Avid Media Composer ® ® ™ Adrenaline HD Input and Output Guide 1
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Contents Using This Guide. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Double-Checking the Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Tips for Logging Preroll, Logging Timecode, and Naming Tapes . . . . .
Selecting the Preroll Method . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Capturing Across Timecode Breaks . . . . . . . . . . . . . . . . . . . . . . . . 73 Capture Settings: Media Files Tab . . . . . . . . . . . . . . . . . . . . . . . . . 74 Capturing to Multiple Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 General Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Transfer Settings for Film Projects . . . . . .
Selecting a Custom Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Preparing for Audio Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Adjusting Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103 Saving the Audio Project Settings as Site Settings . . . . . . . . . . . 104 Selecting the Audio File Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 Using the Audio Tool . . . . . . . . . . .
Creating Subclips While Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 Adding Locators On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132 Adding Clip Names and Comments On-the-Fly . . . . . . . . . . . . . . . . . . 133 Controlling Decks from the Keyboard. . . . . . . . . . . . . . . . . . . . . . . . . . 133 Mapping the Record Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Decompose When Recapturing . . . . . . . . . . . . . . . . . . . . . 158 Recapturing the Sequence Without Using Decompose . . . . . . . . 160 Relinking Clips by Key Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161 Modifying the Pulldown Phase After Capturing . . . . . . . . . . . . . . . . . . . . . 164 DV Scene Extraction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 Setting Up DV Scene Extraction Before Capturing . . . . . . . . . .
Calibrating for Video Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Using the Factory Preset Buttons . . . . . . . . . . . . . . . . . . . . . . . . . 195 Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Advanced Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . 200 Calibrating the System with Passthrough Signals . . . . . . . . . . . . . 201 Preparing for Audio Output. . . . . . . . . . . . . . . . . . . . . . . . .
Performing an Insert Edit with Pulldown . . . . . . . . . . . . . . . . . . . . . . . 230 Digital Cuts and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 Changing the Default Pulldown Phase for Sequences . . . . . . . . . . . . 232 Using DV Digital Cut Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 Using EDL Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 Using the Matchback Option . . . . . . .
Exporting As an OMFI or an AAF File . . . . . . . . . . . . . . . . . . . . . . . . . 254 Improving Workflow Using Send To . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Send To Digidesign Pro Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Send To DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Send To Sorenson Squeeze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 Send To Avid | DS . . . . . . . .
HDTV Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Film-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 Video-Based Television Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 Broadcast Graphics Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Starting an HD Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tables Supported Resolutions and Hardware Configurations . . . . . . . . . . . . . . . . . 25 Compatible Log Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Film Project Pulldown and Transfer Settings . . . . . . . . . . . . . . . . . . . . . . . . 96 Audio Tool Components . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Video Input Tool Components. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide The Avid® Media Composer® Adrenaline™ HD Input and Output Guide presents information to help you bring material into your Avid system and send material out. Material for input includes video footage, film footage transferred to video, graphic images, audio, and other elements you use to create a sequence. Material for output includes sequences, clips, individual frames, and audio, either as a work in progress or as a finished piece.
Using This Guide • Chapters 2 through 7 include conceptual information and step-by-step procedures for all aspects of input and output. • Appendix A includes information on working with HD media. • An index at the end of this manual helps you locate the information you need.
If You Need Help Symbol or Convention Meaning or Action Click Quickly press and release the left mouse button (Windows) or the mouse button (Macintosh). Double-click Click the left mouse button (Windows) or the mouse button (Macintosh) twice rapidly. Right-click Quickly press and release the right mouse button (Windows only). Drag Press and hold the left mouse button (Windows) or the mouse button (Macintosh) while you move the mouse.
Using This Guide Accessing the Online Library and Tutorial The Avid Media Composer Adrenaline HD Online Library and Tutorial CD-ROM contains a multimedia tutorial and all the product documentation in PDF format. Avid recommends the multimedia tutorial as your first resource for learning how to use your application. You can access the tutorial and the library from the Online Library and Tutorial CD-ROM or from the Help menu.
Avid Educational Services Avid Educational Services For information on courses/schedules, training centers, certifications, courseware, and books, please visit www.avid.com/training or call Avid Sales at 800-949-AVID (800-949-2843).
Using This Guide 22
Chapter 1 Planning a Project This chapter gives a brief description of video formats and resolutions supported by your Avid editing system and other information that can help you plan your project. This chapter includes the following topics: • Types of Projects • Project Resolutions • Working with Mixed-Resolution Projects • Video and Film Projects Types of Projects When you start a project on your Avid system, you need to decide on a project type.
Chapter 1 Planning a Project and 25i PAL options, the i represents interlaced frames played at 30 fps or 25 fps. An interlaced frame consists of two fields, each of which contains onehalf the scan lines of the frame. Interlaced frames are standard for NTSