make a system change, such as installing new software. To create an emergency repair disk: t Search for “Emergency Repair Disk” in the Windows Help, and follow the procedure.
Working with the Desktop To see the taskbar and minimized icons: t Minimize the Avid application. To change the taskbar settings: 1. Right-click an unused part of the taskbar, and select Properties. The Taskbar and Start Menu Properties dialog box opens. 2. Click the General tab. 3. Select the options you want: t To keep the taskbar hidden, deselect “Always on top” and “Auto hide.” t To set the taskbar to appear when you want, select “Always on top” and “Auto hide.” 4. Click OK.
Chapter 2 Desktop Basics Setting Your Screen Resolution The screen resolution for the Avid application is different for NTSC and for PAL: • NTSC resolution is 720 x 486 non-square pixels covering all the active video. • PAL resolution is 720 x 576 non-square pixels covering all the active video.
Managing the Avid Projects and Avid Users Folders You should not touch any of these files, except where noted in the following descriptions: • Help folder: This folder contains the Help files. You can find information about Help by clicking Using Help in the Contents list in the Help browser. • Avid application: The application icon resides here. You can start the application by following the procedures described in “Starting the Avid Application” on page 44.
Chapter 2 Desktop Basics When you create a new project or user profile, the system creates the following files and folders. • When you create a new user, the system creates three items: - A user profile file (.ave) - A user settings file (.avs) - A user folder containing the two files Each item is given the user name you provide. The new folder is stored in the Avid Users folder. • When you create a new project, the system creates three items: - A project file (.avp) - A project settings file (.
Managing the Avid Projects and Avid Users Folders 2. Click the name of the folder you want to change. The name is highlighted for text entry. 3. Type the new name of the folder. 4. Double-click the folder with the new name to open it. The folder contains profile, settings, and project files with the old name. 5. Change the old name of each file to the new name. n Do not change the name of the file MCState.avs in the Avid Users folder. 6. Close the windows, and restart the Avid application.
Chapter 2 Desktop Basics Retrieving Files from the Attic Folder The Avid Attic folder contains backup files of each bin in a project. For information on setting automatic save features, see “Saving Bins Automatically” on page 75. You retrieve files from the Avid Attic folder in the following circumstances: • When you want to replace current changes to a sequence or clip with a previous version • When the current bin file becomes corrupted The Avid Attic folder contains a folder for each project.
Retrieving Files from the Attic Folder 3. Double-click a project folder, and then double-click the Bins folder. The Bins folder opens and displays the bin folders for the project. 4. Double-click the bin folder that contains the bin files you want to retrieve. 5. Select View > Details, if the bin folder is not already in the Details view. The bin folder displays the backup bin files and their creation dates. 6. Ctrl+click the files you want to retrieve. 7.
Chapter 2 Desktop Basics Starting the Avid Application For more information on using the Start menu and creating a shortcut, see your Windows Help. c The Avid application is in the following location: drive:\Program Files\Avid\Media Composer Adrenaline For most users, the desktop or the Start menu is a more convenient location for starting the application. The installation process adds a pointer to the Avid application in the Start menu.
Chapter 3 Starting a Work Session Your work begins when you turn on the system, start the application, and open an existing project or create a new project that conforms to the specifications of your material. This chapter describes these and other procedures for starting a work session. You can use several techniques to safeguard and restore your work if necessary.
Chapter 3 Starting a Work Session Opening and Closing a Project When you start your Avid application, the Select Project dialog box opens. Login name Your log in name is selected as the user. From the Select Project dialog box, you can: • Change users • Select projects • Choose to have your last project open automatically • Establish user profiles. Changing Users To change users: 1. Quit the Avid application. 2. Select Start > Log Off, and then log in as a different user.
Opening and Closing a Project 3. Start the Avid application. Your current login name appears as the User in the Select Project dialog box. You can select projects from the Select Project dialog box, or you can choose to have your last project open automatically. Selecting a Project You can select a project from a public, shared folder, or from a private folder accessible only to you. You can also create a new project in either area.
Chapter 3 Starting a Work Session The following table lists the format options available with Avid systems that include support for 24p projects and 25p projects. n References to 24p projects include 23.976p projects unless otherwise noted. Project Types for Media Composer Adrenaline HD Systems 48 Project Type Source Footage Transfer 23.976p NTSC For film-originated or video-originated footage that has been shot at 23.
Opening and Closing a Project 5. Select the following additional options: - For 23.976p film projects, 24p, 25p and 1080p film projects, click the Film button and select a film gauge tracking format from the Film Type pop-up menu. - For 24p PAL projects, select an audio transfer rate. For information on audio transfer rates, see “Audio Transfer Options for 24p PAL Projects” in the Help.
Chapter 3 Starting a Work Session Selecting a Private Project To select a private project: 1. Start the Avid application. The Select Project dialog box opens. Login name Private folder location Private option selected 2. Select Private in the Select a Project area. Your private projects appear. n You can’t type into the User or Folder text boxes. 3. Select a project, and then click OK. The Project window, the Composer monitor, and the Timeline open with the selected User settings loaded.
Opening and Closing a Project Selecting a Shared Project To select a shared project: 1. Start the Avid application. The Select Project dialog box opens. Shared folder Location Shared option selected 2. Select Shared in the Select a Project area. n You cannot type into the User or Folder text boxes. 3. Select a project, and then click OK. The Project window, the Composer monitor, and the Timeline open with the selected User settings loaded.
Chapter 3 Starting a Work Session Selecting an External Project You can select a project that is external to the Avid Projects folder. To select an external project: 1. Start the Avid application. The Select Project dialog box opens. 2. In the Select Project dialog box, select External. 3. Click the Browse button. 4. The Browse for Folder dialog box opens. 5. Navigate to the folder that contains the project you want. 6. Click OK.
Opening and Closing a Project Browsing for a Project To browse for a project in a location other than the default Shared and Private folders: 1. Start the Avid application. The Select Project dialog box opens. 2. Click the Browse button. Browse button 3. The Browse for Folder dialog box opens. 4. Navigate to the folder that contains the project you want. 5. Click OK.
Chapter 3 Starting a Work Session To open a project automatically: 1. Click the Settings tab in the Project window. The Settings Scroll list appears. 2. Double-click Interface. The Interface Settings dialog box opens. 3. Click the General tab, and then select Automatically Launch Last Project at Startup, and then click OK. See “Interface Settings” in the Help. The next time you start the Avid application, it opens your last project. To select another project: 1.
Opening and Closing a Project Opening a Project To open a project, do one of the following: t Select a project in the Select Project dialog box, and then click OK. t Double-click a project name in the Projects scroll list. The Project window, the Composer monitor, and the Timeline open with the selected User settings loaded. The title bar of the Project window contains the project name and user name you selected in the Select Project dialog box.
Chapter 3 Starting a Work Session You can also import a user or user profile from another location. See the following topics: • Creating a User Profile • Importing a User Profile • Changing User Profiles • Exporting a User Profile • Updating User Profiles Creating a User Profile To create a user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection pop-up menu, and select Create User Profile.
Opening and Closing a Project Importing a User Profile To import user settings from another user or user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection pop-up menu, and select Import User or User Profile. 3. Navigate to the user or user profile you want to import. Changing User Profiles To change user profiles: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection pop-up menu, and select another user profile.
Chapter 3 Starting a Work Session When you select Group, the user profile autoloads but it does not auto-save. Changes made to the user profile only affects the system on which the changes were made. The changes do not update to the server. To export user settings to another user or user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection pop-up menu, and select Export User or User Profile. 3. Select Personal or Group. 4.
Backing Up Your Project Information Closing a Project When you close the current project, you return to the Select Project dialog box. To close the current project, do one of the following: t With the Project window active, select File > Close. t Click the Close button in the Project window.
Chapter 3 Starting a Work Session Restoring from a Backup To restore a project, user profile, or settings from a backup storage device: 1. Mount the drive or insert the removable media as appropriate that contains the backup copies you want to restore. 2. From the desktop, double-click the drive or media and the internal hard drive. If you are restoring an individual bin or bins, you must relink them to the project from within the Project window.
Ending a Work Session There are three ways to quit the Avid application. To quit the Avid application and leave the application immediately: t Select File > Exit. The project closes and the Avid application quits, returning to the desktop. To quit the Avid application if you are between projects: 1. Click Quit in the Select Project dialog box. A message box opens. 2. Do one of the following: n t Click Leave to quit the Avid application.
Chapter 3 Starting a Work Session 2. Turn off the Adrenaline. 3. Turn off your speakers and monitors. c Never remove media drives from your Avid system when it is turned on. Shut down the computer, and then remove the drives. 4. Turn off each external drive in the chassis, and then turn off the chassis itself. 5. Turn off all other hardware. Mounting and Unmounting Drives The Unmount command makes selected media drives inaccessible to the Avid application.
Mounting and Unmounting Drives n c On systems with multiple media drives, unmounting unused drives can improve the performance of the Media tool. You need to unmount the drives before you open the Media tool. See “Using the Media Tool” on page 204. Before you physically remove or add drives, shut down the Windows system completely. For information on removing and adding drives, see the Help. Unmounting Drives To unmount a drive or make a drive unavailable to the Avid application: 1.
Chapter 3 Starting a Work Session Session Check List Turn on your equipment in the proper order: storage first, peripherals second, and system last. For more information, see the Help. On your desktop, move any settings files, project folders, or user folders from another system into the Avid folders (if necessary) before starting the application. Start the Avid application. Create new projects or user profiles, or select existing ones in the Select User and Project dialog box dialog box.
Chapter 4 Working with the Project Window The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.
Chapter 4 Working with the Project Window You can use the Project window to: • Create and open bins. • View and modify settings. • Access effects. • View information about the format of the project, system memory usage, and system hardware configuration. • View information about the work session usage. • Add folders to your projects for organizing the projects. Bins from other projects appear in the Project window in italic.
Using the Bins Display Viewing a List of Bins To view a list of bins associated with the project: t Click the Bins tab in the Project window. Bins tab Fast Menu button Bin icon Bins list From the Bins list, you can examine the number, names, sizes, and location of the bins. Displaying Folders of Bins in the Bins List You can add folders to the Bins list in the Project window to help organize your project. You can drag bins into folders or drag folders into folders.
Chapter 4 Working with the Project Window To display the folder’s contents in the Bins list of the Project window: t Click the triangular opener next to a folder icon. To close the display, click the triangular opener again. To view a list of only the folder contents and not the folders: t Click the Fast Menu button, and select Flat View. The Trash icon and its contents disappear until Flat View is deselected. Creating a Folder in a Project To create a folder in a project: 1.
Using the Bins Display Renaming a Bin Each new bin that you create takes the name of the project that appears in the title bar of the Project window and is numbered incrementally. n If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or trailing periods, when naming projects, bins, and users.
Chapter 4 Working with the Project Window Opening Selected Bins To open several bins at once from the Project window: 1. Click a Bin icon in the Bins list. 2. Ctrl+click each additional bin you want to open. 3. Select File > Open Selected Bins. Opening Bins from Other Projects To open a bin from another project: 1. Select File > Open Bin. The Open a Bin dialog box opens. 2. Find and select the bin you want. Bins have the file name extension .avb.
Using the Bins Display Deleting a Bin or Folder You can delete bins and folders along with their contents from the Bins list in the Project window. Deleted bins and folders are moved to a Trash folder in the Bins list until you empty the Trash. If you need a deleted bin or folder, you can retrieve it from the Trash. For more information, see “Viewing Contents in the Trash” on page 71. c n Only bins and folders appear in the Trash.
Chapter 4 Working with the Project Window Emptying the Trash in the Bins List You can empty the contents of the Trash that is located in the Bins list. c n Emptying the trash permanently removes the bins or folders from the drive. If you change the name of the Trash icon, you cannot empty the Trash. To empty the Trash in the Bins list: 1. Click the Fast Menu button, and select Empty Trash. A message box opens. 2. Click Empty Trash to delete the bins or folders from the Trash and from your system drive.
Using the Bins Display - Create a third set of bins for the editing stage, including: A current cut bin for storing each work in progress (sequence) An archive bin for keeping the original version of each cut (sequence) A selects or storyboard bin for screening selected clips or cuts gathered from the source bins A format cuts bin for storing the final cuts with added format elements such as segment breaks, color bars and tone, slate, or countdown n For information on using scripts for your projects, se
Chapter 4 Working with the Project Window Managing Bins and Memory System memory usage increases depending on how many bins you have open, the number of sequences in a bin, the number of tools that are opened, and the size of a sequence. Using more memory can slow system performance. To view memory usage: t Click the Bins tab of the Project window. The memory usage monitor appears in the Bins tab of the Project window. As you open multiple bins, the memory usage indicator increases and updates.
Using the Bins Display Saving Bins Automatically The Avid system automatically saves changes to your work on a regular basis during each session. You can modify the frequency of the automatic backups by using the Bin settings in the Project window Settings scroll list. When you are working with bins, an asterisk appears before the bin name in the bin’s title bar. The asterisk indicates that the changes to the bin are not saved. After you save the bin, the asterisk is removed.
Chapter 4 Working with the Project Window Saving Bins Manually You can manually save a specific bin or all bins. To save a specific bin: 1. Click the bin to activate it. 2. Select File > Save Bin. n The Save Bin command appears dimmed if there were no changes since the last time the active bin was saved. To save all the bins: 1. Click the Bins tab in the Project window to activate it. 2. Select File > Save All. The system saves all the bins for the project.
Using the Settings Scroll List Understanding Settings Three types of settings appear in the Settings scroll list in the Project window, as indicated in the third column of information: User, Project, and Site. n n For information about the location of the settings files, see “Using the Avid Projects and Avid Users Folders” on page 39. • User settings are specific to a particular editor. User settings reflect individual preferences for adjusting the user interface in the Avid application.
Chapter 4 Working with the Project Window Settings Scroll List (Continued) Setting Name Description For More Information Bin Sets the auto-save interval, double-click preferences for bins, edit clips from bins parameters, and enables SuperBins. See “Bin Settings” in the Help. Bin View Selects and formats the information displayed in bins. See “Displaying Custom Bin Views” on page 149. Capture Defines how the Avid system captures and batch captures in specific situations.
Using the Settings Scroll List Settings Scroll List (Continued) Setting Name Description For More Information General Defines default values such as the default starting timecode and temporary file location for your project. See “General Settings” in the Help. Grid Defines the grid to use when you create effects. See “Setting the Effect Grid Options” in the Help. Import Sets parameters for file import. See “Import Settings Options” in the Help.
Chapter 4 Working with the Project Window Settings Scroll List (Continued) Setting Name Description For More Information Timecode Window Displays various timecodes in an adjustable See “Displaying Timecode in the window. Appears in the Settings scroll list Timecode Window” on page 283. to facilitate copying settings. To access the Timecode window: t Select Tools > Timecode Window. Timeline Contains general Timeline preferences. See “Timeline Settings Options” on page 377.
Using the Settings Scroll List For example, you can establish: n • User settings for the assistant editor: Facilitate logging, capturing, and organizing projects • User settings for the editor: Include editing interface preferences • Project settings: Reflect the specific needs of the project • Bin View settings: Display useful columns of information for each of the bins described in “Managing Folders and Bins” on page 72 Never use a user settings file that was opened in the MediaLog™ application
Chapter 4 Working with the Project Window Displaying Project Settings You can display the Settings scroll list in the Project window in different groups, depending on what you need to view. The following table describes the different settings display groups.
Using the Settings Scroll List 2. Click the Fast Menu button, and select a settings display group from the Settings menu. Fast Menu button Settings menu The Settings menu displays the selected settings group, and the Settings scroll list displays only the settings in that group. Working with Settings You can view and modify most of your current settings by double-clicking them in the Settings scroll list in the Project window and by selecting new options.
Chapter 4 Working with the Project Window 2. Click the User Selection pop-up menu, and select another name. User Selection pop-up menu The previous user’s settings are saved, and the new user’s settings are loaded into the Avid system and the Project window. Modifying Settings You can alter the default options for various settings to reflect the specific needs of a project or to customize the system based on personal preferences.
Using the Settings Scroll List Working with Multiple Settings You can have multiple versions of settings in your Settings scroll list in the Project window that apply to several users at various stages of production.
Chapter 4 Working with the Project Window Naming Settings You can give settings custom names to differentiate among copies or to indicate a specific use. To enter a custom setting name: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click the Custom setting name column located to the right of the setting name. Custom setting name column 3. Type a name, and press Enter. 4. The new name appears in the list and is saved in the settings file.
Using the Settings Scroll List Deleting Settings You can delete settings from the Settings scroll list in the Project window at any time. For example, you might choose to delete one or more versions of a particular setting, or you might want to delete all but a few settings for transfer into another Settings window. For information on transferring settings, see “Copying Settings Between Settings Files” on page 88. c You cannot undo a deletion.
Chapter 4 Working with the Project Window Copying Settings Between Settings Files You can copy selected settings: • Between existing settings files. • Into a new settings file for use in other projects. • To change one type of setting to another type. • Into the Settings folder to establish standard system settings for all new projects and users. See “Using Site Settings” on page 90. You can also transfer settings files to another Avid system. To copy settings between setting files: 1.
Using the Settings Scroll List 3. Drag the selected setting to the destination settings window. Settings scroll list Destination settings window The copied settings are saved when you close or save the file or project. You can also drag settings from the settings window into the Settings scroll list in the Project window. When you copy a setting into the Settings scroll list and the setting is active, a message box opens.
Chapter 4 Working with the Project Window Using Site Settings When the system opens a new project, it first searches the Site_Settings file and loads site settings and any settings placed here. The system then proceeds to load any Project and User settings not included in the Site_Settings file. The Site_Settings file is located in the following folder: drive:\Program Files\Avid\Avid Media Composer Adrenaline\Settings Adding settings to the site settings files is useful if you need to establish global sett
Using the Settings Scroll List Working with Settings (for experienced users) Experienced users are accustomed to going out to the desktop and moving settings and project files around manually, but there is now an easier and more reliable way of doing it. The User Profile menu, in the Settings tab of the Project window, now has two new items: Create User Profile, and Import User or User Profile.
Chapter 4 Working with the Project Window If you use the User Profile option to import User1 and User2 (turning them into User Profiles), you see something like this: Avid Users OS login name EMaxwell EMaxwell Settings.avs EMaxwell.ave MCState UserProfile1 UserProfile1 Settings.avs UserProfile1.ave MCState UserProfile2 UserProfile2 Settings.avs UserProfile2.ave MCState OS login name AnotherOS_User AnotherOS_User Settings.avs AnotherOS_User.ave MCState UserProfile1 UserProfile1 Settings.avs UserProfile1.
Using the Format Display Using the Format Display The Format display in the Project window allows you to view basic project information, such as the video format (NTSC, for example). The displayed information lists the options you selected in the New Project dialog box when you created the project. For some project formats, the Project Type menu lets you change the format of the project to another format that shares the same frame rate. For example, if you are working in a 1080i/59.
Chapter 4 Working with the Project Window Using the Info Display The Info display in the Project window allows you to view system memory information and access the Hardware tool. To open the Info display: t n Click the Info tab in the Project window. The items listed in this view are for information only and cannot be changed. Viewing Memory To display system memory information: t Click the Info tab in the Project window, and then click the Memory button. The Memory window opens.
Using the Info Display The Memory window displays the following information: • Objects: The total number of memory handles currently used by the Avid system. Objects include memory requirements of the application, such as windows, as well as clips, sequences, and other items associated with a project. • Total physical memory: The total number of bytes of RAM (randomaccess memory). • Available physical memory: The amount of RAM available for allocation by the Windows or Macintosh system.
Chapter 4 Working with the Project Window n For more information about the Hardware tool, see “Using the Hardware Tool” on page 136. Displaying Usage Information The statistics feature gathers and reports information on system usage. You can use this information to support business functions such as resource management. All statistics are gathered and reported by project.
Displaying Usage Information Variable Description HH Indicates the hour MM Indicates the minutes SS Indicates the seconds The statistics file is formatted as comma-separated ASCII text, so it can be accepted by a variety of software programs. Each line in the file is tagged with indicators for identifying content and data type to assist in programming custom applications. Figure shows a sample statistics file.
Chapter 4 Working with the Project Window Sample Statistics File Description of Statistics File Values The values in the first column indicate the content of the line: 01 title1 02 title2 03 heading 100 project info 101 Time Project open 102 Capture tool open 104 Capture tool active 105 Captured Media bytes used 106 Rendered Effects bytes used 110 Effects rendering time 111 Title tool open 113 Title tool active 114 Title tool rendering 115 Capture tool capturing 116 Capture to
Displaying Usage Information Importing the Statistics File into a Spreadsheet You can import the statistics file into a spreadsheet or other program as an ASCII file and use the application (for example, Microsoft Excel) to set up the proper format. To create a statistics file in Microsoft Excel: 1. Start Microsoft Excel. 2. Select File > Open, and navigate to the statistics file you want to import. Make sure All Files (*.*) is selected in the Files of Type list. 3. Click Open.
Chapter 4 Working with the Project Window Spreadsheet Form of Statistics Data File The following figure is the same sample file as it appears when you import it into a spreadsheet. Sample Spreadsheet Form Displaying Disk Space Statistics To improve system performance, statistics for disk space (captured media and rendered effects) are not calculated and are not displayed in the Usage window, unless you issue a Console command.
Customizing the Appearance of the Avid User Interface To display disk space statistics in the Usage window: 1. Select Tools > Console. 2. In the command entry text box, type: toggleStatSpace 3. Press Enter. 4. Select File > Load Media Database. After the media database is loaded, the Usage window displays the number of files and disk space used for captured media and rendered effects. To update the display: t Click the Usage tab in the Project window.
Chapter 4 Working with the Project Window To set the color of an interface component: 1. In the Project window, double-click the Interface Settings. The Interface dialog box opens. Check box Interface component list Color boxes 2. Click the Appearance tab. 3. Click in the color box next to the interface component that you want to customize. A color selection grid opens. 4. Click the color to which you want to set your interface component. The color selection grid disappears.
Customizing the Appearance of the Avid User Interface n If you deselect an interface component by clicking the check box, the color you specify in the color selection grid does not take effect. The color of the interface component reverts to its default value. 5. Do one of the following: t n Click Apply to apply the changes you selected. If you click Cancel after you click Apply, interface components retain the colors you applied. t Click OK to close the dialog box and put the new setting into effect.
Chapter 4 Working with the Project Window The following examples show the shading styles. Convex Dim Radial Convex Radial Bright Radial Changing Shading Depth Shading depth controls the three-dimensional “rounding” of the buttons and toolbars. To set the shading depth: 1. In the Project window, double-click the Interface Setting. The Interface dialog box opens. 2. Click the Appearance tab. 3. Click the Shading Depth pop-up menu, and select a shading depth. 4.
Customizing the Appearance of the Avid User Interface The following examples show Shading Depth selections of 5% and 50%. Shading depth 5% Shading depth 50% Changing Button Separation Button separation controls the spacing between the Monitor buttons and between the Timeline buttons. To change the separation of Monitor or Timeline buttons: 1. In the Project window, double-click the Interface Settings. The Interface dialog box opens. 2. Click the Appearance tab. 3.
Chapter 4 Working with the Project Window t Click Cancel to close the dialog box. The change you selected but did not apply does not take effect. The following examples show several Timeline buttons with each button separation selection applied. Maximum button separation Moderate button separation No button separation Changing Button Style Button style controls the shape of buttons in the interface. To change the style of buttons: 1. In the Project window, double-click the Interface Settings.
Customizing the Appearance of the Avid User Interface The following examples show several buttons with each button style applied. Oval Square Octagonal Swoosh Rounded Antique Using Interface Appearance Templates There are several interface appearance templates available for the Avid user interface that have preset background and button colors. To use an interface appearance template: t Click to the left of one of the named Interface settings in the Settings scroll list in the Project window.
Chapter 4 Working with the Project Window The following table describes the windows you can change, and where these changes are saved. Window Location of Changes Project Changes the font and point size of the text in the Project window; saved as a Project setting. Bin Changes the font and point size of the text in the Bin window; saved as a Bin setting (not a Bin View setting). Composer Changes the font and point size of the sequence or source clip name text; saved as a Composer setting.
Customizing Your Workspace Customizing Your Workspace A workspace is the arrangement and size of tool windows displayed on your Avid system. If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button. For example, during capture you might want to display the Capture tool and Video Input tool in specific locations.
Chapter 4 Working with the Project Window Creating a New Workspace Setting To create a new workspace setting: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Scroll to the bottom of the Settings scroll list, and select Workspace. 3. Select Edit > Duplicate. A new workspace setting appears in the Settings scroll list. n If you are duplicating a previously named workspace setting, a .1 appears at the end of the new name. 4.
Customizing Your Workspace 7. Select or deselect the following options, depending on your preference for the behavior of the workspace: - Activate Settings Linked By Name: This setting allows you to link other settings to the workspace. See “Linking User Settings and Workspaces” on page 111. - Continually Update This Workspace: This setting automatically preserves the workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved.
Chapter 4 Working with the Project Window 6. Give this setting the same name you gave the workspace in step 2. Linked setting Linked setting Linked workspace 7. Double-click the workspace you just created. The Workspace Settings dialog box opens. 8. Click Activate Settings Linked By Name. 9. Click OK. All the settings and the new workspace you created are activated. Switching Between Workspaces To switch from one workspace to another: 1. Click the Settings tab in the Project window.
Customizing Your Workspace Deleting a Workspace To delete a workspace: 1. Select the workspace you want to delete from the Settings scroll list in the Project window. The workspace is highlighted. n Make sure a check mark does not appear next to the workspace you want to delete. You cannot delete an active workspace. 2. Press the Delete key. The selected workspace is removed from the Settings scroll list. Assigning a Workspace Button To assign a workspace button: 1.
Chapter 4 Working with the Project Window The buttons are assigned to the workspaces in the Settings scroll list in the Project window in the order that they appear. For example, the W1 button is assigned to the first workspace that appears in the Settings scroll list; W2 is assigned to the second workspace that appears in the Settings scroll list; and so forth. The workspace button appears in the new location. 6. Click the W1 button to display the first workspace that appears in the Settings scroll list.
Sharing Bins and Projects on Avid Unity MediaNetwork In a MediaNetwork environment, the Avid software creates and stores projects and bins on the MediaNetwork client’s internal drive. If a user moves or saves these projects and bins to the MediaNetwork workspace, only one MediaNetwork client can work on the project at a time. If two or more users are working simultaneously on the same project, only one user can update the files. Other users can open and play sequences but not make any changes to them.
Chapter 4 Working with the Project Window Shared Bins and Projects If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). The Avid system uses the following methods to identify information from each computer using the shared workspace: • Creates a project folder for each computer that accesses the project.
Sharing Bins and Projects on Avid Unity MediaNetwork The following illustration shows the contents of a shared workspace at the desktop level. Shared projects Shared media files Unity Attic Opening a Shared Project To open an existing project on the shared volume: 1. Start your Avid application. 2. In the Select Project dialog box, navigate to the project on Avid Unity MediaNetwork. The Project window opens.
Chapter 4 Working with the Project Window The following illustration shows locked and unlocked bins. Unlocked bin Locked bin When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 119. n The Bin Lock Status button does not appear if the bin is not on Avid Unity MediaNetwork.
Sharing Bins and Projects on Avid Unity MediaNetwork To open a bin without taking the lock: t Alt+double-click the bin in the Project window. Overriding the Default Locking Mechanism You can instruct the Avid system to keep a bin locked even after you close it. To permanently lock a bin: 1. Select one or more bins in the Project window. 2. Right-click the Bin icon, and select Lock Project Bin. An asterisk appears next to the user name in the Project window.
Chapter 4 Working with the Project Window Try to avoid creating duplicate bins by modifying a locked bin. If you do create a duplicate bin in this way, you should manually merge the changes into the original bin and delete the duplicate bin. c The lock does not prevent you from deleting the media in a locked bin if you have write access to the workspace. It ensures only that you don’t overwrite changes to the bin.
Sharing Bins and Projects on Avid Unity MediaNetwork bins or projects may experience delays accompanied by a progress dialog that says, “Filesystem busy, retrying (MESSAGE),” where MESSAGE is replaced by a specific message identifying the action that is being retried. If the busy condition persists, and the retries are exhausted, a failure message appears. When that happens, ensure that Windows Explorer is not being used on the shared bins you are trying to access and try the operation again.
Chapter 4 Working with the Project Window Avid recommends that you institute policies where media files are deleted by the editor who created them, or if necessary, deleting editors notify the editor who created the media files that a deletion has occurred. This editor can then switch to the desktop and back, and all other editors can see the deleted file go offline. Shared Bin Lock Icon Bug Occasionally when two editors attempt to open a shared bin at the same time, both editors get the green lock icon.
Chapter 5 Using Basic Tools The Tools menu on the Avid application menu bar provides quick access to essential tools that you can use in your projects.
Chapter 5 Using Basic Tools Navigation Keys (Continued) Key Function Tab Moves from check box to check box or from option to option in a dialog box Right Arrow, Left Arrow, space bar Selects or deselects a check box or an option in a dialog box Up Arrow or Down Arrow Moves up or down through a menu, or increments a numeric value Using Toolsets You can use predesigned work environments (toolsets) that are suited to your most common tasks: • Color Correction • Source/Record Editing • Effects Editi
Using Toolsets Any open tools close, and the screen changes to display windows appropriate to the toolset task. Customizing Toolsets To customize the toolset workspace: 1. Select Toolset > toolset (the toolset you want to customize). 2. Open other tools with which you want to work, and position them where you want them. 3. Select Toolset > Save Current. The next time you select the customized toolset, it appears with your changes.
Chapter 5 Using Basic Tools To link a toolset to an unnamed setting: 1. Select Toolset > toolset (the toolset you want to link). 2. Select Toolset > Link Current to. The Link Toolset dialog box opens. 3. Click the Links to Current Toolset pop-up menu, and select Link to Unnamed Settings. 4. Click OK. The active toolset is linked to all the unnamed settings in the Settings scroll list.
Using the Deck Controller To open a deck controller: t Select Tools > New Deck Controller. The Avid Deck Manager program is initialized, and a new Deck Controller window opens.
Chapter 5 Using Basic Tools For more information on logging, see “Logging Directly into a Bin” in the Help. • The Deck Selection pop-up menu allows you to specify a deck with deck control parameters that you can customize in the Deck Settings dialog box. For more information, see “Deck Settings” in the Help. • The deck controller allows you to associate a tape name with the controller by clicking the Tape Name button and selecting a tape in the Select Tape dialog box.
Using the Command Palette n When you are working with a 24p project, the Command palette displays the Step Forward 8 Frames button and Step Backward 8 Frames button. You can use the Command palette to: n • Map buttons to any Tool palette or the keyboard. See “Mapping UserSelectable Buttons” on page 130. • Map menu commands to various buttons and keys. See “Mapping Menu Commands” on page 132. • Directly activate a command. See “Activating Commands from the Command Palette” on page 133.
Chapter 5 Using Basic Tools • Fade Effect Render Effect Quick Transition Grid MultiCamera editing: You can map the Quad Split, Swap Cam Bank, and Gang buttons. Quad Split For more information on multiple settings, see “Working with Multiple Settings” on page 85. Cycle Picture/Sound Swap Cam Bank Gang When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you can open from the Project window.
Using the Command Palette t Enter Trim mode in the Composer window. t Open the Keyboard palette from the Settings scroll list in the Project window. 2. Select Tools > Command Palette. The Command palette opens. 3. Select Button to Button Reassignment at the bottom of the Command palette. 4. Click the tab from which you want to select a user-selectable button. 5. Drag the button from the Command palette to a button location on the other palette.
Chapter 5 Using Basic Tools For example, if you map the Add Alt Key button to the Mark IN key (I key), the function of the I key changes to Go to IN Point (which is equivalent to pressing Alt+I). For a list of other functions that use modifier keys, select Help > Shortcuts.
Using the Command Palette 2. Select Tools > Command Palette. The Command palette opens. n When you are working with a 24p project, the Command palette displays the Step Forward 8 Frames button and Step Backward 8 Frames button. 3. Click a target button in the Keyboard palette or other palette (for example, the Command palette under a monitor). The pointer changes to a small white menu. 4. Select the menu command you want to map to the target button.
Chapter 5 Using Basic Tools Using the Avid Calculator The Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats. For example, you can: • Convert drop-frame to non-drop-frame timecode values. • Convert timecode durations between 30-fps and 25-fps projects. • Convert a duration in video to the corresponding length in footage and frames for measuring 35mm film. To use the Avid Calculator: 1. Select Tools > Calculator.
Using the Console Window Using the Console Window The Console window provides a number of features, including: c • Current system information, including your system ID number • A log of error messages • Detailed information about sequence segments in the Timeline or about objects in a bin • Information after you capture or import Do not use the programming features of the Console without guidance from Avid professionals. Contact your Avid Reseller with specific questions.
Chapter 5 Using Basic Tools To get information with the Console window: 1. Select Tools > Console. The Console window opens. 2. Select the item about which you want information, for example: t In the Timeline, move the position indicator to the selected clip or segment. t In the bin, select an object or Ctrl+click multiple objects. 3. Select File > Get Bin Info or File > Get Position Info. Information about the clip appears in the Console window.
Using the Communication (Serial) Ports Tool Using the Communication (Serial) Ports Tool The Communication (Serial) Ports tool allows you to view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without closing the Avid application or shutting down the computer. The Communication (Serial) Ports tool allows you to view and assign serial ports for deck control.
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Chapter 6 Organizing with Bins The Avid system provides powerful database tools for organizing and managing your captured material. You can view bins in four different display views. You can rename, sort, sift, duplicate, and delete clips and sequences. You can also print single-clip frames or whole bins. A worksheet at the end of this chapter provides guidelines for using these techniques to create and print storyboards for your project.
Chapter 6 Organizing with Bins Preparing to Work with Bins There are several procedures you might want to perform before organizing your project because they affect the display of information in bins or the way the clips play back during screening: • To center the pan between the left and right speakers for some or all of the clips in a bin, see “Adjusting Audio Pan Defaults” on page 140. • To address longitudinal timecode (LTC) captured clips during editing, see “Using Audio Timecode” on page 142.
Preparing to Work with Bins Adjusting Default Pan Settings The Audio Settings dialog box provides options for adjusting the default audio pan when editing with new clips, and digital audio scrub parameters for monitoring and analyzing audio tracks and transitions. By default, the audio tracks for clips alternate with track 1 on the left speaker and track 2 on the right speaker for monitoring and output.
Chapter 6 Organizing with Bins To adjust the pan on clips: 1. In a bin, select the clips you want to pan to the center. 2. Select Clip > Center Pan. A dialog box opens and asks you to confirm the pan. 3. Click OK. The system pans all the selected clips to the center. Using Audio Timecode The Avid application can read audio timecode (LTC or longitudinal timecode recorded on an audio track). If you captured the LTC as an audio track, use the Read Audio Timecode command.
Preparing to Work with Bins n Do not select this option if you do not want to fill timecode breaks. 7. Click OK to complete the procedure. The timecode appears in the bin in the auxiliary timecode column that you selected. Film Scene Workflow During the organizing phase, common practice on film productions is to organize the captured clips according to scene. This helps to simplify the work environment for the editor and keeps crowded bins to a minimum.
Chapter 6 Organizing with Bins You can use the Set Bin Display option to display clips referenced by a sequence, even if the clips were not previously in the bin. Place a sequence in a new bin, and follow this procedure. To set the bin display: 1. Click a bin. 2. Select Bin > Set Bin Display. The Set Bin Display dialog box opens. The following table describes the object icons listed in the Set Bin Display dialog box. 3.
Conserving Screen Real Estate with the SuperBin Object Icon Descriptions (Continued) Object Icon Object Description Groups (For MultiCamera editing) Clips containing two or more grouped clips, strung together sequentially according to common timecodes. ITV Enhancement Clips representing Interactive TV (ITV) enhancements that conform to SMPTE standard 363M. For more information, see “Using MetaSync” in the Help.
Chapter 6 Organizing with Bins Opening Bins in the SuperBin To open bins in the SuperBin: 1. Enable the SuperBin. See “Enabling and Disabling the SuperBin” on page 145. 2. Click the Bins tab in the Project window. 3. Single-click a bin name. The bin opens in the SuperBin. The SuperBin icon appears in the upper left corner, and the title is SuperBin: bin name. n Double-clicking a bin opens it in its own window, not in the SuperBin.
Conserving Screen Real Estate with the SuperBin Moving Bins into and out of the SuperBin You can move bins currently displayed in their own windows into the SuperBin. You can also move a bin displayed in the SuperBin into its own window. To move an opened bin into the SuperBin: 1. Click the Bins tab in the Project window. 2. Double-click the open bin’s icon in the Project window. The individual bin window closes, and the bin appears in the SuperBin.
Chapter 6 Organizing with Bins Copying Clips and Sequences into and out of the SuperBin To copy a clip or sequence into the SuperBin: t Press and hold the Alt key, and then drag a clip or sequence from another open bin window into the bin displayed in the SuperBin. The clip or sequence is copied into the Superbin. You can copy a clip or sequence from the SuperBin directly to a bin in the Project window. To copy a clip or sequence out of the SuperBin: 1. Click the Bins tab in the Project window. 2.
Basic Bin Procedures Using Bin Display Views There are four display views for viewing and working with clips in a bin: Brief view, Text view, Frame view, and Script view. For information about bin views, see “Using Brief View” on page 165, “Using Text View” on page 166, “Using Frame View” on page 187, and “Using Script View” on page 190. n You can resize each display view by dragging the lower right corner of the Bin window. The size of the display view is saved as a User setting for the bin.
Chapter 6 Organizing with Bins If you import a log file from your telecine transfer, most of this information will be placed in the bin when you import the log. If you do not have a film log, then you can enter this information manually by highlighting the field in the bin and typing the information. Customizing Bin Views in Text View You can create and save customized bin views that you can easily access from the Bin View pop-up menu.
Basic Bin Procedures To save a bin view: 1. Open a bin and click the Text tab. 2. Add or hide columns according to preference. For procedures on adding, hiding, and deleting bin columns, see “Arranging Bin Columns” on page 166. The bin view name becomes italic. 3. Click Bin View pop-up menu, and select Save as. The View Name dialog box opens. 4. Type a name for the custom view, and click OK. To change a custom bin view with the Bin View dialog box: 1. Click the Settings tab in the Project window.
Chapter 6 Organizing with Bins Selecting Clips and Sequences To select a clip or sequence in a bin, do one of the following: t Click the clip or sequence icon (Text view). t Click in the picture area of the clip or sequence (Frame view). To select multiple clips or sequences in a bin, do one of the following: t Ctrl+click additional items (Text view). t Shift+click the first and last items (Text view). t Shift+click additional items (Frame view).
Basic Bin Procedures Moving Clips and Sequences You can move clips and sequences to other bins to group and organize various types of material based on project needs. To move clips or sequences from one bin into another: 1. Create or open another bin. Give the bin a name that represents its purpose or contents. 2. Position or resize the bins so that you can see both of them at the same time. 3. Select the clip or sequence that you want to move, or select multiple clips or sequences. 4.
Chapter 6 Organizing with Bins 3. While pressing the Alt key, drag the clips or sequences to the destination bin, and release the mouse button. The copies appear in the destination bin, and the originals remain in the source bin. If the destination bin’s display was set to show reference clips, the referenced object types do not appear until you have saved the bin. Deleting Clips, Subclips, and Sequences You can delete clips, subclips, and sequences from a bin.
Basic Bin Procedures To delete clips, subclips, and sequences with their media files from a bin: 1. Select the clips, subclips, or sequences that you want to delete. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The Delete dialog box opens, displaying information about the selected items. This example shows that one sequence and one master clip are selected before Delete was invoked. 3. Click the check boxes for the items you want to delete.
Chapter 6 Organizing with Bins Assigning Colors to Bin Objects You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects. Colors assigned to bin objects are referred to as source colors. You can display source colors in bins and in the Timeline. For information on displaying source colors in the Timeline, see “Displaying Local and Source Colors in the Timeline” on page 373.
Basic Bin Procedures Assigning a Custom Source Color To assign a custom color to a clip, subclip, sequence, or effect clip in a bin: 1. With a bin in Text view, select the bin objects to which you want to assign a color. 2. Select Edit > Set Clip Color > Pick. The Windows Color dialog box opens. 3. Select a color from the Windows Color dialog box, and click OK. The custom color appears in the Color column and on the clip icon.
Chapter 6 Organizing with Bins To sift clips or sequences: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. Criterion pop-up menu Text to Find text box Column or Range to Search pop-up menu 2. Click the Criterion pop-up menu, and select one of the sifting options. 3. Click the first Text to Find text box, and type the text that you want to use as a sift criterion. When sifting by color, type the exact name of the color (using uppercase and lowercase letters) in the text box. 4.
Basic Bin Procedures To view the entire bin: t Select Bin > Show Unsifted. To view the sifted bin: t Select Bin > Show Sifted. The word “sifted” appears in parentheses after the bin name when you view the bin in its sifted state. Sifting Timecodes or Keycode Ranges You can sift on a timecode (or keycode) number within a specific range. For example, you can sift for all the clips that start before and end after a particular timecode.
Chapter 6 Organizing with Bins Some column pairs explicitly define a range, for example, Start and End or Mark IN and Mark OUT. Other columns define the beginning of a range, and the end of the range is determined by the Duration column. For example, Auxiliary TC1 implies a range that begins at the value in the Auxiliary TC1 column and ends at that value plus the value in the Duration column.
Basic Bin Procedures Range Menu Items for Implicit Ranges Bin Column (Implicit Ranges) Column or Range to Search Pop-up Menu Item Film TC Film TC Range Sound TC Sound TC Range Auxiliary TC1 Auxiliary TC1 Range Auxiliary TC2 Auxiliary TC2 Range Auxiliary TC3 Auxiliary TC3 Range Auxiliary TC4 Auxiliary TC4 Range Auxiliary TC5 Auxiliary TC5 Range Ink Number Ink Number Range Auxiliary Ink Auxiliary Ink Range Sifting Within a Range To sift for a timecode or keycode number within a specific r
Chapter 6 Organizing with Bins Locking and Unlocking Items in a Bin You can lock any items in a bin — including source clips, master clips, subclips, and sequences — to prevent deletion. When you lock clips in a bin, you lock their associated media files on your desktop as well. To lock items: 1. Click a clip, subclip, or sequence to select it. Ctrl+click additional clips, if necessary. 2. Select Clip > Lock Bin Selection.
Basic Bin Procedures Selecting Offline Items in a Bin Offline items are clips, subclips, or sequences that are missing some or all of their original media files or have never been captured. To identify offline items, do one of the following: t t Select Bin > Select Offline Items. Click the Bin Fast Menu button, and then select Select Offline Items. The bin highlights all items that are missing media files. n To identify offline items in the Timeline, see “Highlighting Offline Media Clips” on page 373.
Chapter 6 Organizing with Bins 4. Select the clip or sequence, and select Bin > Select Media Relatives. The system highlights all related objects in all open bins. Selecting Sources Used by an Object Use the Select Sources command to identify all the sources used by a particular object. For example, if you select a sequence as the object, use the Select Sources command to identify every master clip, subclip, tape, and media file that is a source for that sequence.
Using Brief View Selecting Unreferenced Clips When you select Select Unreferenced Clips, the system highlights all clips not currently referenced by clips or sequences that are in the open bins. Any master clips, subclips, or effect clips you edited into sequences in the bins are not highlighted. n The Select Unreferenced Clips command is useful for finding unused footage or media. To identify unreferenced clips: 1. Open the bin containing the sequence or clip that is referenced. 2.
Chapter 6 Organizing with Bins Using Text View Text view provides the most complete view of clip information. It uses database columns that you can rearrange and customize to suit your needs. For information about saving a custom bin view, see “Saving a Custom Bin View” on page 150. To enter Text view: t Click the Text tab in the bin.
Using Text View Aligning Bin Columns When you align bin columns, the system maintains the same order of columns from left to right but spaces them according to the length of their contents. This is especially useful for removing spaces remaining after you move or rearrange columns. To align bin columns: t Select Bin > Align to Grid. Showing and Hiding Columns You can select individual or multiple headings to display or hide in the bin.
Chapter 6 Organizing with Bins To delete a column: 1. Click the column heading in a bin. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The column disappears from the view, and surrounding columns close to fill the space. Duplicating a Column You can duplicate existing columns containing timecode information into other compatible columns that you target in a dialog box. To duplicate a timecode column: 1. Select the column you want to duplicate by clicking its heading. 2.
Using Text View To add a new custom column: 1. Click an empty area to the right of the current headings in the headings box. 2. Move any existing column to the right or left to create an empty area. 3. Type the column heading you want, and press Enter. Column headings must contain fewer than 14 characters, including spaces. This places the pointer in the data box, beside the first clip in the bin. 4. Select Bin > Align to Grid after you have entered the new column heading. 5.
Chapter 6 Organizing with Bins To display the frame count numbers in a bin and cut list: 1. In the Film Settings dialog box of the Avid editing application, select Frame Count from the “Ink Number displayed as” option or the “Auxiliary Ink displayed as” option. 2. In a bin, select Ink Number or Auxiliary Ink from the Bin Headings dialog box. The Ink Number and Auxiliary Ink columns display the frame count numbers in the bin. 3. Open the bin in FilmScribe and choose Ink Number or Aux Ink options.
Using Text View • Enter on the main keyboard: Enters any new information typed in the cell and moves the pointer down to the cell in the next row. You can continue to press Enter to scroll down the column until the last cell in the column is highlighted. The next time you press Enter, the first cell in the column is highlighted. • Shift+Enter on the main keyboard: Move the pointer up to the cell in the previous row. You can continue to press Shift+Enter until the cell in the top row is highlighted.
Chapter 6 Organizing with Bins You can directly modify any data in the bin while logging and prior to capture. After the footage is captured, however, you can directly modify information only in selected headings, with restrictions, as shown in the following table. Modifiable Bin Headings Heading Restrictions (Clip) Name No restrictions. Mark IN Altering the mark IN also alters the IN to OUT duration. This replaces any previous mark. Mark OUT Altering the mark OUT also alters the IN to OUT duration.
Using Text View To modify the clip data directly in a bin: 1. Click the Text tab in the bin to enter Text view. 2. Click the cell that you want to modify. Select only one item at a time. In this example, the timecode data is highlighted. 3. Click the cell again to enter text. If the pointer does not change to an I-beam, you might be attempting to modify a column that cannot be directly modified. 4. Type the new information, and press Enter.
Chapter 6 Organizing with Bins Modify Command Options Type of Modification Options Description Set Timecode Drop/ Non-drop Drop, Non-drop Changes the timecode format between dropframe and non-drop-frame. Setting must match the timecode format of the tape. Set Timecode By Field Start or End Changes either the start or end timecode. Only start timecode are altered after capture. Hour, Minutes, Seconds, Frames Allows you to enter custom timecode.
Using Text View Modify Command Options (Continued) Type of Modification Options Description Set Tracks V, A1, A2, A3, A4, A5, A6, A7, and A8 track selector buttons Changes the clip’s configuration of tracks (film projects only). The clip must be unlinked. See “Unlinking Media Files” on page 231. Set Source None Opens the Select Tape dialog box. Selects another source tape name for the clips that should match the original source tape name.
Chapter 6 Organizing with Bins 5. Select an option or type information into the text boxes (timecode values, for example) when they appear. 6. Click OK. The modification takes effect. Copying Information Between Columns The following procedure describes how to copy all the information in one column to another column. The procedure uses an example of copying timecode information in one column to a new column. To copy column information to another column: 1. Select the timecode column that you want to copy.
Using Text View To specify the gauge of the film: t Ctrl+click the cell, and then select one of the following film sizes and perf count or frame count: - 35mm, 4 perf - 35mm, 2 perf - 35mm, 3 perf - 35mm, 8 perf - 16mm, 40 perf - 16mm, 20 perf - 65mm, 15 perf (used in IMAX® films) - 65mm, 10 perf - 65mm, 8 perf - 65mm, 5 perf - VistaVision® Tracking 3-Perf Counts You can track 3-perf counts in film projects.
Chapter 6 Organizing with Bins To select an edgecode type: t Ctrl-click the cell, and then select the edgecode type that matches the edgecodes on the film. The following table describes the edgecode types and the appropriate format for each.
Using Text View Sorting Clips in Ascending Order To sort clips in ascending order: 1. With a bin in Text view, click the heading of the column that you want to use as the criterion. The column is highlighted. 2. Select Bin > Sort. The objects in the bin are sorted in ascending order. n If the Sort command appears dimmed in the menu, you have not selected a column. To reapply the last sort: t Select Bin > Sort Again with no column selected.
Chapter 6 Organizing with Bins 2. Select the columns that will contribute to the sort criterion. The columns are highlighted. 3. Select Bin > Sort. The objects in the bin are sorted. Sorting Clips by Color You can sort the clips by color if you assigned colors to the clips. See “Assigning Colors to Bin Objects” on page 156. To sort clips by color: 1. Click the Color column heading in the bin. 2. Select Bin > Sort. The objects in the bin are sorted by color.
Using Text View n The TC1 track in the Timeline represents the timecode of the project in which you are working. For example, when you are working in a 24p NTSC project, the TC1 track displays the same timecode as the TC 30 track. Frame Counting for Timecodes The following table shows the frame count for each timecode.
Chapter 6 Organizing with Bins Adding Timecode Values to the Timecode Columns To add timecode values to the timecode columns: 1. Open a bin or the Media tool. 2. Add the Start column and the timecode column with the format you want to use. 3. Select the Start column. 4. Select Edit > Duplicate. The Select dialog box opens. 5. Select the timecode heading from the list. 6. Click OK.
Using Text View Bin Column Headings (Continued) Heading Description Audio Bit Depth Audio bit depth used when you work with audio files: 16 bit or 24 bit. Audio Format Audio format of master clips (AIFF-C, SDII, or WAVE). AuxInk Dur Length of the clip, expressed in the auxiliary ink number. You cannot modify this number. AuxInk Edge Type of edgecode used in the auxiliary ink number. Ctrl+click the cell, and then select the type of edgecode. See “Selecting an Edgecode Type” on page 177.
Chapter 6 Organizing with Bins Bin Column Headings (Continued) 184 Heading Description Duration Length of the clip. End Timecode of the clip’s tail frame. FPS Play rate: the number of frames to be displayed each second. The default is 29.97 for NTSC and 25 for PAL for video. The play rate can also be 24 or 23.98. Film TC Timecode used on film. Used for 24p and 25p projects only. Format The format of a clip or sequence as determined by the project type, such as 30i NTSC or 1080i/59.94.
Using Text View Bin Column Headings (Continued) Heading Description KN Start Starting key number for the clip. Used for 24p projects, 25p projects, and matchback projects only. LUT File name of the color look-up table used for the series of clips or frames. Labroll Labroll containing the clip. Lock Specifies whether the clip is locked against deletion. Mark IN Timecode for the IN point, if you set one for the clip. Mark OUT Timecode for the OUT point, if you set one for the clip.
Chapter 6 Organizing with Bins Bin Column Headings (Continued) 186 Heading Description Reel # Source reel number. Used for 24p and 25p projects only. Scene Scene number of the clip. Shoot date Date the footage was shot. Slip Number and direction of perfs for subclips (audio clips only). Used for 24p and 25p projects only. Sound TC Timecode for audio. Soundroll Sound roll this clip came from. Used for 24p projects, 25p projects, and matchback projects only.
Using Frame View Bin Column Headings (Continued) Heading Description VFX Frame-counting field for visual effects. The format is the following: a descriptor of up to 32 alphanumeric characters, followed by a hyphen (-), followed by a six-digit frame count, for example, FXChildDocu-023657. VFX Reel Source reel identification for the FX shot. VITC Vertical interval timecode. Video Resolution under which the media for that clip was captured.
Chapter 6 Organizing with Bins Changing the Bin Background Color You can customize the background color of the bin behind the frames. Changes affect one bin at a time. However, changes you make in Frame view appear in Script view as well. Text view remains black and white. To change the bin background color: 1. Activate the bin you want to change, and make sure you are in Frame view (or Script view). 2. Select Edit > Set Bin Background > color. The bin color changes, based on your selection.
Using Frame View Rearranging Frames Frame view allows you to rearrange the display of the frames in the bin by moving them. To rearrange frames: 1. Click a single frame, and drag it to its new position. To rearrange more than one frame at a time, Ctrl+click, or lasso multiple frames and drag them to a new position in the bin. See “Lassoing Objects” on page 151. 2. Click the background area of the bin to deselect the clips. n When you return to Text view, the order of the clips is changed there as well.
Chapter 6 Organizing with Bins Arranging Frames in a Bin To realign the frames in a bin after you have changed their display, use one of the following procedures. To align all frames to an invisible grid: t Select Bin > Align to Grid. To align selected frames to an invisible grid: t Select Bin > Align Selected to Grid. To space the frames evenly to fill the Bin window: t Select Bin > Fill Window. To arrange frames in the order in which they are sorted in Text view: t Select Bin > Fill Sorted.
Using Script View To enter Script view: t Click the Script tab in the bin. Script tab Clip information Script text box Adding Text in Script View To type text in the script box: t Click the text box and begin typing. This text does not appear in sequences edited from the clips, only in printouts of the bin in Script view. You can use basic word processing procedures to highlight, delete, cut, copy, and paste text between script boxes.
Chapter 6 Organizing with Bins Playing Clips in Script View Each clip is represented by a single frame in Script view. The head frame is the default, but you can play back the footage within any clip and select any frame to represent the footage. To change the represented frame: t Press the J-K-L keys to move through the clip. For more information about playing footage, see “Controlling Playback” on page 305.
Gathering Format Elements 3. Select File > Page Setup. The Page Setup dialog box opens, reflecting the specific options for your printer. 4. Select the appropriate options from the Page Setup dialog box. 5. Click OK. 6. Select File > Print Bin. The Print dialog box opens, reflecting the specific options for your printer. 7. Select the Print options. 8. Click OK. The system prints the active bin. To print a single frame of a clip or sequence: 1. Load a clip or sequence into the Source or Record monitor. 2.
Chapter 6 Organizing with Bins This section describes techniques for creating digital bars and tone, as well as leader clips for use in sequences. For information on creating or importing graphic elements and titles, see the effects guide for your Avid system. Preparing Digital Bars and Tone If you expect to output your final sequence as a digital cut that requires calibration before playback (a digital cut that will be broadcast, for example), in most cases you will need a clip of color bars.
Gathering Format Elements To import a test pattern from a file: 1. Open an existing bin, or create a new one for the test pattern. 2. Select the destination bin. 3. Select File > Import. The Select Files to Import dialog box opens. Look In pop-up menu File browser File to import Options 4. Click the Files of Type pop-up menu and select Graphic Files. 5. Use the Look in menu to locate the folder containing the test pattern file. Test pattern files are located in the following folder: drive:\Program Fil
Chapter 6 Organizing with Bins 6. Select a test pattern from the File browser. - 8-bit PICT files are located at the top level of the Test_Patterns folder. - 16-bit TIFF files are located in the HD_720p, HD_1080i, SD_NTSC, and SD_PAL folders. The file name appears in the File Name text box. 7. Click Options to adjust the Import settings. The Import Settings dialog box opens. 8. Click the Image tab, and select the following options: a.
Gathering Format Elements Creating Leader Film editors traditionally use standard head and tail leaders for cueing and syncing material. You can use digital leaders in the Avid application to mark the beginning and ending of tracks and to help you maintain sync, as described in “Managing Sync with Multiple Tracks” on page 552. You can create your own leader for video or film, as described in this section.
Chapter 6 Organizing with Bins Creating Audio Leader To create tail leader for audio tracks: 1. Load a clip that includes a section of captured tone into the Source monitor. 2. Create a subclip according to your chosen specifications. 3. Name this new subclip Head Leader or Tail Leader. 4. Load this subclip into the Source monitor. 5. Prepare the sound levels for leader without a sync point (no audio pop) by opening the Audio Mix tool and bringing the audio level all the way down for the entire clip. 6.
Storyboard Worksheet Storyboard Worksheet Make preliminary preparations such as synchronizing picture and sound, converting audio timecode, and modifying clip data. Set the bin display to show the media objects you will use for your storyboard. Narrow down the clip selection by deleting, moving, copying, sorting, and sifting clips. Select either Script view or Frame view to display your storyboard in the bin with or without a script box. Enter information in the script box, if necessary.
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Chapter 7 Managing Media Files When you capture footage, the system creates digital media files for the video and audio tracks on the media drives attached to your system. Bin tools allow you to organize the clips that reference the media files. In addition, your Avid system provides tools and features for directly managing media files for storage and playback efficiency, for backup, and for transfer between systems.
Chapter 7 Managing Media Files Working with Media Files in an Avid Unity Environment If you are using your Avid editing system in an Avid Unity workgroup environment, you can use Avid Unity MediaManager to share media files between systems. Avid Unity MediaManager is a media database that allows you to search the large number of media objects (master clips, sequences, effects, and any other type of object that references digital media) in the Avid Unity MediaNetwork shared storage environment.
Working with Media Files in an Avid Unity Environment You must specify the MediaManager location to let your Avid editing system know where to look for MediaManager on the network. After you specify the network settings, you can check in clips to and check out clips from MediaManager. For more information about MediaManager settings, see the Avid Unity MediaManager Administrator’s and User’s Guide. The MM Host settings is a Site setting that applies to all users of a particular Avid editing system.
Chapter 7 Managing Media Files To enable the client to recognize LANshare workspaces: 1. Open a bin. 2. In the Project window, double-click the PortServer Setting. The Port Server Settings dialog box opens. 3. Select Auto-connect to LANshare at Launch. 4. Click Connect, and then click OK. The dialog box closes, and auto-connect is set. Using the Media Tool The Media tool is your window into the captured video and audio data files stored on your media drives.
Using the Media Tool n • Media Tool database and display options are saved as User settings. When you close the Media tool, the view you are in (Brief, Frame, Script, or Text) is saved and any customizations of columns are saved. • You have the option of saving a custom view of the Media tool. Any view created in the Media tool is available from all bins and all custom bin views are available in the Media tool from the Views pop-up menu.
Chapter 7 Managing Media Files 2. Select the display options as follows: - n The Media tool loads the media database only for the drives you select. The more drives you select, the more memory is required for the Media tool to open. - n You can select individual media drives or all drives. You can display files for the current project, for selected projects, or for all projects.
Using the Media Tool Deleting Media Files with the Media Tool You can use the Media tool to delete selected media files without harming the related master clips, subclips, and sequences. c If you use the Media tool to delete selected media files, you no longer have access to visuals of the deleted material. If you load a clip for which a media file has been deleted, a black screen appears with the words “Media Offline.
Chapter 7 Managing Media Files 5. Click OK. A dialog box opens, asking you to confirm the deletion. 6. Click Delete. The selected media files are deleted. Freeing Storage Space To quickly view remaining storage on your media drives at any time, open the Hardware tool as described in “Using the Hardware Tool” on page 136. Unlike the bin files stored in project folders, media files require considerable storage space.
Consolidating Media n Because the Media tool displays only master clips, you cannot consolidate subclips or sequences with the Media tool. You can consolidate master clips, subclips, and sequences in the bin. Understanding the Consolidate Feature The Consolidate feature operates differently depending upon whether you are consolidating master clips, subclips, or sequences.
Chapter 7 Managing Media Files • Subclips: When you consolidate a subclip or group of subclips, the system copies only the portion of the media files represented in the subclip and creates a new master clip that is the duration of the subclip and a new subclip. The file name extension .new is attached, along with incremental numbering beginning with .01. Consolidating a Subclip Original media files Master Clip 210 Subclipped copy of media files Subclip Master Clip.new.01 Subclip.new.
Consolidating Media • Sequences: When you consolidate a sequence, the system copies only the portions of media files edited into the sequence and creates new master clips for each clip in the sequence. The file name extension .new is attached to the master clips, along with incremental numbering beginning with .01. The sequence is not renamed but is automatically relinked to the new media files. Consolidate finished sequences to: n - Create backup files.
Chapter 7 Managing Media Files Using the Consolidate Command To consolidate master clips, subclips, or sequences: For more information on rendering effects, see the effects guide for your Avid system. 1. If you are consolidating a sequence, duplicate the sequence to maintain links to the original files, if necessary, and render any unrendered effects. 2. Select a clip or sequence. 3. Select Clip > Consolidate/Transcode. The Consolidate/Transcode dialog box opens. 4.
Consolidating Media Consolidate Options (Continued) Option Description Consolidate all clips in a group edit Select to copy media for all clips in a group edit, for consolidating a group clip or a sequence that contains group clips. n For more information on group clips, see “Understanding Grouping and Multigrouping Clips” on page 561.
Chapter 7 Managing Media Files n Even if you change the resolution to a higher quality resolution, your footage will not look better than the resolution you selected for capture. For example, if you capture your video at 20:1 to save space and then transcode the sequence to 1:1, the sequence will not look uncompressed. To use the Transcode option: 1. Select a clip or sequence in a bin. 2. Select Bin > Consolidate/Transcode. The Consolidate/Transcode dialog box opens.
Consolidating Media 3. Select the Transcode option in the upper left corner. 4. In the Target Drive(s) area, select a drive or drives. 5. Click the Target Video Resolution pop-up menu, and select a video resolution. n If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. 6. Select other options as described in the following table.
Chapter 7 Managing Media Files Transcode Options (Continued) Option Description Do Audio Sample Rate Conversion Select the “Do Audio Sample Rate Conversion” check box to convert any sample rates not set in the Sample Rate popup menu in the Main tab in the Audio Project Settings dialog box. For information on setting the sample rate, see “Changing the Sample Rate” on page 541. Target Audio Sample Rate Select a sample rate for the sequence. The default sample rate for DV is 48 kHz. 7.
Refreshing Media Databases To update the offline sequences with the new media files: t n c Select File > Load Media Database. The Avid system loads all online master clips and precomputes. You do not need to load the media database more than once during a single editing session because the database remains in memory until you quit the application or restart the Avid system.
Chapter 7 Managing Media Files The options for backing up media files include: For information on archiving procedures, see your Windows documentation. • Using the Consolidate feature, as described in “Consolidating Media” on page 208, to make copies of selected media files on a target media drive connected to the system. • Backing up smaller projects captured at low video resolutions to a removable storage device, such as a hard drive.
Using Videotapes for Archiving and Restoring Media Files The archiving process divides the archive into multiple archive sequences based on the lengths of the available videotapes. The archiving to videotape process adds handles to the new clips that allow you to reedit the sequence after you restore the media files from the videotape. During the archiving process, the original media is archived to videotape.
Chapter 7 Managing Media Files To archive a video project’s media files: 1. Set the Digital Cut tool as follows: a. Select Output > Digital Cut. The Digital Cut tool opens. Deck Selection pop-up menu b. n Click the Deck Selection pop-up menu, and select a deck. If the Select Tape dialog box opens, click Cancel to leave Tape Name unspecified. c.
Using Videotapes for Archiving and Restoring Media Files 5. Select the clips and sequences to archive from the Archive bin by doing one of the following: t Select Edit > Select All to select all the clips and sequences in the bin. t Ctrl+click to select specific clips or sequences. 6. Select Clip > Archive to Videotape. The Archive to Videotape dialog box opens. 7. Select the appropriate options. The Archive to Videotape Options table describes the options listed in the Archive to Videotape dialog box.
Chapter 7 Managing Media Files 11. Follow the instructions displayed in the message boxes to complete the archiving process. A set of archive sequences is created in the Archive bin, and the source media is output to the videotape. One archive sequence is created for each tape. When needed, the system prompts you for another blank tape. The tapes are requested in the order that they appear in the Tape Lengths dialog box. 12.
Using Videotapes for Archiving and Restoring Media Files Archive to Videotape Options (Continued) Option Description For Subclips and Sequences Use handles Select this option, and in the Handle Length text box type the number of additional frames you want to archive at the heads and tails of the new master clips. This option provides enough overlap for trimming and adding transition effects. Archive entire master clips Select this option if you want to archive entire master clips.
Chapter 7 Managing Media Files 4. Select Tools > Capture, and set the following options in the Capture tool: a. n Click the Deck Selection pop-up menu, and select a deck. If the Select Tape dialog box opens, click Cancel to leave Tape Name unspecified. b. Click the Res (Resolution) pop-up menu, and select a resolution. c. Click the Target Drive pop-up menu, and select a drive volume. d. Make sure the audio sample rate is set correctly. See “Setting the Pulldown Switch” in the Help.
Finding a Related Media File Finding a Related Media File The Reveal File command allows you to select a clip in a bin and automatically open its related media file. This command is useful if you want to delete, move, or label the media file. To find a related media file: 1. Select the clip in a bin for which you want to find the media file. The clip is highlighted. 2. Select File > Reveal File. The system searches all available drives, opens Windows Explorer, and highlights related media files.
Chapter 7 Managing Media Files Relinking Media Files Sometimes, after you consolidate or move material between systems, the clips or sequences lose their links to the original media files. When a clip becomes unlinked, it displays the message “Media Offline.” If appropriate media exists online, you can use the Relink command to reestablish the link.
Relinking Media Files Relink Dialog Box Options (Continued) Option Description Relink offline master clips to online media files Relinks master clips to media files that share similar database information. Relink to Media on Volume • All Available Drives: Searches across all media drives that are online • A specific drive volume: Relinks to media on a specific media drive Relink only to media from the current project Restricts relinking to the current project.
Chapter 7 Managing Media Files Relinking by Resolution You can relink to clips of a specific resolution. To relink a clip by resolution: 1. Select the unlinked object or objects in the bin. 2. Select Bin > Relink. The Relink dialog box opens. 3. Select Relink Method > Specific Resolution. 4. Select an option from the “Relink if quality” pop-up menu, as described in the following table.
Relinking Media Files 8. Click OK. The system searches the selected media drives, and relinks clips and sequences if possible. Relinking to Selected Clips You can also use the Relink command for connecting subclips or sequences to selected master clips and subclips. To relink to selected master clips and subclips: 1. Move the subclips or sequences that you want to relink into the bin containing the clips. 2. Select the clips targeted for relinking. 3. Select Bin > Relink. The Relink dialog box opens. 4.
Chapter 7 Managing Media Files For example, if you consolidated a sequence and forgot to create a duplicate, and later decide to use the original media files instead of the consolidated media files, you can break the new link and reestablish the old link to the original files. n Because subclips and sequences do not point directly to the media files, you can perform this procedure only by using the source master clips. To relink consolidated subclips or sequences: 1.
Unlinking Media Files Unlinking Media Files You can use the Ctrl and Shift keys to modify the Relink command for unlinking clips from their media files. To unlink master clips from their current links: 1. Select the master clips to unlink. 2. Press Ctrl+Shift, and select Bin > Unlink. The clips are unlinked and display the message Media Offline. n Because subclips and sequences do not point directly to the media files, you can perform this procedure only by using the source master clips.
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Chapter 8 Using Script Integration The lined script is traditionally used as a tool for managing scene and take information during postproduction on a dramatic feature film or television production. With the Avid system, script integration allows you to adapt the lined script to the digital realm for use in any type of production, from drama to documentary to spot advertising.
Chapter 8 Using Script Integration Traditionally, the continuity person creates the lined script on the set at the time of shooting. All notes are handwritten. The following is an example of a scene from a lined script: 33/1 33A/1 33A/2 33B/133B/2 33B/3 33C/1 33C/2 Explanation of Symbols Each vertical line drawn through the scene represents a single take from the moment the director says “Action” to the moment the director says “Cut.
Lined Script Basics The following is a brief summary of the lining techniques and numbering system shown in the previous example: • Master shot: The line labeled 33/1 is the master shot that usually covers all the action in a wide shot. The first number in the label indicates the scene number as written on the script (scene 33). The number following the slash indicates that this is the first take captured on film for the master shot. A second take of the master shot, for example, would be labeled 33/2.
Chapter 8 Using Script Integration Unlike the traditional lining of a script, digital script integration is usually performed after the shoot — for example, by the assistant editor — using the notes of the continuity person. The following is an example of the script shown in the previous section, prepared and lined using script integration.
Lined Script Basics • Script marks: The double arrows marking the takes at various points represent marked lines of dialog in the script that are synchronized to matching dialog in the source clip. Script marks are especially effective during editing, allowing the editor to quickly locate dialog and piece together parts of a scene. The Script window provides additional controls for matching back to clips in the source bins, loading and playing back takes, and searching for takes and script text.
Chapter 8 Using Script Integration The following is an example of an audiovisual script for a news magazine piece imported into the Script window, with the basic features of script integration applied. Narration track is synced to the script. All possible B-roll shots are ready to be loaded and cued. Color indicates preferred shots. Music cuts are linked to appropriate sections of the script.
Script Window Basics Script Settings Options Before you open a script in the Script window, you can select default preferences using the Script Settings dialog box. After the Script window is open, any changes you make in the Script Settings dialog box are ignored by the Script window. You must close the Script window and then reopen it for the new settings to take effect. However, the Script menu provides several commands that allow you to override the Script settings.
Chapter 8 Using Script Integration 4. Locate the file and double-click it, or select the file and click Open. - A script bin appears in the Bins list in the Project window. - The script, with its original layout, appears in the Script window. 5. Change the name of the script bin by clicking the title in the Bins list in the Project window, and typing a new name.
Script Window Basics • You can select File > Open Bin to open existing Script window (.avc) files and add them to the Other Bins folder in the Bins list in the Project window. • You can select File > New Script to open a new script (.txt) file and add it to the Bins list in the Project window. • You can select File > Close to close Script windows. Displaying Clip and Sequence Information in a Script Window The Info window displays statistical information about a clip or sequence.
Chapter 8 Using Script Integration The default size of the left margin is established on import, based on the current Script settings. You can also override the margin setting and adjust the left margin after importing the script. To adjust the left margin of an imported script: 1. Select Script > Left Margin. The Left Margin dialog box opens. 2. Type a new margin size (in pixels) in the text box, and click OK. The Script window reflects the new setting.
Manipulating Script Text Selecting Text Selecting text in the Script window is similar to making selections in a word processor, except that the smallest unit you can select is an entire line of text. To select a single line of script: t Click anywhere in the line to highlight it. Selected lines are highlighted.
Chapter 8 Using Script Integration To select several lines of script, use one of the following methods: t Lasso the first line of the selection, and drag through the text. As you drag, a box outlines your selection. Lasso a portion of script to select it. Release the mouse button when you finish lassoing the selected lines. The text is highlighted. t n 244 Click the first line of the selection, and then Shift+click the last line. The entire block of text is highlighted.
Manipulating Script Text Cutting, Copying, and Pasting Script You can cut, copy, and paste text in the script as you would in a normal word processor. However, because you cannot select individual words or characters, you can move only lines or paragraphs. n c To rearrange or rewrite individual words or characters in the script, you should make the changes in a word processor before importing them into a separate Script window.
Chapter 8 Using Script Integration Removing Script Text You cannot delete lines of text from the Script window by using the Delete key as you would in a normal word processor. Use the Cut command to remove the text. To remove lines of script: 1. Select the lines of script you want to delete. 2. Select Edit > Cut. Unlike a normal deletion, the text remains in the Windows Clipboard until the next time you copy or cut a selection.
Searching Through Script 3. Type the number for the scene or page, and click OK. The scene number appears in the left margin and the page number appears in the right margin next to the first line of the selected region. New page number New scene number Scene/page status bar Scene and page numbers both appear in the status bar at the bottom of the Script window and reflect your current position within the script.
Chapter 8 Using Script Integration 3. Type a new number for the scene or page, and click OK. 4. If the renumbering affects page or scene numbers that precede or follow the current change, then repeat these steps as necessary. Deleting a Page or Scene Number To delete a page or scene number: 1. Select the first line of the scene or page. n You can also delete all page or scene numbering throughout a range of the script by selecting the range of lines or the entire script. 2. Press the Delete key.
Linking Clips to the Script Conducting a Text Search To search for text in the script: 1. With the Script window active, select Edit > Find. The Find dialog box opens. 2. Type the text you are looking for. 3. Select one of the optional search parameters, when appropriate: t If you do not want the search to be case sensitive, select Ignore Case. t If you do not want the search to highlight instances where your text is part of another word, select Whole Word. 4. Click OK.
Chapter 8 Using Script Integration n Make sure the pointer is over the highlighted text before releasing the mouse button. Drag a clip or several clips to the highlighted text. A slate frame appears above the text, with one or more of the takes covering the scene as lines. The slate appears.
Interpolating Position for Script Integration 6. Continue to apply clips to additional portions of the script until you have finished creating all your slates. Alternatively, you can create slates one at a time, place script marks, and fine-tune the lining of each scene before proceeding to the next portion of the script. Interpolating Position for Script Integration Interpolate Position matches a clip to a take and allows you to see where a particular line in the script would appear in the clip footage.
Chapter 8 Using Script Integration Selecting Slates To select slates, do one of the following: n t Click a slate to select it. t Shift+click additional slates to select all the active takes. t Drag a lasso through a region of the script containing slates. All slates and takes within the lasso are selected. Selecting multiple slates is especially useful when you are adding or deleting color or off-screen dialog indicators across takes, as described in “Manipulating Takes” on page 256.
Manipulating Slates n You can change the default behavior before opening a script in the Script window by selecting Hold Slates Onscreen in the Script Settings dialog box. For more information, see “Script Settings Options” on page 239. Hiding Slate Frames By default, the system displays a representative frame for each take in the slates. You can hide this frame display and show only the clip name to simplify the interface or speed up scrolling and movement in a complex Script window.
Chapter 8 Using Script Integration Showing One Take Per Slate You can minimize clutter on the screen by showing only one take per nonactive slate. To show one take per nonactive slate: t Select Script > Show All Takes. The check mark to left of the command is removed, indicating Show All Takes is disabled. The Script window shows only the first take in each nonactive slate. A single take is shown. To display all the takes: t 254 Select Script > Show All Takes again.
Manipulating Slates Moving a Slate You can adjust the position of slates to make room for more slates, to avoid blocking words, or to display takes over specific lines. To move a slate, use one of the following methods: n t To move a slate horizontally, click the slate and drag it to the left or the right. (If necessary, resize the Script window by dragging the size box.) t To move a slate vertically without moving the position of the take lines in the script, click the slate and drag it up or down.
Chapter 8 Using Script Integration Manipulating Takes Script integration provides a number of tools and techniques for manipulating the relationship between lined takes in the Script window and their source clips, as described in this section. Selecting Takes To select takes, use one of the following methods: n t Click any take tab to select it. The outline of the take changed to red, indicating that the take is active. t Shift+click additional takes in the same slate or across slates to select them.
Manipulating Takes c You cannot undo the deletion of takes. To restore a take after deletion, see “Adding Takes” on page 256. To delete one or more takes: 1. Select the takes in the Script window. 2. Press the Delete key. The Delete dialog box opens. 3. Select Delete Takes, and click OK. The takes are deleted. Displaying Take Numbers To display the take numbers in the tab of each take: t Type the numbers in the Take column of the source bin for the clips.
Chapter 8 Using Script Integration Loading Takes To load individual takes into the Source monitor: t Double-click any Takes tab. To load multiple takes into the Source monitor: t Select multiple takes, and then double-click any take you selected. Playing Takes To play back a take, do one of the following: t Double-click a take to load it into the Source monitor, and then click the Play button or press the Play key. The clip plays back and stops when it reaches the end.
Manipulating Takes Indicating Off-Screen Dialog In the traditional lined script, you indicate off-screen dialog by drawing a jagged line next to the dialog. You can apply a similar effect to lines in the Script window. To indicate off-screen dialog: 1. Select the range of script containing the off-screen dialog. 2. Select one or more takes that you want to mark with the off-screen indicator. 3. Click the Set Offscreen button in the Script window toolbar.
Chapter 8 Using Script Integration 4. Click the Set Color button in the Script window toolbar. The color appears only in the highlighted script region of the selected takes. You can switch the indicators on or off by clicking the button repeatedly. n You must select the range of the script that you want to highlight with color before enabling the color indicator function. To remove one or more color indicators: 1. Select the range of script containing the color indicators.
Using Script Marks 2. Double-click in the Script window at the intersection of a take and the line of dialog that you want to mark. Intersection of take and line of dialog The take is selected in the slate, the selected line of the dialog is highlighted, and the clip loads into the Source monitor. 3. Click the Play button, or press the Play key. The take plays in the monitor.
Chapter 8 Using Script Integration The line is marked in the Script window with a small horizontal bar, and play stops. The script mark appears. 5. Repeat these steps to add more script marks. Automating Screening and Marking The Script window provides controls for automating the process of screening and placing script marks for a single take or across multiple takes. To use automated screening and marking: 1. Select one or more takes. 2. Click the Record button in the Script window toolbar.
Using Script Marks The first selected take changes to green in the Script window, the system automatically loads the clip into the Source monitor, and the clip begins to play. Several takes are selected for automated playback. Current playback is highlighted in green. 3. As you hear a line of dialog (or see a particular clip) that you want to mark, click the matching line in the Script window. A script mark appears at that location in the take, and the clip continues to play. 4.
Chapter 8 Using Script Integration To stop the playback loop: t Press the space bar. Loading and Playing Marked Segments Once you have placed marks syncing lines in your script to points in the source clips, you can quickly load and cue takes for selected lines of dialog. You can load a single take, or you can load all the coverage for any given range of lines. To load the marked segment of a take: t Double-click the script mark at the line of dialog that you want to cue.
Finding Clips and Script Deleting a Script Mark When you remove a script mark, you do not delete the marked portion of the take, only the sync point between the script and the source clip. c You cannot undo the deletion of script marks. To restore a script mark after deletion, see “Placing Script Marks Manually” on page 260. To delete a script mark: 1. Click once on a script mark to select it. (If you double-click, you load the clip and make the Composer window active.
Chapter 8 Using Script Integration 2. Click the Find Script button in the Other tab of the Command palette. The Script window instantly scrolls to and highlights the portion of script that most closely matches the clip location. Finding Clips and Bins from the Script Window Script integration allows you to search instantly through bins and to find the source clips for takes that have been linked to the script. You can search on a single take or on multiple takes across several slates.
Editing with the Script Window • The Single Mark Editing option is selected in the Edit tab of the Composer Settings dialog box. This option allows you to skip several steps by performing edits on-the-fly while playing back clips (without marking OUT points). For more information, see “Single-Mark Editing” on page 355. Assembling a Rough Cut To quickly assemble a rough cut from the Script window: 1. Open the Script window for the current cut. 2.
Chapter 8 Using Script Integration To splice a range: 1. Mark an IN point or place the position indicator at the location in the sequence where you want to splice in the segment. 2. Press the Ctrl key and Alt key. Notice that the Splice-in arrow appears when you point to a take. 3. Double-click the preferred take within the range of dialog that has been marked with script marks. The marked section of the clip is spliced into the sequence.
Editing with the Script Window The Script window provides a visual, interactive look at the content of the original script against the elements in the final piece. All alternative takes are available for viewing and comparing. Matching colors indicate takes used in the preferred cut as well as alternative cuts. You can mix down alternative cuts to form master clips and place them next to the script.
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Chapter 9 Viewing and Marking Footage Before making your first edit, you can review your footage, add locators and comments to clips, mark IN to OUT points, and create subclips. By viewing and marking your material in advance, you can concentrate on editing and refining your sequence at a later time without having to pause and set marks each time you load a new clip.
Chapter 9 Viewing and Marking Footage Customizing the Composer Window Source/Record Mode button The Composer window is central to the editing process, providing all the essential controls for viewing, tracking, marking, and editing source and record footage. The Composer window includes the Source and Record monitors.
Customizing the Composer Window Source/Record mode Composer window Source and Record monitors Timeline window Use the Composer Settings dialog box and various menus within the Composer window to configure displays and functions in the Source monitor, or Record monitor. You can learn about Composer settings as follows: • For information on Composer settings, see “Understanding Composer Settings” on page 285.
Chapter 9 Viewing and Marking Footage In addition, you can: • Map various buttons onto command palettes or the keyboard, as described in “Understanding Button Mapping” on page 129. • Display or hide labels on buttons by using Interface settings, as described in “Reviewing Basic Settings” on page 81. • Use the Timeline Settings dialog box to configure displays and functions of the Timeline window. For more information about the Timeline window, see Chapter 11.
Customizing the Composer Window To view the Source/Record monitors: t Click either edge of the single monitor and drag it to the outside. The monitor splits into two. When you double-click a sequence icon in a bin, the sequence appears in the right (Record) monitor. To open a clip in the left monitor: t Drag a clip from the Bin window into the left monitor. The clip appears in the left monitor.
Chapter 9 Viewing and Marking Footage n If you have the “Double-click loads object in” option set to “Source or Record Monitor” in the Bin Settings dialog box, you can also double-click a clip or a sequence in the Bin window to have it appear in the right or left monitor as appropriate. See “Bin Settings” in the Help. To switch between the monitors: t n Press Esc. When you are using a single monitor, double-clicking a clip opens it in a freestanding Source pop-up monitor.
Customizing the Composer Window To display a larger film image: 1. During either shooting or the telecine process, use a 16:9 lens to squeeze the film images anamorphically to the 4:3 aspect ratio. 2. After capturing the footage, select the 16:9 Monitors option to return the squeezed image to its normal aspect ratio. The picture will be larger. Any masked letterbox area at the top and bottom of the footage will be smaller or might not be visible once it is set to 16:9.
Chapter 9 Viewing and Marking Footage Tracking Information Menu By default, the tracking information area displays no data until you select a tracking format. In addition, there is no display of tracking data when there is no material loaded in the monitor. If you load a clip and no information is currently displayed, you can still open the menu by clicking in the area above a monitor. To select a tracking information format: 1. Load a clip or sequence into the monitor. 2.
Customizing the Composer Window The following table describes the tracking format options. Tracking Format Options Option Description Master Displays master timecode at present location. Duration Displays total duration of the sequence. In/Out Displays duration between IN and OUT points. Absolute Displays absolute time duration at present position. Remain Displays time remaining at present position.
Chapter 9 Viewing and Marking Footage The option you select from pane 1, pane 2, or pane 3 is displayed above the monitor. The following is a summary of the contents of the menu: • Pane 1 allows you to choose the Sequence tracking information or the Source clip tracking information. - The sequence submenu allows you to choose from (Timecode), feet and frames for 24p and 25p projects (Footage), or a sum total of frames for either film or video (Frames).
Customizing the Composer Window • Pane 2 lists Sequence timecode options, such as master timecode (Master), duration of the entire clip (Duration), IN to OUT duration (In/Out), absolute timecode (Absolute), and time remaining (Remain). The format type that you select from pane 1 Timecode submenu determines the tracking format to be displayed. Pane 2 • Pane 3 displays the timecode for the source track of a specific track (V1, A1, A2, and so forth).
Chapter 9 Viewing and Marking Footage 3. Drag the window to a new location to leave the window open. The Info window opens. As you move the position indicator through the sequence in the Record monitor, the information in the Info window is updated. To display information about a clip or sequence in the Source monitor: 1. Move the pointer to the gray area above the Splice-in button. 2. Press and hold the mouse button to open a pop-up window with clip or sequence information. 3.
Customizing the Composer Window For information on displaying clip or sequence information from the Script window, see “Displaying Clip and Sequence Information in a Script Window” on page 241. For information on changing the sequence name or starting timecode, see “Changing the Sequence Name and Timecode” on page 344. Copying Text from the Info Window You can cut, copy, and paste information from the Info window anytime, but you cannot edit or change any information within the window.
Chapter 9 Viewing and Marking Footage To set a timecode display: 1. Select Tools > Timecode Window. The Timecode window opens. 2. Click anywhere in the Timecode window, and select an option. Timecode pop-up menu The window displays the timecode you have chosen. The Timecode pop-up menu contains the same options as the Tracking Information menu. For a description of the Timecode options, see “Displaying Tracking Information” on page 277. 3. To add an additional line of timecode, click Add Line. 4.
Playing Video to the Client Monitor Understanding Composer Settings The Composer Settings dialog box allows you to customize various aspects of the appearance and behavior of controls in the Composer window. To open the Composer Settings dialog box: t In the Project window, double-click the Composer Settings. For more information see Composer Settings in the Help. Playing Video to the Client Monitor You might want to see your sequences and effects as they appear on an external display monitor.
Chapter 9 Viewing and Marking Footage n The only video card capable of supporting viewing video on two monitors (a Client monitor and a desktop monitor) is a dual-head video card. n For more information about viewing real-time effects, see the effects guide for your system or the Help. Selecting the Client Monitor Setting After you connect the camera or digital deck and Client monitor to your Avid system, you must configure your system to play video to the Client monitor.
Adjusting the Play Delay Offset 4. (Option) Select the OpenGL® mode for your video display in the OpenGL Hardware section. Select one of the following: You get better performance selecting a hardware OpenGL. t All video boards installed in your Avid system are listed in the pop-up menu. Select your OpenGL video board. t Select Software OpenGL to bypass the OpenGL video board. If you do not have an OpenGL video board, this option is selected by default. 5.
Chapter 9 Viewing and Marking Footage To adjust the offset: 1. In the Project window, click the Settings tab. The Settings scroll list appears. 2. Double-click Video Display. The Video Display Settings dialog box opens. 3. Click the Desktop Play Delay slider to increase or decrease the amount of frame offset. You might need to readjust the frames a few times to find the correct offset. Using the Tool Palette The Tool palette provides additional buttons for editing and navigating with your Avid system.
Viewing Methods n If a subset of the buttons appears in the Tool palette, click the lower right corner and drag it to the right and down to reveal the full Tool palette. To view the names of the buttons in the Tool palette: t Move the pointer over a button. The name of the button appears in a yellow ToolTip box. To display labels on the Tool palette buttons: 1. In the Project window, double-click the Interface Setting. The Interface Setting dialog box appears. 2. Select Show Labels in Tool palette. 3.
Chapter 9 Viewing and Marking Footage • Viewing in the Record monitor: You can load a sequence into the Record monitor to view, mark, or modify an existing sequence. In addition, you can load a series of clips into the Record monitor to create an instant sequence (rough cut). For more information, see “Creating an Instant Rough Cut” on page 350. You can also load a single clip into the Record monitor. For more information, see “Loading and Clearing Footage” on page 292.
Viewing Methods • Viewing in pop-up monitors: You can load several clips into pop-up monitors to view and mark clips in smaller, movable windows. See “Loading and Clearing Footage” on page 292. Two pop-up monitors with clips loaded • Viewing in the Timeline: Use the Timeline to view individual tracks for either a sequence or a source clip. Click the Toggle Source/Record in Timeline button to switch between displaying the sequence tracks and the source tracks.
Chapter 9 Viewing and Marking Footage Fast Frame Display in 24p and 25p Projects You can display a full frame in the Record, Playback, and Client monitors when stopped on a frame or when single-stepping through the frames, by deselecting Special > Fast Frame Display. Although the frames are captured and stored as frames, they are displayed by default as a single-field representation of the frame. Deselecting Fast Frame Display does not affect playing a clip or sequence.
Loading and Clearing Footage n The results of double-clicking might vary in the procedures in this section. The function of double-clicking is determined by the “Double-click loads clip in” option in the Bin Settings dialog box. To access the Bin Settings dialog box, double-click Bin in the Settings scroll list in the Project window. For more information, see “Bin Settings” in the Help.
Chapter 9 Viewing and Marking Footage Press and hold the Alt key, and then doubleclick the clip or sequence to reverse the outcome. 3. Drag the selected clips to the Source monitor, or double-click a selected clip with one of the following results, depending on the setting of the “Double-click loads clip in” option in the Bin Settings dialog box: - Source or Record monitor (default setting): The clips load into the Source monitor. - New Pop-up monitor: The clips load into multiple pop-up monitors.
Loading and Clearing Footage To switch between clips: 1. Click the name of the current clip displayed above the monitor to reveal the Clip Name menu. The list in the lower portion of the menu contains a list of all the clips or sequences currently loaded in the monitor. The lower portion of the Clip Name menu contains a list of loaded clips. 2. Select a different clip name from the menu. The selected clip replaces the current clip in the monitor display.
Chapter 9 Viewing and Marking Footage 3. Select one of the following commands: - Clear Monitor removes the displayed clip from the screen, leaving black. The clips are still loaded. - Clear Menu deletes the list of all loaded clip names and leaves only the clip currently displayed. Playing Back Footage The Avid Adrenaline is designed to play back, capture and output analog media and digital media using digital decks, cameras, and digital audio tapes.
Playing Back Footage This section describes the playback options available to you with your Avid Media Composer Adrenaline system: • For information on the DNA and 1394 button, see “Playing Back DV50 and DVCPRO HD Media Directly from a DV Device” on page 297. • For information on play back to a DV device, see “Playing Back to a DV Device (for DV25, DV50, and DVCPRO HD)” on page 298. • For information on obtaining the optimal play back performance, see.
Chapter 9 Viewing and Marking Footage For steps on capturing DV50 or DVCPRO HD media, see “Capturing DV50 and DVCPRO HD Media Directly from a DV Device” in the Help. For steps on outputting DV50 or DVCPRO HD media, see “Outputting DV50 and DVCPRO HD Media Directly to a DV Device” in the Help. Playing Back to a DV Device (for DV25, DV50, and DVCPRO HD) You can play back media through a DV device depending on the desired video quality and the amount of real-time effects.
Playing Back Footage To play back directly to a DV device connected through the IEEE-1394 card: 1. With a DV device connected to the IEEE-1394 card on your computer, click the DNA/1394 button in the Timeline, or select Special > Device > IEEE 1394. 2. Right-click the Video Quality menu button, and then select Output to DV Device. n You can either use the Video Display Settings dialog box to select these options or right-click the Video Quality menu button.
Chapter 9 Viewing and Marking Footage 4. If you are in an SD project, right-click the Video Quality button, and then select Realtime Encoding. n - When you select Realtime Encoding, you are in real-time effects mode. The stream is encoded to the format selected in the Video Quality menu. Enabling Realtime Encoding is helpful if you have a faster processor because it allows you to bypass rendering many of your effects to disk. - When Realtime Encoding is not selected, you are in native play mode.
Playing Back Footage The following tables describe how the Video Quality menu and the Video Display settings function with different hardware and software configurations.
Chapter 9 Viewing and Marking Footage Play back on an Avid Media Composer Adrenaline system with 1394 selected, and a DV device connected Icon Video Quality Menu Device Menu Playback Draft Quality IEEE 1394 SD or HD play back is to the desktop and DV device. 1/4-frame real-time effects play back to the desktop. Best Performance IEEE 1394 SD or HD play back is to the desktop and DV device. 1/16-frame real-time effects play back to the desktop.
Resizing Monitors Play back on an Avid Media Composer Adrenaline system, HD Project Icon Video Quality Menu Device Menu Playback Full Quality Adrenaline Full-frame native play back of Avid DNxHD to an Adrenaline and the desktop. Also, effects render in full quality when in Color Correction or Effect mode. Draft Quality Adrenaline 1/4-frame real-time effects play back to an Adrenaline and the desktop.
Chapter 9 Viewing and Marking Footage Resizing a Monitor You can resize the Source and Record monitors to a variety of sizes. To resize the Source and Record monitors: 1. Click a monitor to make it active. 2. Drag the lower right corner of the window to the new size you want the monitor. The monitor is displayed with the new size. Customizing the Record Monitor Size You can switch between the full-size Record monitor and a smaller custom size. To change the size of the Record monitor: 1.
Controlling Playback Controlling Playback There are several ways to play, view, and cue clips: • Instantly access frames or move through footage by using the position indicator within the position bar under the monitors. • Play, step (jog), or shuttle through footage by using user-selectable buttons. • Play, step, or shuttle by using keyboard equivalents. • Step or shuttle by using the mouse.
Chapter 9 Viewing and Marking Footage • In the Timeline, the position indicator shows your position within the sequence. It is always in the same position as the position indicator in the position bar of the Record monitor and works in the same way: you can click anywhere in the Timeline to relocate the position indicator, or you can drag the position indicator through footage at varying speeds.
Controlling Playback The Fast Forward and Rewind buttons instantly cue the footage to the next transition between clips. By default, the buttons cue footage to the head frame of the next transition. You can select the following alternatives from the FF/REW tab of the Composer Settings dialog box: • Stop at Tail Frames • Stop at Locators • Ignore Track Selectors The Play, Fast Forward, and Rewind buttons appear by default in the first row of buttons below the Source, Record, and pop-up monitors.
Chapter 9 Viewing and Marking Footage To play in standby mode: 1. Click the Play Standby button. The Play button under the Source or Record monitor blinks yellow. 2. Click anywhere to play the sequence. Step Buttons You can also use the Step buttons under the monitors to play the clip backward or forward in 1-frame to 10-frame (NTSC and PAL) or 1-frame to 8-frame (24p) increments. When you have a single row of buttons displayed under your monitors, the Step Forward and Step Backward buttons appear.
Controlling Playback n You can map the Step Forward One Field and Step Backward One Field buttons to any monitor Command palette, Tool palette, or the keyboard. For information on mapping buttons, see “Using the Command Palette” on page 128. To use single-field step: 1. Click the Step Forward One Field or Step Backward One Field button, that is available in the Move tab of the Command palette and is mapped to any Tool palette.
Chapter 9 Viewing and Marking Footage To view your Keyboard settings: t n In the Project window, double-click the Keyboard Settings. The keyboard settings vary, depending on the type of keyboard attached to your Avid system. “Keyboard Settings” shows the keyboard settings for a keyboard used in the United States. If an Avid-supported European keyboard is attached to your Avid system, then the keyboard settings will match that keyboard.
Controlling Playback To shuttle through the footage using the J-K-L keys on the keyboard: 1. Do one of the following: t Load a clip or sequence into the Source or Record monitor. t Open a pop-up monitor. t Select a clip in a bin in Frame view. 2. Use the following keys to shuttle at varying speeds: t Press the L key to move forward through the footage at normal speed. The following table shows how you can increase the speed.
Chapter 9 Viewing and Marking Footage To slow or change play direction one speed at a time: 1. Press Alt while you tap the J or L key. Play slows or changes play direction one speed at a time from the speed at which you are currently playing. Backward -8x -5x Forward -3x -2x -1x 0 1x 2x 3x 5x 8x For example, you are shuttling backward with the J key at 2x normal speed. Press and hold Alt and tap the L key once. Play slows to backward at normal speed (1x speed). Hold Alt and tap L once again.
Marking and Subcataloging Footage Marking IN to OUT Points You can mark IN to OUT points for your clips while in the bin, which provides several advantages: • You can quickly build a sequence by splicing the marked clips into place one after another. • You can use the process of rough-cut or storyboard editing, which allows you to instantly splice several prepared clips into a sequence, as described in “Creating an Instant Rough Cut” on page 350.
Chapter 9 Viewing and Marking Footage 5. Mark an OUT point by doing one of the following: t Click the Mark OUT button under the monitor to mark an OUT point and stop playback. t Press the Mark OUT key when marking a clip in a bin. The Sawtooth icon on the right side of the monitor indicates the mark OUT frame. 6. To clear an IN point and set a new IN point, you can either: t t Click the Mark IN button or press the Mark IN key when you reach a different frame.
Marking and Subcataloging Footage Marking an Entire Clip or Segment Use the Mark Clip button to select an entire clip or an entire segment from a sequence. (A segment in a sequence consists of the material between any two edit points.) The Mark Clip button chooses a segment between the first set of edit lines that line up on all the selected tracks.
Chapter 9 Viewing and Marking Footage You can also create subclips while capturing as described in the input and output guide for your Avid system. You can create subclips directly from the marked section of material in the monitors using one of the following methods: • Use the Alt key: Press and hold the Alt key, and then drag the picture from the monitor to the bin in which you want to store the subclip.
Marking and Subcataloging Footage When subclips are created in 24p or 25p projects, they are always created as “hard” subclips. This means that you cannot trim past the edges of the subclip when adjusting transitions and edits. Hard subclips prevent film tracking information errors for editing and cut lists.
Chapter 9 Viewing and Marking Footage Using Locators Locators are a type of electronic bookmark. They allow you to find and identify specific frames during editing. Keywords that you enter in the comments attached to a locator allow you to use standard Find procedures to call up the clips quickly. You can display information about the locators using the Locators window. For more information about the Locators window, see “Using the Locators Window” on page 324.
Marking and Subcataloging Footage • Viewing reviewer comments: Use the Locators window to view reviewer comments and the specific frame. See “Using the Locators Window” on page 324. • Print a list of reviewer comments: Use the Locators window to print a list of changes or comments that you can distribute to other people in the production. See “Using the Locators Window” on page 324. • Import and export locators: Import or export locators from one sequence or clip into another sequence or clip.
Chapter 9 Viewing and Marking Footage The following illustration shows the Locator edit pane. Comment area Click to open the Locators window. n By default, the locator name is the user name logged onto your system. You can change this by typing a new name in the Name text box. 4. Type your comments in the comment area of the Locator edit pane. 5. Change the color from the Color menu or change the locator name. 6. To save your information, click OK, or press the Enter key.
Marking and Subcataloging Footage You can copy locators from the Source monitor to the Record monitor when you edit clips into sequences. To copy locators from the Source monitor to the Record monitor: 1. Double-click Composer in the Settings scroll list. 2. Click the Edit tab. 3. Select Copy Source Locators, and then click OK. Opening the Locator Edit Pane The Locator edit pane allows you to change the color of a locator, change the locator name, or add comments about a locator.
Chapter 9 Viewing and Marking Footage Changing the Color of the Locator Icon You can change the color of the Locator icon from the monitors, the position bar, or the Locators window. To change the color of the Locator icon: 1. Click the Locator icon. The Locator edit pane opens. 2. Select a color from the Color menu. 3. Click OK. The icon color of the selected locator changes to the new color.
Marking and Subcataloging Footage Marking an Area Using Locators You can mark the area between two locators by using the Mark Locator button. To mark the area between two locators: 1. Move the position indicator between two locators. 2. Click the Mark Locators button located in the Edit tab of the Command palette. The area between the two locators is selected.
Chapter 9 Viewing and Marking Footage Using the Locators Window The Locators window allows you to quickly add comments, go to locator marks, copy and paste locators, export and import locators, delete locators, and print a list of locators in the currently loaded clip or sequence. Many features of the Locators window are similar to those of the Bin window. You can use the Locators window to: • Find frame, timecode, and footage information about each locator. • Modify and sort the display.
Marking and Subcataloging Footage Viewing and Navigating in the Locators Window To view locators in the Locators window: 1. Load the sequence containing the locators. 2. Right-click the Source or Record monitor and select Locators, or select Tools > Locators. n The Locators window is monitor specific. If you have selected the Source monitor, the Locators window displays the locators for the clip in the Source monitor.
Chapter 9 Viewing and Marking Footage Sorting Information in the Locators Window You can sort or reverse-sort the locators in the Locators window. To sort the locators in ascending order: 1. Select the column that you want to sort. The column is highlighted. 2. Right-click, and select Sort Column. The locators are sorted. To sort the locators in descending order: 1. Select the column that you want to sort. The column is highlighted. 2. Right-click, and select Reverse Sort Column. The locators are sorted.
Marking and Subcataloging Footage Displaying Frames in the Locators Window You can display the frame associated with each locator in the Locators window. To display the frame associated with a locator: t Right-click, and select Show Images. The Locators window displays the frame associated with each locator. Exporting Locators from the Locators Window You can export locators from a sequence or a clip. A text (.
Chapter 9 Viewing and Marking Footage 3. Select the tab-delimited file containing the locators you want to import, and then click Open. n Another way to import a locator file is to select the tab-delimited locator file and drag it into the Locators window. Creating a Locator Text (.txt) file You can create a Locator text file if you don’t have access to an Avid system. This allows you to make timecode-specific comments offline and give them to an editor to import into a sequence.
Marking and Subcataloging Footage To copy locators from a clip and paste them into a new clip using the Locators window: 1. Select the locators in the Locators window by doing one of the following: t Click a single locator. t Ctrl+click multiple locators. 2. Do one of the following: t Select Edit > Copy. t Right-click the Locator window, and select Copy. t Press Ctrl+C. 3. Load a new clip in the Source/Record monitor. 4.
Chapter 9 Viewing and Marking Footage You can also use a text editor (such as Notepad) to cut and paste locators in the Locators window. This allows you to move locators easily between clips, sequences, tracks, or different users on your system. To copy and paste locators using the Locators window and a text editor: 1. Select the locators in the Locators window by doing one of the following: t Click a single locator. t Ctrl+click multiple locators. 2. Do one of the following: t Select Edit > Copy.
Marking and Subcataloging Footage Accessing a Locator in a Clip or Sequence From the Locators window, you can go to the frame in the clip or sequence that is marked by the locator. To go to a locator in a clip or sequence: t Do one of the following: t Double-click the locator in the Locators window. t From the Locators window, right-click the locator and select Jump to Locator. The appropriate frame is displayed.
Chapter 9 Viewing and Marking Footage To print the complete contents of the Locators window: 1. Make sure your printer is correctly set up. 2. Click the Locators window to make it active. 3. Press Ctrl+Alt+P to place the locator information in the Console window. 4. Select Tools > Console. The Console window opens. 5. Select File > Page Setup. The Page Setup dialog box opens, reflecting the specific options for your printer. 6. Select the Page Setup options. 7. Click OK. 8. Select File > Print.
Finding Frames, Clips, and Bins Finding Frames, Clips, and Bins Once you have captured, viewed, marked, and subcataloged numerous clips for a project, you might have difficulty relocating specific clips or frames among several bins. The Avid system provides a number of features for quickly locating and cueing footage, including conventional timecode and frame-offset techniques, text searches, and Match Frame and Find Bin commands.
Chapter 9 Viewing and Marking Footage 3. Enter the timecode for the frame by using the numeric keypad on the right side of the keyboard. Master track Type a master timecode to find a frame in the sequence. In this example, the interface displays master timecode. Use one of the following formats: t SMPTE timecode — Use two digits each for the hours, minutes, seconds, and frames. For example, type 01230200 to enter 01:23:02:00.
Finding Frames, Clips, and Bins 3. Type a number for the frame offset, and then press Enter on the numeric keypad. Use the following formats: n - One or two digits — Type 1 through 99 to specify a number of frames forward or backward. For example, type –42 to move backward 42 frames. - Three digits — Type 100 or greater to move forward or backward a specified number of seconds and frames.
Chapter 9 Viewing and Marking Footage 4. Select one or more options: - Locators causes the system to search for matching text entered into Locator comments only. - Clip Names causes the system to search for matching text in Clip names only. - Timeline Text causes the system to search for matching text in any clip text displayed in the Timeline. 5. Click OK. If the system finds matching text, it cues to the head of the clip if you selected Clip Names or Timeline Text.
Finding Frames, Clips, and Bins The Match Frame button appears by default in the second row of buttons below the Source monitor. To matchframe from footage in the Record monitor, you must map the button from the Other tab of the Command palette to the Record monitor palette or the Keyboard palette. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 130. To locate the source clip for a selected frame or motion effect: 1.
Chapter 9 Viewing and Marking Footage 4. Click the Reverse Match Frame button in the Other tab of the Command palette. n For easier access, you can map the Reverse Match Frame button to a tool palette or the Keyboard palette. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 130. The system cues the sequence to the matching frame on the record side.
Finding Frames, Clips, and Bins To find the bin in which a specific sequence is located: 1. Load a sequence into the Record monitor. 2. Click the Record monitor to activate it. 3. Click the Find Bin button. The system highlights the sequence in the bin. To find the bin in which a specific clip in a sequence is located: 1. Move the position indicator to the clip within the sequence. 2. Press and hold the Alt key, and click the Find Bin button. The system opens the bin and highlights the clip.
Chapter 9 Viewing and Marking Footage Finding a Frame The Find Frame button, located in the Other tab of the Command palette, allows you to trace a captured frame of footage displayed in a sequence or source clip back to its analog source on tape. This is useful for finding frames for color correction or for recapturing specific clips to lengthen them or alter capture parameters. To find a frame: 1. Make sure the source deck is properly connected to the system, and load the clip or sequence. 2.
Chapter 10 Editing in Source/Record Mode In addition to finishing projects created on offline systems, your Avid system provides tools designed to help you create new sequences. After you have viewed and marked your clips or created subclips, you are ready to create a sequence.
Chapter 10 Editing in Source/Record Mode Entering Source/Record Mode Source/Record mode is the default editing mode. It is composed of the screens and controls shown when the Source monitor and Record monitor are displayed in the Composer window. Use Source/Record mode to create new sequences from source clips. To enter Source/Record mode from another mode: t Alt+click the Source/Record Mode button displayed in the Timeline toolbar or the monitor toolbars.
Setting Up a New Sequence Setting Up a New Sequence To establish a new sequence, do one of the following: t If you have specific parameters for the project that you want to establish first, you can create and name a sequence, set the start timecode, and determine the numbers and kinds of tracks to use before you make the first edit, as described in this section.
Chapter 10 Editing in Source/Record Mode 2. To rename the new sequence, type a new name while the Name field is active in the bin. n If you click anywhere in the interface after creating the new sequence, you deactivate the Name field. Click the sequence name again to rename the sequence. Changing the Sequence Name and Timecode The following optional procedure allows you to rename the new sequence and set a customized start timecode by using the Get Clip Info command.
Setting Up a New Sequence n You need to type only the first colon (non-drop-frame timecode) or semicolon (drop-frame timecode). For example, type 01:000000 for 01:00:00:00. For information about non-drop-frame and drop-frame, see Understanding DropFrame Timecode and Non-Drop-Frame Timecode” in the Help. 4. For 24p or 25p projects, drag the pointer across the start key number (Starting EC) and type a new start key number. 5. Click OK.
Chapter 10 Editing in Source/Record Mode The following illustration shows the Timeline after one video and one audio tracks have been added, with no material loaded in the Source monitor. You can add a Meta track for MetaSync editing, up to 24 tracks. For information about MetaSync, see “Using MetaSync” in the Help.
Setting Up a New Sequence Alternatively, you can do the following: • Deselect the Auto-create New Tracks option to have the existing tracks in the sequence remain the same when you edit in new source material. This allows you to create new tracks selectively as you edit, which is often preferable at the more advanced stages of a project. • Deselect the Auto-enable Source Tracks option to leave the tracks of newly loaded material in whatever state they were in when they were last loaded.
Chapter 10 Editing in Source/Record Mode To add filler anywhere in a sequence: 1. Click above the Source monitor, and select Load Filler from the Clip Name menu. The system loads a 2-minute clip of filler into the Source monitor. 2. Mark the length of filler, as needed. 3. Mark an IN point in the sequence as follows: n a. Move the position indicator in either the Timeline or the position bar of the Record monitor to the point where you want to splice the filler into the sequence. b.
Making an Edit For example, with a talking head you might select tracks V1 (picture) and A2 (sound) if the voice was recorded on that track. You would deselect track A1, that might have unwanted wild sound picked up from a second microphone or no sound at all. As another example, if you are laying down a music track first, you would select track A1 or A2 depending on where the music was captured, and deselect V1. 3. Click the Splice-in button to add the edit to the sequence in the Record monitor.
Chapter 10 Editing in Source/Record Mode Creating an Instant Rough Cut For additional information on editing directly from the bin into the Timeline, see “Bin Editing into the Timeline” on page 397. As an alternative to creating a new sequence by editing clips one at a time, you can quickly create a rough cut by selecting and loading multiple clips directly from the bin into the Record monitor by using the Shift key or Alt key.
Undoing or Redoing Edits Undoing or Redoing Edits You can undo or redo up to 32 previous actions listed in the Edit menu. You can quickly undo or redo a just completed command, or you can search through a submenu to undo or redo all commands leading back to a particular command. Undo/Redo commands for previous edit Prior Redo commands appear in the upper portion of the Undo/Redo List submenu. Prior Undo commands appear in the lower portion of the submenu.
Chapter 10 Editing in Source/Record Mode To undo or redo every edit and function back to a particular command: t Select Edit > Undo/Redo List, and then select a command. All the previous commands, including the command selected from the submenu, are undone or redone as appropriate. Editing Additional Clips into the Sequence There are three primary edit functions for adding material to your sequence.
Editing Additional Clips into the Sequence To perform an insert edit: 1. Load a clip into the Source monitor. 2. Mark an IN point and an OUT point. 3. Mark an IN point in the sequence as follows: n a. Move the position indicator in either the Timeline or the position bar of the Record monitor to the point where you want to splice the clip into the sequence. b. Click the Mark IN button, or press the Mark IN key.
Chapter 10 Editing in Source/Record Mode Performing a Replace Edit For information about mapping buttons, see “Understanding Button Mapping” on page 129. You use the Replace Edit button (blue) to replace a clip in the sequence (video, audio, or both) with new material from the Source monitor, while maintaining the original IN and OUT points of the previous edit. The Replace Edit button must be mapped to a button under the Record monitor before you begin to edit. To perform a replace edit: 1.
Using Phantom Marks Single-Mark Editing Single-mark editing (also called mark-and-park editing) allows you to establish a single mark, and then use the location of the position indicator to determine the second mark when making the edit. You can use this procedure in several ways to save steps: • You can mark an IN point in the Source monitor and then perform a splice-in, overwrite, or replace edit without marking an OUT point.
Chapter 10 Editing in Source/Record Mode When you enable phantom marks, the system displays blue mark IN or mark OUT icons in the position bars below both the Source monitor and the Record monitor. These phantom marks can indicate one, two, or sometimes three edit points calculated by the system to complete an edit. The following are sample scenarios. Setting One Mark In this example, you set only the mark IN on the source side.
Lifting, Extracting, and Copying Material Lifting, Extracting, and Copying Material Extract/Splice-in and Lift/Overwrite are Segment mode functions you can also use to remove and reposition segments. For more information, see “Understanding Segment Mode” on page 386. Lifting, extracting, and copying allow you to remove or reposition material quickly in your sequence.
Chapter 10 Editing in Source/Record Mode Extracting Material The Extract function removes selected material from a track in the sequence and closes the gap left by its removal. As a result, when you extract material, you shrink the duration of the track or sequence. Extracted Clip Y Before extract Clip X After extract Clip X Clip Y Material is placed in the Clipboard. Clip Z Track is shortened. Clip Z To extract material: 1.
Lifting, Extracting, and Copying Material Using the Clipboard The Avid Clipboard is a cut, copy, and paste tool adapted to the special needs of the editing environment. You can place a marked section of the sequence into the Clipboard at any time by clicking the Lift, Extract, or Copy to Clipboard buttons. The Copy to Clipboard function is useful for moving or repeating material in a sequence without moving multiple segments in Segment mode or for rebuilding the section at another location.
Chapter 10 Editing in Source/Record Mode Recovering Material from the Clipboard The Clipboard allows you to restore lifted or extracted segments quickly. This is especially useful if you have performed one or more edits since removing the material. In contrast, if you restore the material by using the Undo function, the system also undoes all edits performed in the meantime. The Clipboard provides the benefit of restoring the material while maintaining subsequent edits.
Playing the New Sequence n You can display the comments in the Timeline by selecting Clip Text from the Timeline Fast menu. 4. Click one of the Segment Mode buttons again to leave Segment mode. Playing the New Sequence After completing a rough cut, you can play the new sequence to see the results of your editing. You can view the sequence in the Record monitor or a Client monitor.
Chapter 10 Editing in Source/Record Mode To start a playback loop: 1. Mark IN and OUT points in the sequence. To play back the entire sequence, mark the IN point at the beginning and the OUT point at the end. 2. Press and hold the Alt key while pressing the Play IN to OUT key, or click the Play IN to OUT button in the Play tab of the Command palette. The playback loop begins and continues until you press the space bar or click anywhere with the mouse.
Playing the New Sequence Playing a Limited Duration of a Sequence Long sequences with many effects can be time-consuming to work with in the Timeline. Working with a shorter sequence can save time. The Play Length Toggle feature allows you to switch between playing the entire sequence and playing a limited duration centered around the current position of the sequence. When you use the Play Length Toggle feature, the Play button and Play Length Toggle button change to white.
Chapter 10 Editing in Source/Record Mode Playing a Sequence Using a Limited Play Length To play a limited duration of a sequence: 1. Map the Play Length Toggle button to a Monitor Command palette. 2. Set the play length. See “Setting a Limited Play Length” on page 363. 3. Move the position indicator to the location where you want to start playing the sequence. 4. Click the Play Length Toggle button.
Chapter 11 Using the Timeline Your Avid system represents each edit and effect in a graphical timeline structure to help you track and manipulate the elements of your sequence. The Timeline continuously updates as you work, displaying an extensive array of icons and information that you can customize in various ways. In addition, the Timeline has its own set of editing tools that you can use to create and revise edits and transitions across multiple tracks.
Chapter 11 Using the Timeline Understanding Timeline Views There are also a number of on-the-fly procedures for changing your view of the Timeline (such as the Zoom and Focus functions) that are not saved as part of a Timeline view. 366 You can customize your view of the Timeline to display a variety of information about your sequence as well as the clips and transitions it contains. You use the Timeline Fast menu to change the display.
Understanding Timeline Views • Film and animation editing: If you are working on a film or animation project, you can display the film track, show several frames in the sequence, and display sync breaks where they occur. • Editing for online: If you are editing offline with plans to generate an EDL and finish the sequence in an online videotape suite, you can track detailed clip and dupe-reel information by displaying clip text and enabling Dupe Detection.
Chapter 11 Using the Timeline Using the Timeline Fast Menu To create a custom Timeline view, you select various options from the Timeline Fast menu. The Timeline Fast Menu button appears in the lower left corner of the Timeline toolbar. To use the Timeline Fast menu: t Click the Fast Menu button, and scroll through the menu to select or deselect an option. Selected options have check marks next to them. You can select some options only from submenus.
Understanding Timeline Views Timeline Fast Menu Options Option Description Default Setup Returns Timeline display settings to the system default settings View Type Displays a submenu for selecting different segment display formats Wrap Around Allows the Timeline to wrap around in the Timeline window Track Panel Displays or hides the Track Selector panel Effect Icons Switches the display of effect icons Render Ranges Indicates unrendered or partially rendered effects; see “Customizing Render Ra
Chapter 11 Using the Timeline Timeline Fast Menu Options (Continued) Option Description Show Track Displays a submenu for displaying tracks More Detail Expands the Timeline horizontally around the position indicator Less Detail Shrinks the Timeline horizontally around the position indicator Show Every Frame Displays every frame in the Timeline if you select Show Track > Film Show Entire Sequence Shows the entire sequence within the Timeline Zoom Back Restores the Timeline to the previous view
Understanding Timeline Views You can use this feature to: • Reduce and view all the tracks in a multilayer sequence, and enlarge them when finished. • Enlarge all tracks to view waveform plots or other displays in multiple tracks. Moving a Track You can move a track to reposition it vertically relative to the Timeline. Surrounding tracks are repositioned above or below the track. You can save these changes with a Timeline view. See “Saving a Customized Timeline View” on page 375.
Chapter 11 Using the Timeline To hide the Timeline top toolbar: t Deselect Show Toolbar, and then click OK. Displaying Timecode Tracks in the Timeline When you are working with 24p or 25p projects (PAL with pulldown), you can display separate tracks for 24, 25, 25P, and 30 timecodes in the Timeline. You can also display an edgecode track in the Timeline. By default, the Timeline displays all the tracks.
Understanding Timeline Views A check mark indicates that Local is active. 3. Select Edit > Set Local Clip Color > color. 4. Click the Segment button. The assigned local color appears in the clip in the Timeline. Displaying Local and Source Colors in the Timeline You can display source colors and local colors for clips in the Timeline. Source colors are assigned to clips in bins and local colors are assigned to clips in the Timeline. By default, the Timeline is set to display no colors.
Chapter 11 Using the Timeline To highlight the clips that have offline media: 1. Click in the Timeline to activate it. 2. Click the Timeline Fast Menu button, and select Clip Color > Offline. Any offline media appears in red in the Timeline. n When working with nested layers, a clip that contains offline media appears red even if the missing media is nested many layers deep. Changing the Timeline Background Color To change the background color of the Timeline: 1.
Understanding Timeline Views n Show Locators affects only how the locator icons are displayed in the Timeline. The locators are not affected. To change the display of locators in the Timeline: 1. Load a sequence that contains locators into the Record monitor. 2. Click the Timeline Fast Menu button, select Show Locators, and then select the colors of the locators you want to display in the Timeline. The Timeline displays only those locators with the colors you selected.
Chapter 11 Using the Timeline Replacing a Timeline View If there are views you no longer use and would like to replace, use the following procedure. To replace a Timeline view: 1. Press and hold the Alt key while you click the Timeline View Menu button to display the list of saved view names, each appended with the Replace command. 2. From the list, select a view name that you want to replace.
Exploring the Timeline n For the Timeline to scroll, you might need to display more detail in the Timeline to expand the sequence. Click the slider and drag it to the right to expand the Timeline. All effect icons are hidden as you scroll. Timeline Settings Options In addition to the Timeline options available from the Timeline Fast menu, several options are available from the Timeline Settings dialog box.
Chapter 11 Using the Timeline The following figure shows the Timeline window. Track Selector panel Step Out Position indicator Segment Mode buttons Scale bar Step In Resize box Timeline scroll bar/position bar Toggle Source/Record in Timeline button Focus button Timeline Fast Menu button Timeline Window Using the Position Indicator The position indicator in the Timeline marks your place in the sequence. It also determines how some of your commands are interpreted.
Exploring the Timeline You can change the Timeline scroll bar to a position bar that acts like the position bar in the Record monitor, except that you can manipulate it without deactivating the Timeline window. To use the Timeline position bar: 1. Double-click Timeline in the Settings scroll list in the Project window. The Timeline Settings dialog box opens. For more information on the Timeline settings, see “Restoring the Default Timeline View” on page 376. 2.
Chapter 11 Using the Timeline Displaying Detail in the Timeline The scale bar stretches and contracts the Timeline area centered around the blue position indicator. This allows you to either zoom in to focus on a specific area of your sequence or zoom out to display your whole sequence. This feature is especially useful when you have a lengthy sequence with many edits.
Exploring the Timeline Zooming In and Out The Zoom In and Zoom Back commands in the Timeline Fast menu stretch out the Timeline like an accordion to allow you to focus on detail, but with the following differences: • The Zoom In command does not expand the Timeline incrementally, but allows you to select a portion of the Timeline of any size to instantly expand to fill the window. • The Zoom Back command does not shrink the Timeline incrementally, but instantly restores it to its former size.
Chapter 11 Using the Timeline Focusing the Timeline The Focus button also allows you to zoom in on a section of the Timeline. It is located in the Timeline toolbar next to the Timeline Fast Menu button. Focus button The Focus button allows you to center the position indicator quickly and expand the Timeline. The Focus button always expands the Timeline to a scale of 90 pixels per second. The position indicator is centered in the window.
Exploring the Timeline To resize the Timeline window: t Click the Resize box at the lower right corner of the window, and drag it. The Timeline expands to full-screen size. n To restore a resized Timeline window to its default position, click the Timeline and select Windows > Home. Resize box Notice that a Timeline with reduced tracks wraps around to show more of the sequence.
Chapter 11 Using the Timeline You can click in either window to activate it and bring it forward at any time, or you can click in the title bar of the Timeline window and drag it to the Bin monitor to place each window in its own monitor. n If the Timeline or Composer window is hidden behind another window, select the window again from the Tools menu.
Exploring the Timeline Viewing Video Qualities Using the Video Quality button in the Timeline bottom toolbar, you can play back media in three ways: n t Full Quality mode uses full-image resolution but can handle only limited effect complexity t Draft Quality mode allows you to view greater effect complexity in real time with a lower quality image t Best Quality mode provides maximum real-time effects with minimum image quality.
Chapter 11 Using the Timeline • To snap the selected segments to an edit point in the track above or below the current track, click a Segment Mode button, and then press Ctrl+Shift while dragging the segments. IN to OUT Highlighting in the Timeline When you mark a sequence with IN to OUT points, the system indicates the selection by highlighting the marked region in the Timeline. Only selected tracks are highlighted.
Understanding Segment Mode Observe the following guidelines when editing in Segment mode: • Transition effects on either side of a moved selection are deleted. Transition effects inside the selection are preserved. • You can track the audio while moving segments by pressing the Caps Lock key to enable audio scrub. For more information, see “Using Audio Scrub” on page 456.
Chapter 11 Using the Timeline Observe the following guidelines when selecting tracks: • You cannot simultaneously move segments that are separated along a track. You can, however, move segments separated on different tracks. • You cannot overlap the source and destination tracks. For example, you can move audio segments from A3 and A4 to A1 and A2, but you cannot move them from A3 and A4 to A2 and A3 (A3 overlaps).
Understanding Segment Mode When you draw a lasso the previous mode (Extract/Splice-in mode or Lift/Overwrite mode) is enabled. To switch the mode, click either the Extract/Splice-in button or Lift/Overwrite button, after drawing the lasso. Observe the following guidelines when lassoing segments: • Position the pointer above the tracks before dragging. If you click within the tracks, you simply relocate the position indicator to that position.
Chapter 11 Using the Timeline Understanding the Four-Frame Display When you begin to drag the segments, the interface changes to the Segment mode four-frame display: n • The Source and Record monitors change to a four-frame monitor display. The two outer frames are updated while you drag the segment forward or backward in the Timeline, indicating the frames you pass as you drag the segment.
Understanding Segment Mode When you drag the segments, the original highlighted segment remains in place, while a “ghost” segment enclosed in a dotted white box moves along with the pointer until you release it at a new edit point. When you release the segment into its new position, the actual lift (Overwrite) or extract (Splice-in) occurs. Until then, the segment position is preserved in the Timeline, allowing you to maintain your perspective of the sequence while selecting the new edit point.
Chapter 11 Using the Timeline Maintaining Sync in Segment Mode When you use Lift/Overwrite in Segment mode, filler is added to the sequence to maintain sync. When you move segments in the Timeline using Extract/Splice-in, the sync is broken. To maintain sync when you use Extract/Splice-in, select the Segment Drag Sync Locks option in the Edit tab of the Timeline Settings dialog box.
Understanding Segment Mode In the following example, an audio segment in track A2 is moved. The new location for the audio segment has filler added to the video track. All segments remain in sync. This segment will be moved. Before segment drag sync lock After segment drag sync lock Filler added after segment is moved. Filler left after segment is moved. Extracting/Splicing Segments Use Extract/Splice-in to move the selected segments in the Timeline without affecting any of the adjacent material.
Chapter 11 Using the Timeline To perform an Extract/Splice-in edit: 1. Click the Extract/Splice-in button in the Timeline toolbar. 2. Select the segments you want to move. 3. Click the segment, and drag it to its new position. Use the four-frame monitor display, the offset counter, and the segment image in the Timeline to carefully determine the new position. 4. Release the mouse button.
Understanding Segment Mode To perform a Lift/Overwrite edit: 1. Click the Lift/Overwrite button in the Timeline toolbar. 2. Select the segments you want to move. 3. Click the segment, and drag it to its new position. Use the four-frame monitor display, the offset counter, and the segment image in the Timeline to determine the new position. 4. Release the mouse button.
Chapter 11 Using the Timeline Marking Clips and Sequences in Segment Mode As an alternative to marking sections of the Timeline in Source/Record mode for deleting, copying, subclipping, rendering, or creating an EDL or digital cut, you can use Segment mode to mark segments quickly. To mark segments in the Timeline: 1. Click one of the Segment Mode buttons. In this case, it does not matter which Segment Mode button you click. 2. Click one or more segments to highlight a section of the sequence. 3.
Using Advanced Timeline Techniques Using Advanced Timeline Techniques There are several advanced techniques for displaying and editing in the Timeline that you can use in any combination, including: • Bin Editing into the Timeline • Bin Editing Directly into a Sequence Using the Keyboard • Cutting, Copying, and Pasting in the Timeline • Editing with the Film Track • Editing in Heads or Heads Tails View • Performing a Quick Edit Using the Top and Tail Commands Bin Editing into the Timeline For i
Chapter 11 Using the Timeline 4. When you find the right placement for the clip, release the mouse button. The Timeline reflects the new edit. n After the edit is completed, you remain in Segment mode until you click the active Segment Mode button again to deactivate it. Bin Editing Directly into a Sequence Using the Keyboard Bin editing allows you to bypass the process of loading clips into the Source monitor, setting marks, and clicking the Splice-in button or Overwrite button.
Using Advanced Timeline Techniques Cutting, Copying, and Pasting in the Timeline You can use the shortcut keys for cutting, copying, and pasting segments selected in the Timeline. To cut or copy and paste segments: 1. Select the segment by using one of the Segment Mode pointers. 2. Press Ctrl+C to copy, or Ctrl+X to cut. 3. Move the position indicator to the new IN point, and press Ctrl+V to paste the segment in the Timeline.
Chapter 11 Using the Timeline To quickly view more frames as you scroll: t Drag the resize box in the lower right corner of the Timeline for a fullscreen view. You can reduce the size of Timeline tracks to wrap the sequence around several times. As you continue to scroll, each strand of the Timeline wraparound is updated. Editing in Heads or Heads Tails View While in the early stages of editing a project, you can rearrange clips in the sequence visually by using Heads view or Heads Tails view.
Working with Multiple Tracks 3. Press and hold the Alt key, click the frames representing the clip you want to move, and drag the clip to its new position. The sequence is rearranged to match the changes you made. Performing a Quick Edit Using the Top and Tail Commands The Top and Tail commands allow you to perform quick edits to segments in the Timeline. Use the Top button in the Edit tab of the Command palette to extract footage from the start of the clip or segment to the position indicator.
Chapter 11 Using the Timeline While working with multiple tracks, you can use the Track Selector panel to select, manipulate, delete, lock, patch, and monitor your tracks. You can use multiple tracks to layer audio effects and sound or to add video titles and other effects, as described in this section. n Multiple video tracks do not immediately play back at the same time until you apply an appropriate effect that composites the layers.
Working with Multiple Tracks c n If you are creating a 30-fps project with plans to match back to create a film cut list, limit your use of tracks and effects to film standards, or conform the effects to optical printing standard durations after making a copy of the sequence and before generating the list. For more information on all types of effects editing, see “Basics of Effects Editing” in the Help. Understanding Nesting Occasionally, effects editing involves a procedure known as nesting.
Chapter 11 Using the Timeline “Track Selector Panel” shows the Track Selector panel. Source Track Monitor buttons Source Track buttons Sync Lock and Lock buttons Record Track buttons Record Track Monitor buttons Track Selector panel Timecode button Sync Lock All button Track Selector Panel The source side of the panel displays only those tracks available for the clip currently loaded and displayed in the Source monitor.
Working with Multiple Tracks There are five methods for selecting tracks: • Click the Track button of any inactive track to select the track. (To deselect the track, click the Track button of any active track.) • Drag a lasso around multiple tracks to select them at once. • With the Timeline active, select Edit > Select All Tracks to select all tracks on the record and source sides.
Chapter 11 Using the Timeline Monitoring Video The Video Track Monitor button determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing. When there are multiple video tracks, all tracks below the monitored track are active during playback. The Video Track Monitor button displays a Monitor icon when the track is monitored for playback and output.
Working with Multiple Tracks • A gold Speaker icon on the Audio Track Monitor button indicates that the track are not dropped when the play speed increases during scrubbing. By default, the two top Audio Track Monitor buttons display the gold Speaker icon. For more information about setting an audio track to ensure it is not dropped during scrubbing, see “Selecting Tracks for Scrubbing” on page 457.
Chapter 11 Using the Timeline To select a track for solo monitoring: t Ctrl+click the Track Monitor button for the selected track. The Track Monitor button changes to green with a black Monitor icon (video track) or black Speaker icon (audio track) to indicate solo monitoring. Video track selected for solo monitoring Audio track selected for solo monitoring To deselect solo monitoring: t Click the Track Monitor button again.
Working with Multiple Tracks To undo a patch: 1. Click in the Record monitor or Timeline. 2. Select Special > Restore Default Patch, or manually repatch to the previous track. The selected source track moves beside the record track to which it is patched as soon as you draw the arrow and release the mouse. The patched track remains highlighted in preparation for your edit. You can proceed to select any other tracks required for the edit.
Chapter 11 Using the Timeline Locking Tracks Locking tracks to prevent further editing is especially useful in circumstances such as the following: • For video or picture editing, you can lock tracks when you have completed a set of complex, multilayer edits and want to avoid making accidental changes while you work on adjacent tracks. • For audio editing, you can lock audio tracks containing sync dialog that should be maintained while you edit adjacent video tracks or audio tracks.
Working with Multiple Tracks Adding a Track Your Avid editor allows you to create up to 24 video and 24 audio tracks in the Timeline when building a sequence. You can monitor 8 audio tracks at a time. Before you perform a digital cut, you need to mix down the video and audio tracks to match the video streams and audio channels supported by your output device.
Chapter 11 Using the Timeline 4. Click OK. One of the following occurs: - The new track appears in the Timeline and in the Track Selector panel. - If you selected the number of an existing track in step 3, a dialog box asks if you want to insert the new track. Click Insert to add the new track below the current track with that number. The new track is labeled with the number you selected, and the existing tracks are renumbered in consecutive order. To add a custom name to a track in the Timeline: 1.
Working with Multiple Tracks Adding an Edit (Match Framing) The add edit function places an artificial edit point between frames of a clip. The edit appears in the Timeline as a transition between two clips, but when you play the clip, the footage appears unchanged because the frames are continuous. Add edit placed between frames 1 2 3 4 5 6 7 Footage plays back continuously. This form of edit is also known as a match frame.
Chapter 11 Using the Timeline The edit appears in the sequence with an equal sign to indicate a match frame. Equal sign indicates a match frame. n By default, the match-frame indicator is white. If a change in level occurs, the match-frame indicator changes to red. Adding Edits to Filler Clips You can add an edit to all tracks with filler, regardless of the track selection. To add an edit to filler clips at the position indicator: 1. Move e the position indicator to the selected frame. 2.
Working with Multiple Tracks 3. Select Clip > Remove Match Frame Edits. The Avid system removes the edits. c You cannot remove match-frame edits between segments in which segment effects and audio pan or volume adjustments have been applied. Alternatively, you can select the match-frame edit in Trim mode and press the Delete key.
Chapter 11 Using the Timeline 4. Mark an OUT point in the Source monitor to synchronize to the OUT point in the sequence. 5. Click the Overwrite button. The source material is added to the sequence, with the synchronized ending. Additional Offline Aids Your Avid system provides two features specifically designed to aid the offline editing process by helping you track and adjust edits to avoid extra work in the online suite. These features are Dupe Detection and Color Frame tracking.
Additional Offline Aids Orange bars mark the first set of duplicate frames, green bars mark the second set, and so on. You can use Dupe Detection while you are editing to locate duplicate frames, and remove them as the sequence evolves. To activate Dupe Detection: t Click the Timeline Fast Menu button, and select Dupe Detection. Dupe Detection is instantaneous and retroactive; if duplicate frames already exist in your sequence, the colored bars appear immediately.
Chapter 11 Using the Timeline • In 16mm film editing (using the multiple-strand method), labs sometimes use the zero-frame cutting method to avoid seeing each splice in a 35mm blowup print. In this method, the negative is conformed along with the handles so that the cuts appear as soft frame handles rather than jumps in the resulting 35mm blowup. Different labs have different standards depending on the equipment used; usually, a minimum of four frame handles is needed.
Additional Offline Aids 3. Click OK. The selected value is applied to the head and tail of every event. When you enable Dupe Detection during editing, the handles are added to the colored dupe indicators that appear in the Timeline.
Chapter 11 Using the Timeline To correct color-frame interruption as you edit: 1. Note any edits that cause the green lights to blink. You can adjust the edits now or place locators to return to these edits and correct them later. 2. To adjust the edit, enter Trim mode. In Trim mode, the Avid system displays small green boxes at the top corners of adjacent frames. When the color sync signals are in phase, the boxes are aligned horizontally.
Additional Offline Aids Finding Black Holes To find black holes: 1. Click the Timeline to activate it. 2. Select the tracks you want to search. 3. Move the position indicator to the beginning of the sequence or before the part of the sequence you want to search. 4. Select Clip > Find Black Holes. The position indicator moves to the first segment that contains filler. You can then edit or delete the filler, if necessary.
Chapter 11 Using the Timeline Printing the Timeline To print the Timeline: 1. Click the Timeline to activate it. 2. Select File > Print Timeline. The Print dialog box opens. n The name of the printer and details of the dialog box will vary, depending on your facility. 3. Select the Print options. 4. Click OK. The system prints the current view of the Timeline. You can also use the Print Timeline command to print the Timeline in Heads view or in Heads Tails view.
Chapter 12 Working in Trim Mode Basic editing in Source/Record mode and in the Timeline initially produces a rough cut, which is loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can enter Trim mode and fine-tune the transitions between each clip or between whole segments. You can also trim edits as you build a sequence rather than create a rough cut first.
Chapter 12 Working in Trim Mode From these Trim modes, you can perform many of the same functions, such as removing or adding frames, or slipping or sliding segments. n You can render transition effects while in Trim mode but you cannot render segment effects. If the position indicator is on a segment effect or if the marked portion of your sequence includes a segment effect, Render menu commands and buttons are not available.
Understanding Trim Mode Quick Trim Mode You can enter Quick Trim mode from the Record monitor for making quick adjustments to transitions in your sequence. Quick Trim mode replaces the Record monitor with smaller displays of outgoing and incoming frames.
Chapter 12 Working in Trim Mode Big Trim Mode Big Trim mode replaces the Source and Record monitors with displays of outgoing and incoming frames. Big Trim mode also shows transition playback loop parameters.
Understanding Trim Mode Small Trim Mode Small Trim mode leaves the Source monitor display intact but has smaller displays of outgoing and incoming frames. Outgoing frames Incoming frames Small Trim mode Frame offset counters Trim buttons Play Loop button Trim Settings Options There are several options available from the Trim Settings dialog box. To open the Trim Settings dialog box: t Double-click Trim in the Settings scroll list in the Project window.
Chapter 12 Working in Trim Mode Entering and Exiting Trim Mode You can enter Trim mode in several different ways, depending on the type of trim you expect to perform. You can also switch between Trim modes to access more controls when you are trimming footage. Entering Trim Mode By default, when you enter Trim mode, the system displays Big Trim mode. If you want to display Small Trim mode, select the Always use Small Trim mode option in the Trim Settings dialog box.
Entering and Exiting Trim Mode n Avoid lassoing more than one transition on a single track because lassoing left to right activates Segment mode, and lassoing right to left activates slip trim. This method is useful when you need to select multiple transitions staggered across parallel tracks (overlap cuts) for simultaneous trimming. Lasso drawn across three tracks Transitions are selected for dual-roller trim.
Chapter 12 Working in Trim Mode n The Play Loop button does not appear in Source/Record mode by default. You must map it to the keyboard or a palette in advance. For information on button mapping, see “Understanding Button Mapping” on page 129. Switching Between Quick Trim Mode and the Record Monitor When you click the Trim Mode button from the Record monitor, the system enters Quick Trim mode. If you click the Trim Mode button again, the interface switches back to the Record monitor.
Entering and Exiting Trim Mode Exiting Trim Mode To exit Trim mode at any time, do one of the following: t t Click the Trim mode button. Click the Source/Record Mode or the Effect Mode button. t Click a frame step, or press the Right Arrow key or Left Arrow key. t Press the Escape key to enter Source/Record mode by default. t Click a location in the Timecode (TC1) track at the bottom of the Timeline. The position indicator moves to that location. Click in the TC1 track.
Chapter 12 Working in Trim Mode Using Basic Trim Procedures The following sections provide basic trim procedures you can use when working in Trim mode: • Selecting Trim Sides • Selecting Video Tracks in Trim Mode • Audio Solo in Trim Mode • Selecting Additional Transitions • Performing a Basic Trim • Reviewing the Trim Edit • Reviewing an Edit • Trimming On-the-Fly • Dual-Image Playback During Trims • Trimming During a Playback Loop Selecting Trim Sides To select the sides of a transiti
Using Basic Trim Procedures Trim Counter A-side B-side Purple highlight indicates active side. The selected parts of the transition are highlighted, and the corresponding rollers appear in the Timeline. Also, one or both of the frame counter indicators below the monitors are highlighted to reflect the active trim sides: A-side, B-side, or both. The number indicates how many frames were added or subtracted from the transition.
Chapter 12 Working in Trim Mode Selecting Additional Transitions In Trim mode, you can select additional transitions for trimming in different contexts. To quickly select additional transitions on contiguous tracks for trimming on the same side: t Click the corresponding record-side track selectors in the Track Selector panel.
Using Basic Trim Procedures To quickly add multiple transitions to the currently selected transitions: t Press the Shift key and lasso the additional transitions. You can select and trim two heads or tails simultaneously, in any combination, for each track in the sequence. All selected transitions are trimmed the same number of frames. This allows you to save time and in some cases, maintain sync by performing a single-trim procedure across multiple tracks and transitions.
Chapter 12 Working in Trim Mode For greater control while performing a basic trim: t Press Ctrl+Alt as you drag one frame at a time. t Press the Ctrl key to snap to other transition points. As you trim, all selected transitions in the Timeline move in unison. The Trim counter displays the frame count backward or forward for one or both trim sides, and the monitors display the new incoming or outgoing frames.
Using Basic Trim Procedures Reviewing an Edit Edit Review button n The Edit Review command allows you to review an edit or other change that you made to a transition. The Edit Review button is in the Play tab of the Command palette. You can set how far the position indicator moves backward by using the Preroll option in the Play Loop tab of the Trim Settings dialog box. For more information, see “Trim Settings Options” on page 427. When you use the Edit Review command, the Avid system exits Trim mode.
Chapter 12 Working in Trim Mode 3. Use the J-K-L keys to step (jog), play, or shuttle through the footage at varying speeds: t Press and hold the K key while pressing the J or L key to step slowly backward or forward through the footage. When you find the frame where you want to relocate the transition, release the K key to complete the trim. t Press the J or L key once to play at normal speed, or more than once to shuttle at higher speeds.
Using Basic Trim Procedures Trimming During a Playback Loop An alternative method for trimming is to view the transition continuously in a playback loop and use the keyboard to adjust the transition in 1-frame or 10frame (8-frame for 24p) increments until you achieve the trim you want. You can perform this procedure in any of the Trim modes, using single-roller or dual-roller trims. To trim during a playback loop: 1. Click the Trim Mode button to enter Trim mode, and select transitions for trimming. 2.
Chapter 12 Working in Trim Mode Creating Overlap Edits You can use an overlap edit to smooth a transition by giving the viewer the illusion that the audio or video is shared between two separate but adjacent clips. Perform a dual-roller trim to create overlap edits. Audio overlap example Before trimming V1 A1 A2 Clip A Clip B Clip C After trimming V1 A1 A2 Clip A Clip B Clip C Clip B audio is extended. Clip C audio is trimmed in. To create an overlap edit: 1.
Extending an Edit Extending an Edit Use an extend edit to perform dual-sided (A-side and B-side) trims on selected tracks within Source/Record mode. An extend edit allows you to quickly create a split edit without entering Trim mode. It also allows you to establish the exact frame that you want to trim to by using the position indicator. (When you enter Trim mode, the position indicator moves to the nearest transition by default.) You can extend edits backward or forward in the Timeline.
Chapter 12 Working in Trim Mode The adjustment appears in the Timeline. Video track is extended backward. Slipping or Sliding Segments Slip and slide procedures are two unique Trim mode techniques that allow you to make frame-accurate adjustments to a selected segment. They do not affect the overall duration of the sequence or the sync relationships between multiple tracks. Procedures for performing slip and slide trimming are described in this section.
Slipping or Sliding Segments 3. To switch to slide trim, press and hold Shift+Alt while dragging the lasso from right to left around two or more transitions. IN OUT To select segments on a lower track: 1. Press and hold Alt while dragging a lasso around the segment. 2. To switch to slide trim, press Alt and double-click the segment. You can also select two or more contiguous segments within a track for slipping or sliding by dragging the lasso around four or more transitions.
Chapter 12 Working in Trim Mode The Slip/Slide Display Once you select the clips for slipping or sliding, the Trim mode interface changes to a four-frame display. For more information, see “Understanding the Four-Frame Display” on page 390.
Slipping or Sliding Segments The type of trim you perform (slip or slide) determines which frames are updated, as follows: • In slip trimming, the two inner monitors for the head and tail frames of the clip change because only the contents of the clip are adjusted. The frames that precede and follow the clip are not affected. Surrounding material remains fixed. Before slip Slip 1 frame to the right.
Chapter 12 Working in Trim Mode 2. Monitor the progress of the trim by using the monitors, the Trim counters, and the Timeline. When you reach the end of available material while slipping a shot, the trim stops. Similarly, when you reach the next transition while sliding a shot along a track, the trim stops. A red bracket at the transition indicates the limit. After completing the initial slide, you can perform another slide in the same direction. 3.
Maintaining Sync While Trimming Maintaining Sync While Trimming For more information about sync relationships as well as additional procedures for managing sync, see Chapter 14. n Because single-roller (A-side or B-side) trims shorten or lengthen the duration of the track being trimmed, any relationships that exist with other tracks downstream of the trim are thrown out of sync.
Chapter 12 Working in Trim Mode A black segment is added without changing the duration of sequence. No black is added and sync breaks appear in the Timeline. Trimming without adding black Black fills the trim duration and sync is maintained. Adding black while trimming After you have added black filler to a video track, you can replace the filler with footage by performing a replace edit. For more information, see “Performing a Replace Edit” on page 354.
Maintaining Sync While Trimming Trimming with Sync-Locked Tracks You can sync lock tracks to maintain a synchronized relationship when you perform a single-roller trim. Single-roller A-side trim Sync Lock icon Before trimming A1 A2 A3 After trimming A1 A2 A3 Maintains the relationship n Sync-locked tracks aid only single-roller trim functions in Trim mode because dual-roller trims do not cause sync breaks. To trim with sync-locked tracks: 1.
Chapter 12 Working in Trim Mode 2. Perform single-roller trims as necessary, with the following results: - When you trim the A-side of a transition forward, all other segments locked in sync move forward with the trim. If the transitions are staggered, this action might split one or more of the segments at the sync point established by the position indicator, leaving filler.
Using the Transition Corner Display Using the Transition Corner Display The Transition Corner Display is a Trim mode interface that shows six frames you can use as reference points when trimming a transition effect.
Chapter 12 Working in Trim Mode To trim a transition using the Transition Corner Display: 1. Select a transition effect for trimming: t t Lasso the effect in the Timeline from right to left. Click the Trim Mode button to enter Trim mode, and click in the transition in the Timeline. t Use the Go to Transition buttons to enter Trim mode, and step through transitions until you highlight the transition you want. 2. Click the Transition Corner Display button.
Chapter 13 Working with Audio You edit audio by using many of the same techniques and tools you use to edit video, including Source/Record mode, Segment mode, and Trim mode functions. Your Avid system also provides several unique features that facilitate audio editing, such as audio scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between speakers. In addition, you can adjust the high, low, and midrange frequency ranges of segments by using the Audio Equalization (EQ) tool.
Chapter 13 Working with Audio Exploring the Audio Tools The Avid system provides a collection of tools for managing and fine-tuning audio volume, pan, equalization, and transitions. The general purpose of each tool is as follows: • Audio tool: Use this tool primarily for adjusting and calibrating global input and output levels when you capture from analog sources or output to tape. For more information, see “Using the Audio Tool and Preparing for Audio Output” in the Help.
Audio Editing Aids To switch to another tool when one of the audio tools is already open: t Click the Effect Mode Selector pop-up menu, and select the new tool. Effect Mode Selector pop-up menu To keep more than one tool open at the same time: t n Select Tools > tool name, or click the Effect Mode Selector pop-up menu and Alt+click a new tool. To prevent confusion, the Avid system allows only one copy of an audio effect tool to be open at a time.
Chapter 13 Working with Audio Soloing Audio Tracks in the Timeline You can solo multiple tracks in the Timeline. Soloing audio tracks allows you to: • Listen to several tracks at once without turning the other audio tracks off or down. • Isolate audio tracks for audio scrubbing without having to deselect monitoring of all other audio tracks. For more information about audio scrubbing, see “Using Audio Scrub” on page 456.
Audio Editing Aids Smooth Scrub Versus Digital Scrub You have two options for scrubbing audio in either the sequence or the source material: • Smooth audio scrub: Mimics the variable pitch playback of traditional analog tape • Digital audio scrub: Takes advantage of the digital environment by sampling incoming frames, outgoing frames, or both at a normal pitch and playback rate Each type of scrub has its advantages: • Smooth scrub makes it easier to examine sound at varying speeds.
Chapter 13 Working with Audio To ensure an audio track is monitored during scrubbing: t Alt+click the Audio Track Monitor button in the Track Selector panel for the selected track. Audio Track Monitor buttons with gold Speaker icons The Audio Track Monitor button is purple with a gold Speaker icon to indicate which tracks can be played if the system has to drop tracks during audio scrubbing. By default, the two top Audio Track Monitor buttons display the gold Speaker icon.
Audio Editing Aids Using Digital Audio Scrub Digital audio scrub enables you to sample selected frames of incoming or outgoing audio as you move through the footage, without a change in pitch or speed. The following are unique characteristics of digital scrub: • The frames of audio you hear are always at your point of destination.
Chapter 13 Working with Audio To adjust the parameters for digital scrub: 1. Open the Audio Settings dialog box using one of the following procedures: t Double-click Audio in the Settings scroll list in the Project window. t If you have digital scrub parameters displayed in the second row of information above the Source or Record monitors, Alt+click the digital scrub parameters. Source-side digital scrub parameters Record-side digital scrub parameters The Audio Settings dialog box opens. 2.
Audio Editing Aids When you find the correct frame, mark the location, trim the transition, or perform any other function you choose. If you are sampling incoming frames (with the default scrub parameters, for example), the system places the position indicator at the head of the last sampled audio point. If you are sampling outgoing frames, the system places the position indicator at the tail of the last sampled audio point.
Chapter 13 Working with Audio - Sample plot: Displays the entire amplitude of the audio waveform. This is the same as the sample voltage values you would see on an analog oscilloscope waveform. Waveform sample plot After you make a selection, the waveform appears in the selected tracks. n Press Ctrl+period at any time during the redraw of the waveform plot to stop the redraw. 3.
Audio Editing Aids 4. Move through the audio shown in the waveform using any of the playback methods. You hear sound as you track the audio visually. When the position indicator is at the point you want in the waveform, you can mark, trim, or perform any other function. n n Audio waveform plots can slow your navigation through the Timeline. Therefore, you might want to use them selectively. To do this, you can create a custom Timeline view, as described in “Understanding Timeline Views” on page 366.
Chapter 13 Working with Audio 5. Click the Show Mismatched Sample Rates as Different Color pop-up menu, and select Yes. Depending on what sample rate you chose for your project, the color black is displayed on those clips. For example, if you selected 48 kHz from the Sample Rate pop-up menu in the Main tab in the Audio Project Settings dialog box, the sample plot of these clips (48 kHz) is displayed as black, and the sample plot of all other clips with different sample rates (32 kHz and 44.
Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline Muting the Audio The Mute button in the Play tab of the Command palette allows you to quickly turn all sound tracks on and off during editing. This is especially convenient when you fine-tune complex audio and video edits, making it possible to shift quickly between the two. You can set your audio levels and speaker volumes and mute them whenever necessary without changing the settings.
Chapter 13 Working with Audio The following illustration shows the Audio Mixer tool in Clip Gain mode and in Automation Gain and Pan mode. Audio Mixer Tool in Automation Gain and Pan mode Audio Mixer Tool in Clip Gain mode Auto button to switch between modes For additional information on adjusting audio volume in the Timeline, see “Audio Gain Staging and an Audio Editing Workflow” on page 468.
Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline The following illustration identifies the controls of the Audio mixer tool in Clip Gain mode. For information on Automation Gain and Pan mode, see “Understanding Automation Gain and Pan” on page 479.
Chapter 13 Working with Audio You can resize the entire Audio Mixer tool by dragging the edge or corner of the tool. You can resize the Audio Mixer tool only when the sliders are displayed. Audio Gain Staging and an Audio Editing Workflow You can adjust the volume or gain of an audio clip at several points during an editing session. For example, you can adjust volume using the Audio Mixer tool in Clip Gain mode and Automation Gain and Pan mode.
Using the Audio Mixer Tool to Adjust Volume and Pan in the Timeline For example, you have copied an audio file from a CD-ROM and you want to equalize the audio, but the overall volume is too loud. To lower volume, do the following: 1. Use the Audio Mixer tool in Clip Gain mode to lower the overall volume. 2. Apply an EQ effect and any other audio effects. 3. Use the Audio Mixer tool in Automation Gain and Pan mode to fine-tune the volume of different sections of the audio in the sequence.
Chapter 13 Working with Audio does not unrender the AudioSuite plug-in effect. This fits into the workflow because automation gain is used for finishing the audio levels. You need to hear how changes in the automation gain affect the rendered effects. You could add, render, and modify EQ and audio dissolves on the same clip and you still would not unrender the AudioSuite plug-in effect. However, if you change the clip gain on the same clip, the system unrenders the AudioSuite plug-in.
Adjusting Clip Gain and Pan Values The Audio Mixer tool in Clip Gain mode allows you to: • Adjust pan and volume for an individual clip, a whole track, several tracks at once, or a whole sequence. • Adjust the volume, pan, or both for one track at a time. • Adjust the volume, pan, or both for multiple tracks simultaneously by ganging them together. See “Ganging and Adjusting Multiple Tracks” on page 475. The system uses these adjustments for all playback, including output to a digital cut.
Chapter 13 Working with Audio n The Audio Mixer tool contains eight panels, one for each audio track that you can monitor and adjust. The Audio Mixer tool can display only tracks that exist in the sequence and are monitored, or tracks that were captured with the source clip. Only monitored tracks appear in the Audio Mixer tool. If a track does not appear, check the sequence to make sure the track is monitored. 4. Make sure the Auto button is deselected. 5.
Adjusting Clip Gain and Pan Values 9. Apply the adjustments to a chosen region of the track using the Fast Menu button located in the top bar of the tool. See “Applying Pan Value Adjustments” on page 474. 10. Play through the audio again, using the J-K-L keys. 11. Repeat steps 7 through 10 until you are satisfied with the pan and volume levels. The system uses the new settings whenever you play back or capture the sequence.
Chapter 13 Working with Audio Applying Pan Value Adjustments To apply the pan value adjustments: t n Click the Fast Menu button, and select a command as shown in the following table. Levels set in master clips carry across to the sequence after you edit the clips. Audio Mixer Fast Menu Commands Command Description Set Level on Track, Set Pan on Track Applies the same pan or volume levels currently set in the Audio Mixer tool to all segments in the marked regions of the tracks.
Adjusting Clip Gain and Pan Values n Clip gain values are the values for the entire segment; for example, you cannot set gain for a portion of a segment without affecting the entire segment. To set gain for a portion of a segment, use Automation Gain and Pan mode. For more information, see “Understanding Automation Gain and Pan” on page 479.
Chapter 13 Working with Audio Modifying Pan Values There are two basic ways to work with pan values: • Create or modify an audio pan/vol effect. This method creates an effect that is stored with the sequence. • Modify the way that the system interprets pan values during playback. Creating or Modifying an Audio Pan/Vol Effect To create or modify an audio pan/vol effect, do one of the following: n t Use the Pan pop-up sliders at the bottom of the Audio Mixer tool.
Adjusting Clip Gain and Pan Values Bypassing Existing Volume Settings You can have the system ignore the volume settings established with the Audio Mixer tool when playing back or recording a sequence. To turn off current volume adjustments, do one of the following: t Click the Bypass button in the Audio Mixer tool. t Click the Clip Gain button in the Bypass panel in the Output tab in the Audio Project Settings window (see “Audio Project Settings: Output Tab” in the Help).
Chapter 13 Working with Audio To adjust volume while playing an Audio Mix effect: 1. Do one of the following: t Select an existing Audio Mix effect. t Identify an area of the clip with IN and OUT points. t Place the position indicator over an audio clip. 2. Click the Audio Loop Play button in the Audio Mixer tool. The Avid system repeatedly loops through the selected area as follows: - If you have IN and OUT points on your sequence, the command loops over the selected area.
Understanding Automation Gain and Pan Improving Response Time To improve the response time, do any of the following: n t Monitor as few audio tracks as possible. t Deselect the video track, if practical. t Use IN and OUT points to select a narrow interval to adjust. For additional ways to change the volume while playing an Audio Mix effect, see “Recording Automation Gain or Automation Pan Information” on page 490.
Chapter 13 Working with Audio Adjusting Volume or Pan in the Timeline To use Automation Gain and Pan mode to adjust volume or pan: 1. Select an audio track for adjusting volume or pan. 2. Click the Timeline Fast Menu button, and select Audio Data > Auto Gain or Audio Data > Auto Pan.
Understanding Automation Gain and Pan 4. Click the Add Keyframe key on the keyboard (N) or the Add Keyframe button on the Tool palette to add keyframes along the Timeline. The Avid system adds a keyframe to each enabled track. A straight line appears in the selected audio track. The line shows the current gain level for that track in the Audio Mixer tool.
Chapter 13 Working with Audio Moving Automation Gain or Automation Pan Keyframes in the Timeline To move automation gain or automation pan keyframes in the Timeline: t n Click a keyframe and drag it up or down to increase or decrease the gain at that point. If there is a point at the same position on another enabled track, it moves also. To snap to the decibel lines, press and hold the Ctrl key while you drag the point. t Move a keyframe horizontally to move the start or end of a ramp.
Understanding Automation Gain and Pan Using an External Fader or Mixer to Adjust Volume and Pan Values n An external fader controller or mixer is optional. It is not required to perform Automation Gain and Pan recording.
Chapter 13 Working with Audio n On the Command|8, MCS-3000X, Yamaha 01V, and Yamaha 01V/96, the faders automatically adjust to the volume setting. 4. Move the corresponding fader to adjust the volume for the keyframe. For information on connecting a fader controller or mixer, see “Using an External Fader Controller or Mixer” in the Help. Adjusting the Pan of Individual Keyframes To edit the pan values for individual keyframes using a Command|8: 1. Click an audio gain keyframe. 2.
Understanding Automation Gain and Pan Understanding Automation Gain and Pan Mode This section describes Automation Gain and Pan mode in detail. The following illustration shows the Audio Mixer tool in Automation Gain and Pan mode.
Chapter 13 Working with Audio • Which Set of Tracks to Display in Mix Panes buttons: This button lets you select which enabled tracks are displayed in the mix panes. When you display 8 panes (with the Number of Mix Panes button), Grp 1 displays tracks 1-8. Click the Which Set of Tracks to Display in Mix Panes button to change it to Grp 2, which displays tracks 9-16. When you display 4 panes, each click of the Which Set of Tracks to Display in the Mix Panes button displays the next group of 4 tracks.
Understanding Automation Gain and Pan Track Solo and Track Mute Buttons The Track Solo and Track Mute buttons let you mute and solo individual audio tracks during Automation Gain and Pan recording.
Chapter 13 Working with Audio Colors Description Both lights are gray. Either there is no fader controller or mixer attached to the system or the Avid system does not recognize the fader controller or mixer. If the system does not recognize the fader controller or mixer, check the connection as described in the setup guide for your Avid system.
Understanding Automation Gain and Pan To apply the adjustments to multiple tracks: t Click additional Track Selection Menu buttons. Audio Mixer Tool Fast Menu To make the Audio Mixer Tool Fast menu active for a given track: t Click the Track Selection Menu button for that track in the Audio Mixer tool. The commands in the Fast menu appear dimmed until you select a track by clicking the Track Selection Menu button.
Chapter 13 Working with Audio - Adjust Auto Gain/Pan on Track: This command opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks. For example, if you type –1 in the Gain Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks are lowered by exactly 1 dB when you click OK.
Understanding Automation Gain and Pan To record automation pan information, do one of the following: t In the Audio Mixer tool, click the Pan Value display and drag the slider to adjust pan values while you play the clip. t Attach a Command|8 to the system, and use the pan knobs to adjust pan values for the active tracks.
Chapter 13 Working with Audio 8. Decrease the number of keyframes: a. Click the Track Selection Menu button for the track to enable the Fast menu. b. Click the Audio Mixer Tool Fast Menu button, and select Filter Automation Gain on Track or Filter Automation Pan on Track. 9. Repeat step 8 until you have decreased the number of keyframes to an acceptable level. You should remove as many excess keyframes as possible while still maintaining the volume changes.
Understanding Automation Gain and Pan Using an External Fader Controller or Mixer to Record Automation Gain To record audio gain information using an external fader controller or mixer: Position indicator lights 1. Attach the fader controller or mixer to your system (see “Configuring an External Fader Controller or Mixer” in the Help). The position indicator lights change to blue when the fader controller or mixer is on and correctly attached to the system. 2.
Chapter 13 Working with Audio 8. Click the Audio Loop Play button to play the clip and test your results. 9. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and select Filter Automation Gain on Track — In/Out. (Click the Track Selection button for a track to enable Filter Automation.) n If you delete too many keyframes, use the Undo command to restore them. 10. Repeat step 9 until you have decreased the number of keyframes to an acceptable level.
Using the Audio EQ Tool 10. Repeat step 9 until you have decreased the number of keyframes to an acceptable level. You should remove as many excess keyframes as possible while still maintaining the pan changes. Using the Audio EQ Tool The Audio Equalization (EQ) tool supports real-time, segment-based frequency equalization on individual clips. This feature allows you to adjust the high, low, and midrange frequency ranges of an audio clip.
Chapter 13 Working with Audio The Audio EQ tool opens.
Using the Audio EQ Tool • Render Effect button: Allows you to render an effect without leaving the Audio EQ tool. • Effect icon: Allows you to create an EQ template. Drag the icon to an open bin to create the template. • Fast Menu button: Allows you to perform the following tasks: • n - Set EQ for enabled tracks. - Remove EQ for one or more tracks. - Apply an effect template (see “Using Audio EQ Templates” on page 505).
Chapter 13 Working with Audio • The second band is the parametric midrange. This band has two bandwidth values, 1/4 octave and 2 octaves. These values control the width of the curve. For more information, see “Small Octave Range Example” on page 504. • The third band, the high shelf, has four turnover points (6 kHz, 8 kHz, 12 kHz, and 15 kHz). The high shelf affects all frequencies from the high shelf turnover point to 20 kHz. The horizontal center line of the graph is 0 (zero).
Using the Audio EQ Tool The following illustration shows the Audio EQ tool with the frequency response curve displayed and identifies the related areas of the tool.
Chapter 13 Working with Audio 5. Click and hold the Track Selection Menu button in the Audio EQ tool, and select a track to be adjusted. Track Selection Menu button The Track Selector panel in the Timeline is updated to reflect your selection. n If multiple tracks are enabled in the Timeline, then plus signs (+) appear next to the enabled tracks in the Audio EQ tool. 6. Click the Audio Loop Play button to play the currently selected audio clip within the current IN to OUT range.
Using the Audio EQ Tool - With no points: Apply the EQ effect globally (across entire tracks). The Audio EQ Tool Fast menu also allows you to remove EQ effects from one track or all enabled tracks and provides access to a number of predefined EQ templates. For a description of predefined audio templates, see “Using Audio EQ Templates” on page 505. For example, the following illustration shows a segment with one EQ effect applied to Audio Clip 2 in track A1.
Chapter 13 Working with Audio Set EQ In/Out applies only to the audio track currently selected by the Audio EQ tool. You can change your selected region by eliminating or adding marks in the Timeline, or by selecting a different track. 9. Play through the audio again, using the Audio Loop Play button. 10. Repeat steps 6 to 9 until you are satisfied with the EQ adjustments. Saving Audio EQ Effects The Avid system treats an EQ setting as an effect.
Using the Audio EQ Tool Removing Audio EQ Effects To remove an Audio EQ effect: 1. Move the position indicator to the effect in an active track. 2. Do one of the following: t In Source/Record mode, click the Remove Effect button. t In Trim or Effect mode, press the Delete key. You can also use the commands from the Audio EQ Tool Fast menu. Audio EQ Examples The following examples show two different ways to use the Audio EQ tool to remove excess bass from an audio track.
Chapter 13 Working with Audio To compensate for the loss of bass: 1. Use the 2-octave midrange setting to create a wide midrange. 2. Move the midpoint of the parametric curve to 88 Hz. 3. Boost the midrange of the parametric curve to +7.7 dB. Small Octave Range Example This example isolates the particular frequency that we want to deemphasize. In this example, we do not use the low shelf, but instead use the parametric midrange to isolate the frequency. To isolate the frequency: 1.
Using the Audio EQ Tool 3. Use the EQ Range slider to move the midpoint of the parametric curve until it isolates the bass frequency. In this case, the bass frequency that we want to deemphasize is approximately 80 Hz. Use the EQ Range slider to move the center point of the parametric curve and locate a specific frequency. To locate a specific frequency and either emphasize or deemphasize it: • Use the ¼-octave influence range and a large negative decibel value.
Chapter 13 Working with Audio The Fast menu on the Audio EQ tool provides access to a number of predefined EQ templates, as shown in the following illustration. The EQ templates are designed to fix problems that you often encounter with audio clips. For example, Tape Hiss Filter rolls off frequencies above 4 kHz. NTSC Hum Buster cuts the bass on frequencies that often cause hum on NTSC systems. Applying an EQ Template To apply an EQ template from the Audio EQ Tool Fast menu: 1.
Using the Audio EQ Tool The following illustration shows the contents of the Audio EQ tool when you select the Female Voice with Presence template in the Timeline. As explained in the tool, you cannot change the parameters of a predefined EQ template. n To see the parameter values of one of the EQ templates that cannot be edited, view the Console window after you apply the effect. To open the Console window, select Tools > Console.
Chapter 13 Working with Audio Adding an EQ Template to the Audio EQ Tool Fast Menu You can add your own EQ templates to the Audio EQ Tool Fast menu. You do this by storing your EQ template in the same bin as the predefined templates. The Avid system stores the predefined EQ templates in a special bin named Site_EQs_Bin.avb. Depending on your Avid product, this bin resides in the following folder: drive:\Program Files\Avid\Avid Media Composer Adrenaline\SupportingFiles\Site_Effects To add an EQ template to
Understanding Digidesign AudioSuite Plug-Ins Adjusting EQ While Playing an Audio Effect You can use the Audio Loop Play button to create or change an EQ effect while a clip is playing. Audio Loop Play button Use the same procedure as described in “Adjusting Volume While Playing an Audio Mix Effect” on page 477. Limitations If there is no existing EQ effect on the clip before you start, you do not hear any changes until you click the Audio Loop Play button to stop and replay the effect.
Chapter 13 Working with Audio For information on plug-ins that are not supported by your Avid system, see “Plug-in Limitations” on page 522. Installing AudioSuite Plug-Ins The Avid system installation software automatically creates a DAE™ (Digidesign Audio Engine) folder in the following location: drive:\Program Files\Digidesign\DAE The DAE folder contains the following: • A DAE Prefs folder. The plug-in vendor might install settings in this folder.
Understanding Digidesign AudioSuite Plug-Ins n AudioSuite Plug-ins supported by Avid are added to the AudioSuite Fast menu. If you have chosen a plug-in that is not officially supported by Avid, the plugin name is still added to the AudioSuite Fast menu, however, a ~ character precedes the name, informing you that this plug-in is not supported. If you attempt to use the plug-in, a dialog box appears informing you that this plugin is not supported and might cause an error.
Chapter 13 Working with Audio By default, the AudioSuite window displays the controls for applying a plugin to a clip in the Timeline. When you drop a master clip into the window, the window expands to display additional parameters for working with master clips. The following illustration shows the expanded view.
Understanding Digidesign AudioSuite Plug-Ins To apply an AudioSuite plug-in to a clip in the Timeline: 1. Open the AudioSuite window by doing one of the following: t Select Tools > AudioSuite. t If an audio tool is already open, click the Effect Mode Selector popup menu, and select AudioSuite. 2. Use the Track Selection Menu button to select the tracks that you want to modify. When you select an item from this menu, the system selects or deselects the corresponding track in the Timeline.
Chapter 13 Working with Audio Using a Plug-In Dialog Box The contents of the plug-in dialog boxes vary, but the top six buttons are always visible. If a particular button is not available, it appears dimmed. The following illustration shows the Digidesign Normalize plug-in. These six buttons appear on all AudioSuite Plug-In dialog boxes. The buttons are: • OK: Saves the effect and closes the dialog box. • Cancel: Closes the dialog box and does not save the effect.
Understanding Digidesign AudioSuite Plug-Ins AudioSuite Fast Menu The Fast menu allows you to perform the following tasks: • Apply an existing AudioSuite template (see “Using AudioSuite Effect Templates” on page 520). • Set, render, or remove AudioSuite plug-ins. The menu text differs, depending on whether you have IN to OUT points in the sequence. The following commands appear in the menu: • Global: There are no IN points on the segment. The command affects all the plug-ins on the enabled tracks.
Chapter 13 Working with Audio • Create new media that is longer or shorter in duration than the source media. This allows you to use effects that perform time compression and expansion. For example, you can use a Time Compression Expansion plug-in to change the length of the audio file, or you can lengthen the file in order to add a reverb trail. • Apply one mono AudioSuite effect to multiple inputs of a master clip in a multiple-mono fashion.
Understanding Digidesign AudioSuite Plug-Ins • Track Selection Menu button: This menu is not active in Master Clip Processing mode. • Clip Selection pop-up menu: This menu allows you to choose the active clip. It lists the current active clip and other clips you dragged into the AudioSuite window. The window controls change to reflect the active clip. • Input Source Track selectors: These buttons allow you to choose the input source tracks for the effect.
Chapter 13 Working with Audio • Load Result check box: This check box enables you to instruct the system to automatically load the resulting master clip into the Source monitor. • Handle Length for End of Master Clip (seconds) text box: This text box allows you to add filler at the end of a master clip. The value represents the number of seconds to add. For example, use this feature to add filler at the end of a master clip when you use a reverb effect to add a reverb trail to the end of the clip.
Understanding Digidesign AudioSuite Plug-Ins For mono processing, the system creates a new master clip with the same number of tracks that you selected in the AudioSuite window. For stereo and multichannel processing, the plug-in creates a master clip with the number of tracks equal to the number of output streams from the plug-in. For example, a plug-in that operates on stereo pairs creates a two-channel master clip.
Chapter 13 Working with Audio 5. (Option) Type a value in the Handle Length text box to lengthen the clip by a specific amount. For example, type 2 if you plan to add a 2-second reverb trail. n If you are using Time Compression/Expansion plug-ins, the plug-ins automatically lengthen or shorten the clip. 6. Click the Plug-In Selection pop-up menu, and select a plug-in. 7. Click the Activate Current Plug-In button to open the plug-in’s dialog box.
Understanding Digidesign AudioSuite Plug-Ins To use a template to modify a master clip: 1. Drag an AudioSuite plug-in template into the AudioSuite window. The Find Source From Effect button becomes active. 2. Click the Find Source From Effect button to load the master clip into the AudioSuite window. If a corresponding master clip exists, the system loads the master clip with its associated plug-in values. 3.
Chapter 13 Working with Audio Plug-in Limitations The following limitations apply to the AudioSuite plug-ins: • Some plug-ins that perform analysis passes on the audio data are not supported. This includes plug-ins that use playlist information to cache analysis data. • If you want to use plug-ins that change the length of an audio clip or that operate on multiple inputs at the same time, use the method described in “Creating New Master Clips” on page 515.
Understanding Recording Voice-Over Narration If the plug-in is not installed when you go to render a plug-in effect, the system displays an error message and tells you which plug-in is not installed. At that time, you can cancel or bypass the rendering process as previously described. Understanding Recording Voice-Over Narration Audio punch-in allows you to record audio directly into the Timeline for voice-over narration.
Chapter 13 Working with Audio Features of the Audio Punch-In tool are as follows: • Play In/Out button: Starts playing with the ability to perform a real-time punch-in. The play loops from the IN point to the OUT point but stops looping once recording is done. This button blinks bright green while playing. • Record button: Starts and stops the recording. If an IN point and OUT point are set, recording automatically starts at the IN point and stops at the OUT point.
Understanding Recording Voice-Over Narration • n The selected input channels are not used for playback. Do not select the same channels as mix output on the Audio Mixer tool. • n Input Channels buttons: Identify the channels on the audio hardware that are used for recording. Click the appropriate button to select the channel. The button changes to pink when it is selected. Alt+click the button to display a menu and select another channel.
Chapter 13 Working with Audio Creating the Voice-Over The steps below are general guidelines for recording audio punch-ins, regardless of your scenario. You should determine when to add the IN and OUT points, when to use the Play In/Out button, and when to use the Record button, based on your needs. To use the Audio Punch-In tool: 1. Load a sequence into the Timeline. 2. Select Tools > Audio Punch-In. The Audio Punch-In tool opens.
Understanding Recording Voice-Over Narration You can replace part (or all) of an existing track, or you can create a new track for the voice-over. IN point OUT point 6. Click the Play In/Out button or press the V key. Loop play begins over the entire sequence. If you set an IN point and an OUT point, loop play begins from the IN point to the OUT point. The Play In/Out button blinks bright green while playing. 7. When you are ready to start the voice-over, click the Record button or press the B key.
Chapter 13 Working with Audio The following illustrations show the results of adding a voice-over. The system automatically names the voice-over. You can change the name as you would for any clip (for example, change the name in the bin). Voice-over adding a new track Voice-over replacing a portion of a track n There are three Undo functions that can be performed during one session.
Understanding Recording Voice-Over Narration Scenario 3 – With no IN point or OUT point set, click the Record button continuously throughout your sequence. Click the Record button to start recording, and then click the Record button again to end recording. Continue this process to record multiple punch-ins. Monitoring the Recording You can use the Passthrough Mix tool to monitor audio while recording with the Audio Punch-In Tool. For more information, see “Using the Passthrough Mix Tool” in the Help.
Chapter 13 Working with Audio Voice-Over Media Files The Avid system automatically names the voice-over and stores it as an audio clip, as shown in the following illustration. Using a GPI Device with the Audio Punch-In Tool Your Avid system can send signals to a V-LAN® VLXi® deck controller and a general-purpose interface (GPI) device that trigger GPI actions. These signals are sent when playback begins and ends, and also when recording with the Audio Punch-In tool begins and ends.
Using a GPI Device with the Audio Punch-In Tool Understanding GPI Trigger Signals Your Avid system sends three different GPI trigger signals under the following circumstances: Trigger Signal Sent When Play Out Playback begins. Recording with the Audio Punch-In tool ends but playback continues because a postroll value is set in the Audio Punch-In tool (that is, the signal is sent when the Stop button in the Audio Punch-In tool changes to blue). Record Out Recording with the Audio Punch-In tool begins.
Chapter 13 Working with Audio Example of Linking GPI Actions to Trigger Signals For information on GPI actions, see “GPI Settings Options” on page 535. You can configure the GPI to respond to each signal sent by the Avid system in a specific manner.
Using a GPI Device with the Audio Punch-In Tool You must configure the V-LAN VLXi controller to work with the VLXi-GT GPI. Assign the VLXi-GT to a V-LAN node address between 16 and 19. LAN connections of more than 50 feet (15.24 meters) must have a terminator. For more information on configuring the V-LAN, see the Videomedia VLXi User’s Guide.
Chapter 13 Working with Audio To configure the V-LAN VLXi controller and the VLXi-GT GPI: 1. In the Project window, double-click the Deck Configuration Setting. The Deck Configuration dialog box opens. 2. Click Add Channel. 3. Click the Channel Type pop-up menu, and select VLAN VLX. 4. Click the Port pop-up menu, and select the serial port to which the V-LAN VLXi is connected. 5. Click OK. The autoconfigure message box opens. 6. Click Yes.
Using a GPI Device with the Audio Punch-In Tool GPI Settings Options Option Description Name The V-LAN VLXi name appears. Keep the default or type a new name. Description (Option) Add a description of the GPI trigger. Device Type Select V-LAN, the Avid-supported device type. Address Valid addresses on the V-LAN network are 16 through 19. This address must match the internal V-LAN address. Pulse Duration Pulse durations are expressed in milliseconds.
Chapter 13 Working with Audio GPI Node Settings Options (Continued) Option Description Action Select an action: • Set activates a command. • Reset deactivates a command. • Pulse switches the state for the amount of time set in Pulse Duration in the GPI Settings dialog box. Editing a GPI Setting To edit a GPI setting: 1. In the Project window, double-click the Deck Configuration Setting. The Deck Configuration dialog box opens. 2. Click the VLXi-GT text box. 3.
Fine-Tuning Audio Transitions Fine-Tuning Audio Transitions When making audio level and pan adjustments, the Avid system looks at either an individual clip in the Source monitor, a segment in the sequence, or entire tracks. To change level or pan settings in an area not defined by a discrete clip or group of clips, use the Add Edit function to define your own custom area. To isolate clip portions for adjustment: 1.
Chapter 13 Working with Audio Fading Audio To fade or crossfade audio, do one of the following: t Use the procedures described in “Understanding Automation Gain and Pan” on page 479. t Use the procedure described in this section. Fading and crossfading audio are easy effects to achieve. The procedure that differs most from analog editing is crossfading.
Fine-Tuning Audio Transitions 8. Click Add to move the effect to the transition point without rendering. Click Add and Render to do both at once. n In most cases, you can select Add and Render for immediate real-time playback of the audio effect (rendering of audio dissolves is usually instantaneous). The effect is completed. For more information on using the Quick Transition button, see “Using the Quick Transition Button to Create Effects” in the Help.
Chapter 13 Working with Audio Mixing Down Audio Tracks When you work with multiple audio tracks while editing your material, you might need to mix down the final audio to two tracks. To mix down several edited audio tracks to one or two audio tracks: 1. Load a sequence into the Record monitor. 2. Click the Track buttons in the Track Selector panel to select the audio tracks you want to mix down. 3. Mark an IN point and an OUT point at the start and end of the material you want to mix down.
Changing the Sample Rate 5. Do one of the following: t Select Mono, and select the target track to which you want to mix down the audio. t Select Stereo, and select two target tracks for the mixed-down audio. 6. Select a drive and a bin. The drive is the media drive where the system stores the media files for the mixed-down audio. 7. Select Save Premix Sequence if you want to save the sequence before mixing down the audio. 8. Click OK.
Chapter 13 Working with Audio - Target Drive: Identifies the drive for the new media files. Make sure that you choose a target drive with enough storage space for the generated media files and the ability to play back media. 4. Click OK. For information on setting the sample rate for a project, see “Adjusting Audio Project Settings” in the Help. Displaying Audio Formats in Bins You can select a bin heading to display the audio formats in the bin.
Chapter 14 Syncing Methods Your Avid system provides special tools that help you establish and maintain sync relationships between various clips. This includes managing sync between unrelated clips or clips with the same timecode, ganging footage, matchframing footage, and using Sync Point Editing.
Chapter 14 Syncing Methods Autosyncing Clips For more information on tracking sync breaks, see “Displaying Sync Breaks” on page 550. When you capture footage that includes both audio and video, the system automatically establishes sync when it creates clips in the bin. Autosyncing applies to audio and video clips that are captured separately, usually from two separate sources.
Using the AutoSequence Command To create an autosynced subclip: 1. Highlight the two clips in the bin. 2. Select Bin > AutoSync™. The Sync Selection dialog box opens. 3. Select an option, based on the following: - Film TC/Sound TC, if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working on a 24p or 25p project. - Inpoints, if you are syncing according to IN points set in both clips.
Chapter 14 Syncing Methods To establish syncing with the original videotape, filler is added where gaps in audio exist in the sequence. After you finish editing the audio, use the Digital Cut command to output only the audio onto the original videotape. The videotape now has synchronized audio and video for viewing. If you do not use AutoSync and the video clip timecode does not match the audio clip timecode, you should select only video clips when you use AutoSequence.
Resyncing Subframe Audio c n Make sure the video tracks are not enabled when you begin recording a digital cut. You can build a sequence without filler by pressing and holding the Alt key while you select Bin > AutoSequence.
Chapter 14 Syncing Methods n The batch import process does not create new clips; therefore, slipping at the perforation level is not available when you batch import audio clips from Avid application versions earlier than v10.5.3. • You cannot slip beyond the duration boundaries of the source master clip. • The sync adjustments you make are referenced in any cut list you output for any sequence that uses the adjusted subclip.
Managing Sync Breaks Managing Sync Breaks Sync breaks occur when a frame-accurate relationship between two clips or between the audio and video tracks within a single clip is offset during editing. Often this happens unintentionally when you perform one of the following actions: t Select only one track in a synced relationship (for example, audio only or video only), and perform edit functions that lengthen the duration, such as Splice-in, Extract/Splice-in, or adding frames in Trim mode.
Chapter 14 Syncing Methods Displaying Sync Breaks By default, the Timeline displays sync breaks whenever they occur during editing. They appear at break points as white numbers indicating negative or positive offset values relative to zero. The Sync Breaks option also displays match-frame edits by displaying an equal sign (=) on the edits.
Managing Sync Breaks Fixing Sync Breaks Sync breaks are displayed only when the out-of-sync tracks overlap. If an overlapping portion of one of the tracks is deleted, replaced, moved, or trimmed, then the sync break disappears. You fix sync breaks in one of several ways, based on the type of break and the needs of your sequence. Fixing Sync in Trim Mode For more information about trimming, see Chapter 12.
Chapter 14 Syncing Methods Fixing Sync in Segment Mode For more information on editing in Segment mode, see “Understanding Segment Mode” on page 386. In Segment mode, you can restore sync in some circumstances by selecting and moving the entire out-of-sync segment.
Managing Sync with Multiple Tracks You activate sync locking by clicking a Sync Lock button in the Track Selector panel to display the Sync Lock icon. You can also switch all sync locks on or off by clicking the Sync Lock All button. There are several unique aspects to sync locking: • In Segment mode, sync locking is controlled by the Segment Drag Sync Locks option in the Edit tab of the Timeline Settings dialog box and the Sync Lock icons.
Chapter 14 Syncing Methods To eliminate a sync break when the leaders do not line up: 1. Move the position indicator to the black segment that follows the out-ofsync leader. 2. Select the track, and then click the Mark Clip button. You can measure the break by checking the IN to OUT duration of the marked segment. Mark Clip allows you to measure the break. 3. To restore sync, find the point at which the sync was lost.
Managing Sync with Multiple Tracks The system adds a locator to the enabled tracks in the Timeline and in the Record monitor. Locators in sync Focus button 4. To add a note that will appear in the Record monitor whenever you park on the locator frame — such as Music sync or Sound Effect sync — double-click the locator in the Record monitor, and type your comments in the comment entry area of the Locator window. You can use the Find procedure to quickly go to a locator with text.
Chapter 14 Syncing Methods To use the Add Edit button while trimming: 1. Move the position indicator to the edit that you want to trim. 2. Select only the additional tracks that are in sync, and click the Add Edit button. The system adds a transition at the location of your position indicator in the Timeline. Add edits in black 3. Select the transition and trim (be sure to select all the synced tracks). As you trim, frames are added or removed from the additional tracks as well. 4.
Using Sync Point Editing Sync Point Editing requires two pieces of information: • Sync points: These are the points where the synchronized relationship between the source and record material is established. • Duration of the relationship: This is determined by the positions of the head and tail frames (and sometimes by the position indicator). Both marks are in one monitor, or one mark is in one monitor and the other mark is in the other monitor.
Chapter 14 Syncing Methods Ganging Footage in Monitors The Gang function does not combine tracks into a synced relationship but locks monitors in sync so that you can move through footage in two or more monitors simultaneously. This function is convenient for viewing and marking the sequence and source material simultaneously, based on syncing of the position indicators in each monitor. You can gang the Source monitor and any number of pop-up monitors with the Record monitor.
Match Framing Footage Match Framing Footage The Match Frame feature displays footage in the Source monitor that matches the frame selected in the sequence. Reverse Match Frame lets you load a source clip and locate its sync frame in the sequence. Like the Gang function, match framing does not create a permanent sync relationship between clips but provides you with a convenient way of locating, marking, and editing matching material.
Chapter 14 Syncing Methods 560
Chapter 15 MultiCamera Editing The Avid MultiCamera editing features allow you to incorporate multiple camera angle sources into the nonlinear editing process. Techniques for using these features are described in the following sections: • Understanding Grouping and Multigrouping Clips • MultiCamera Displays • MultiCamera Editing Techniques • MultiCamera Workflow Understanding Grouping and Multigrouping Clips The grouping and multigrouping procedures gather selected clips into a single unique clip.
Chapter 15 MultiCamera Editing • The MultiGroup function is designed primarily for situation comedies and similar productions that record multiple takes sequentially on the same source tapes. Multigrouping does not provide any benefit when you edit with clips that do not share common timecode or were not recorded sequentially, and might even cause the wrong clips to be grouped together.
Understanding Grouping and Multigrouping Clips 3. Select Bin > Group Clips. The Group Clips dialog box appears. 4. Select an option, based on the following: Option Description Film TC/Sound TC If you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. Inpoints If you are syncing according to IN points set in each clip. Outpoints If you are syncing according to OUT points set in each clip.
Chapter 15 MultiCamera Editing Creating Multigroup Clips Multigrouping is strictly for use in large multicamera productions, such as situation comedies, in which all synchronous camera shots are recorded with the same timecode. The MultiGroup function is a single Bin menu command that eliminates the time-consuming steps of collecting, sorting, grouping, and assembling large volumes of multicamera clips. To multigroup your material: 1. Sort the clips by name in the bin. 2.
MultiCamera Displays The system creates several group clips for each take in the bin, and then creates a multigroup clip from the groups. The multigroup clip has the same icon as the group clips, but the icon is preceded by a plus sign. MultiCamera Displays There are several displays that allow you to view and edit with multiple camera angles. You can edit with either group clips or multigroup clips in all of the displays.
Chapter 15 MultiCamera Editing Full-Monitor Display When you first load a grouped or multigrouped clip, the Source monitor displays a single frame from one clip in the group in Source/Record mode. This is called Full-Monitor display when working with group clips because you can view each angle in full-monitor size as you edit. The basic features of Full-Monitor display are as follows: 566 • Provides source-oriented control of multicamera material.
MultiCamera Displays Quad Split Source View Quad Split button After loading a group clip into the Source monitor, you enter Quad Split Source view by clicking the Quad Split button located in the Command palette in the MCam tab. The Source monitor splits into four camera angles of the group clip. A Group Menu icon appears in the second row of information above the Source and Record monitors.
Chapter 15 MultiCamera Editing • Swap Cam Bank button • Allows you to use the Quad Split button to switch the Source monitor between Full-Monitor display and Quad Split Source viewing and editing modes (editing functions are the same in both displays). Allows you to use the Swap Cam Bank button to switch the Quad Split Source view from one bank of four camera angles to another bank of four camera angles. The Multi-angle View menus allow you to change the camera angles of the split displays.
MultiCamera Displays The basic features of Nine Split Source view are as follows: Swap Cam Bank button • Provides source-oriented control of multicamera material. You can switch camera angles, play back (one camera angle at a time), cue, and mark material without affecting the sequence. • Provides the same Source monitor controls that are available when you edit other clips in Source/Record mode.
Chapter 15 MultiCamera Editing 4. Click the MultiCam Mode Client Monitor pop-up menu, and select Linecut. 5. Click OK. MultiCamera Mode After loading a group clip into the Source monitor and editing it to create a new sequence, select MultiCamera Mode from the Special menu to activate the features. The MultiCamera Quad Split Edit or MultiCamera Nine Split Edit is displayed, depending on whether you were in Quad Split Source view or Nine Split Source view before entering MultiCamera mode.
MultiCamera Displays When you play back multicamera material, you can cut by using the MultiCam keys to select different camera angles when stopped. The camera angles you selected with the MultiCam keys are recorded as cuts in the Timeline and are displayed in the Record monitor. Source monitor controls are disabled. Group Menu icon Gang icon changes to green.
Chapter 15 MultiCamera Editing • Provides special MultiCamera editing features that are available in FullMonitor display, Quad Split Source view, and Nine Split Source view. These features are described in “MultiCamera Editing Techniques” on page 573. • Allows you to cut between clips as you would during live switching of a show. • Provides a list of all group clip video and audio tracks in the Group menu for custom selection and patching.
MultiCamera Editing Techniques MultiCamera Editing Techniques When you load a group or multigroup clip into the Source monitor and begin editing, the Timeline adds a unique identifier to indicate the presence of a group. The system uses the name of the clip within the group to identify the clip in each cut, and adds a G in parentheses to indicate the group. (G) indicates a group clip.
Chapter 15 MultiCamera Editing Editing and Playing Back a Linecut in MultiCamera Mode You can edit and play back a linecut while in MultiCamera mode. You can also switch between singular and multi-angle playback without exiting MultiCamera mode. n The client monitor displays only SD multicamera sequences. You can view playback of HD multicamera sequences in the Source monitor only.
MultiCamera Editing Techniques To add edits: 1. Load the group or multigroup clip into the Source monitor and splice it into a sequence. 2. Play the sequence. Each time you want to make an edit, stop and press the Add Edit key. The edits appear in the Timeline. Play the sequence repeatedly to add more edits, or remove edits in Trim mode by lassoing them in the Timeline and pressing the Delete key. 3.
Chapter 15 MultiCamera Editing In addition, you can select the Audio Follow Video option from the Group menu to instruct the system to switch both audio and video for each camera angle or selective camera style. The Group Menu icon changes to green when you select the Audio Follow Video option. Audio Follow Video overrides the track selection beside the Timeline and switches audio in track A1 only.
MultiCamera Editing Techniques To select an additional clip from the group to appear in one of the multisplit displays: 1. Press the Ctrl key to activate the display of clip names in the multi-split displays. 2. Ctrl+click the multi-split display where you want to show the new clip. The clips in the group are listed in the Multi-angle View menu. Select additional angles from the Multi-angle View menu. 3. Select the clip you want to display from the Multi-angle View menu.
Chapter 15 MultiCamera Editing MultiCamera Workflow The Avid MultiCamera editing feature allows you to do selective camera cutting. Selective Camera Cutting Selective camera cutting involves marking and editing source material into the sequence, much as you build a sequence by using nongrouped clips in a normal session. You can play, cue, and mark clips on the source side, and then splice, overwrite, and trim clips in the sequence.
MultiCamera Workflow 6. To replace a portion of the take with a part from another take, use the timecode notes again to cue the take, set marks, and perform a replace edit. 7. When you are finished with a scene, repeat the procedure for each additional scene in the sequence.
Chapter 15 MultiCamera Editing 580
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Numerics 1394 capturing directly through 297 16:9 display for 24p editing 276 for 25p editing 276 option 276 24p editing projects creating 47 displaying timecodes in 180 25i PAL editing projects creating 48 25p editing projects creating 47 displaying timecode in 180 30i NTSC editing projects creating 48 A A2 timecode option described 279 Absolute timecode described 279 Add Alt Key button 131 Add Comments command (Clip Name menu) 360 Add Control Key button 131 Add Dissolve
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ multiple tracks 475 offset between audio and video playback 287 pan in the Audio Mixer tool 471 pan, using an external fader or mixer 484 take lines in the Script window 258 volume and pan in the Timeline 479 volume in the Audio Mixer tool 471 volume, using an external fader or mixer 483 Align Selected to Grid command (Bin menu) 190 Align to Grid command (Bin menu) 167, 190 Aligning columns in a bin 167 Appearance Interface settings button shading depth 103 Archive to Vide
ABCDEFGHIJKLMNOPQRSTUVWXYZ Fast menu for Automation Gain and Pan 489 Fast menu for Clip Gain 474 resizing 467 Audio Pan/Vol effect creating 476 Audio Project settings 77 Audio Punch-In tool 523 using a GPI device with 530 Audio sample rate changing during a consolidation 213, 216 changing for a clip or sequence 541 Audio scrub 456–460 Audio settings Default Pan options 141 described 77 Digital Scrub options 459 Audio Settings dialog box 141, 460 Audio solo feature in Trim mode 433 monitoring solo track 408
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Backups Avid Attic folder 42, 42 Bandwidths in Audio EQ tool 498 Bars and tone preparing for capturing 194 Big Trim mode described 426 switching with Small Trim mode 430 Bin Column Selection dialog box 167 Bin display 144 Bin editing in Segment mode 397 using the keyboard 398 Bin Fast menu described 151 Loop Selected Clips command 292 Bin headings modifying data in 171 setting audio format in 542 Bin settings described 78 Bin View settings column headings 182 described 78
ABCDEFGHIJKLMNOPQRSTUVWXYZ Add Scene (Script window) 246 Audio Marks 317 changing separation of 105 changing shading depth of 103, 104 changing style of 106 Clear Both Marks 314 Clear IN Mark 314 Clear OUT Mark 314 Edit Review 437 Find Bin 338, 339 Find Frame 340 Focus 382 for controlling playback 306 Gang 558 Go to Next Locator 323 Go to Previous Locator 323 Grid 129 mapping user-selectable 129 Mark IN 314 Mark Locators 323 Mark OUT 314 Mute 465 New Project (Select Project dialog box) 47 Next In Group 573
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Bypass volume settings 477 Bypassing pan settings 476 volume settings 477 C Calculator command (Tools menu) 134 Calculator tool 134 Calibrate Hardware Sliders command (Audio Mixer Tool Fast menu) 490 Camera setups in the lined script 235 Capture settings 78 Capturing bars and tone 194 Center Pan command (Clip menu) 141 Change Sample Rate dialog box 541 Change Scene/Page dialog box 247 Changing background color in bins 188 in the Composer window 101 bin font 108 font in th
ABCDEFGHIJKLMNOPQRSTUVWXYZ marking with IN and OUT points 313 moving 153 multigroup creating 564 playing in a loop 292 in Script view 192 using buttons 306 rearranging in Frame view bin display 189 in Script view bin display 192 relinking 226 relocating with Match Frame 336 searching for text in 335 selecting 152 sifting 157 tracking the duration of 280, 281 Closing bins 70 projects 59 the Project window 66 the Script window 240 Color assigning local colors in the Timeline 372 assigning source color in bin
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Creating See also Editing, Deleting a folder in a project 68 an Audio Pan/Vol effect 476 an emergency repair disk (ERD) 36 an instant rough cut 350 bins 68 group clips 562 leader 197 multigroup clips 564 overlap edits 440 playable sequence from clips with different target resolutions 213 projects 47 subclips 316 Criterion pop-up menu (Custom Sift dialog box) 158 Crossfading audio 538 Custom Sift command (Bin menu) 158 Custom Sift dialog box 158 Customizing appearance of us
ABCDEFGHIJKLMNOPQRSTUVWXYZ Delete (script integration) 248, 257 Delete Media Files 207 exploring 123 Film Settings 49 Find 335 Group Clips 562 Left Margin 242 Media Tool Display 205 Modify 175 New Project 47 Open 70 Quick Transition 538 Read Audio Timecode 142 Restore from Videotape 224 Script Settings 239 Select 343 Set Bin Display 144 Set Font 108, 242 Sync Selection 545 Tape Lengths 221 Timeline Settings 377 View Name (bin) 151 View Name (Timeline) 375 Digidesign AudioSuite plug-ins See AudioSuite plug-
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ types of selective camera cutting (MultiCamera) 578 with film track 399 with the Script window 266 Edits See also Editing, Creating, Deleting, Specific edit modes adding (match-framing) 413 backtiming 415 copying to Clipboard 358 extending 441 Extract 358 Extract/Splice-in (Segment mode) 394 instant rough cut procedure 350 Lift 357 Lift/Overwrite (Segment mode) 394 Overwrite 353 Replace 354 reviewing 437 undoing or redoing 351 Effect mode in the editing workflow 33 Effects
ABCDEFGHIJKLMNOPQRSTUVWXYZ File names for Avid Projects folder 39 for Avid Users folder 39 Fill Sorted command (Bin menu) 190 Fill Window command (Bin menu) 190 Filler adding during a trim 447 to a sequence 347 setting the duration of 347 Film options matchback 49 selecting 47 preferences setting 49 scene workflow 143 Film dailies method, creating bins for 72 Film projects, creating bins for 72 Film settings described 78 Film track, editing with 399 Filter Automation Gain command (Audio Mixer Tool Fast men
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ with timecode offset 333 rearranging in Frame view 189 in Script view 192 Frequencies (audio), adjusting 495 Full-frame display 292 Full-Monitor Display 566 Full-screen Timeline 382 G Ganging footage in monitors 558 Ganging, multiple tracks in the Audio Mixer tool 475 Gathering format elements 193 General settings described 79 General-purpose interface (GPI) device configuring with VLAN-VLXi controller 533 trigger signals 531, 532 using 530 using with V-LAN VLXi controlle
ABCDEFGHIJKLMNOPQRSTUVWXYZ Interface components changing button shading depth of 103 Interface settings (Appearance tab) changing button and toolbar shading depth of 104 changing button separation of 105 changing button style of 106 changing color of 101 changing shading style of 103 changing text font and size of 107 described 101 Interface settings (General tab) described 79 J J-K-L keys (Three-Button Play) 310 JL Cooper fader controllers 483 JL Cooper FaderMaster Pro MIDI automation controller 483 JL C
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ exporting 327 importing 327 printing 332 sorting locators in 326, 326 Lock Bin Selection command (Clip menu) 162 Lock icon in the Track Selector panel 409 Lock Tracks command (Clip menu) 410 Locking and unlocking bin items 162 bins on the Avid Unity Network 118 tracks 410 Log files importing from film-to-tape transfer systems 150 Logging errors to the Console window 135 Loop Selected Clips command (Bin Fast menu) 292 Low shelf in Audio EQ Tool 497 LTC (longitudinal timecod
ABCDEFGHIJKLMNOPQRSTUVWXYZ overview 201 manipulating with the Media tool 204 relinking 226 restoring from videotape 223 unlinking 231 voice-over 530 Media offline, relinking 226 Media relatives selecting in the bin 163 Media tool basic features of 204 opening 205 Media Tool command (Tools menu) 205 Media Tool Display dialog box 205 Media Tool Fast menu 204 MediaManager settings for 202 specifying settings 203 using 202 MediaNetwork Avid Unity 114 Memory information 94 Memory window for checking system perf
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Remove Automation Gain (Audio Mixer Tool Fast menu 490 Remove Clip Gain (Audio Mixer Tool Fast menu) 474 Remove Pan (Audio Mixer Tool Fast menu) 474, 490 Remove Pan/Vols (Audio Mixer Tool Fast menu) 474, 490 Restore Default Patch (Special menu) 409 Reveal File (File menu) 225 Reverse Selection (Bin menu) 208 Select All Tracks (Edit menu) 405 Select Media Relatives (Bin menu) 164 Select Offline Items (Bin menu) 163 Select Sources (Bin menu) 164 Select Unreferenced Clips (Bi
ABCDEFGHIJKLMNOPQRSTUVWXYZ switching camera angles in 573 techniques 573 workflow options 578 Multigroup clips creating 564 Multilevel sorting of columns 179 Multiple tracks adjusting and ganging 475 Multiple tracks, working with 401 Muting audio 465 MXF choosing at target audio format for transcode 215 N Narration, recording voice-over 523 National Television Standards Committee (NTSC) video editing format 47 Navigation keys for dialog boxes and menus 124 Nested effects 403 Nesting effects 403 New Audio
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Pan adjustment bypassing 476 Parametric midrange in Audio EQ tool 498 Pasting in the Timeline 399 segments 399 text in the Script window 245 Patching tracks described 408 Pause button 306 Perforation level, slipping audio at 140 Phantom marks 355 Phase Alternating Line (PAL) video editing format 47 PICT files of bars, importing 195 Picture tracks, monitoring 405 Play button 306 Play button (Script window) 258 Play Delay, adjusting 287 Play Loop button 430 Play Reverse butt
ABCDEFGHIJKLMNOPQRSTUVWXYZ Projects backing up 59 browsing for 53 changing formats 93 closing 59 creating new 47 deleting 41 opening 55 opening automatically 53 relinking media files for 230 saving 59 selecting a private 50 selecting a shared 51 sharing on Avid Unity MediaNetwork 114 video, using script integration in 237 Projects folder See Avid Projects folder Q Quad Split button 567 Quad Split display 567 Quad Split Source view 565 Quick Transition button 538 Quick Transition dialog box 538 Quick Trim
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Restoring default settings 87 files from backup 60 media files from videotape 223 Restricted characters in project names 47, 69 Retrieving files 42, 42 Reveal File command (File menu) 225 Reverse match frame 337 Reverse Selection command (Bin menu) 208 Reviewing trim edits 436 Revising, scripts 268 Rewind button 306 Right Arrow key moving through footage with 312 navigating with 124 Rollers See Trim mode Rough cut, creating in one step 350 Rounding buttons and toolbars 103
ABCDEFGHIJKLMNOPQRSTUVWXYZ adjusting margins in 241 take lines in 258 changing font in 108, 242 scene or page numbers in 247 cutting, copying, and pasting text in 245 deleting slates in 255 takes in 257 displaying clip and sequence information from 241 take numbers in 257 editing with 266 exploring 241 finding bins from 266 finding clips from 265 hiding slate frames in 253 holding slates on screen in 252 indicating off-screen dialog in 259 interactive screening in 268 linking clips to 249 loading takes fro
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ in the Timeline 404 Sequence information displaying, in a Script window 241 Sequences adding comments to 360 adding tracks to 345 changing start timecode for 344 changing the audio sample rate 541 consolidating 211 copying 153 creating playable 213 deleting 154 displaying information about 281, 344 duplicating 152 finding original bin for 339 locking in a bin 162 making the first edit in 348 marking IN and OUT points in 313 moving 153 playback loop in 361 playback performa
ABCDEFGHIJKLMNOPQRSTUVWXYZ MM Host 79 MM User 79 PortServer 79 Render 79 Script 79 summary of contents 77 Timecode Window 80 Timeline 80 Timeline View 80 Trim 80 Video Display 80 Workspace 80 Shared project, selecting 51 Shortcut menus 36 Show All Takes command (Script menu) 254 Show Every Frame command (Timeline Fast menu) 399 Show Frames command (Script menu) 253 Show Locators command (Timeline Fast menu) 374 Show Track submenu (Timeline Fast menu) 399 Showing bin columns 167 Timeline top toolbar 371 Shu
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ SPE See Sync Point Editing Splicing a script range 268 Split edits (Overlap edits) audio 317 creating 440 using extend edits 441 Spreadsheet, for reporting statistics 100 Start timecode, changing 344 Starting a project 31 Starting the application 46 Starting the Avid application 44 Statistics displaying drive space 100 file structure and layout 97 imported into a spreadsheet 100 printing 96 sample file 97 viewing 96 Statistics folder 96 Stepping by single-field 308 to cont
ABCDEFGHIJKLMNOPQRSTUVWXYZ changing representative frame for 257 deleting 257 described 236 displaying numbers for 257 loading 258 loading from script marks 264 playing 258 removing color indicators from 260 off-screen indicators from 259 showing one per slate 254 Tape Lengths dialog box 221 Taskbar 36 Telecine, importing log file from 150 Test patterns, importing 195 Text in the Script window changing font of 108, 242 cutting, copying, and pasting 245 linking clips to 249 removing 246 searching through 24
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ viewing in 291 working with multiple tracks in 401 zooming in and out of 381 Timeline settings described 80 options 377 Start Filler Duration option 347 Timeline Settings dialog box 379 Timeline view customizing 366 examples of 366 replacing 376 restoring default 376 saving 375 Timeline View pop-up menu 375 Tips playback performance 362 Toggle Source/Record in Timeline button (Timeline) 384 Tool palette displaying text labels 289 using 288 Toolbar, top Timeline 371 Tools A
ABCDEFGHIJKLMNOPQRSTUVWXYZ Trash emptying 72 moving bins from 71 viewing contents of 71 Trim adding filler during 447 during a playback loop 439 edits, reviewing 436 maintaining sync during 447 on-the-fly 437 sides, selecting 432, 437 slip and slide procedures 442 with sync-locked tracks 449 Trim mode basic procedures in 432 Big Trim mode switching with Small Trim mode 430 customizing 424 described 423 entering 428 exiting 431 in the editing workflow 33 playing transition loop parameters in 436 Quick Trim
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ V Variable-speed play See Playback Video displaying in monitors 303 leader creating 197 using to maintain sync 553 syncing 140 tracks monitoring 405 number of supported 401 trimming 433 Video Display settings 80 Video projects using script integration in 237 Video Quality Menu button 299, 301 Video solo feature 408 Videotape archiving media files with 218 capturing bars and tone from 195 restoring media files from 223 View Name dialog box (bin) 151 View Name dialog box (Ti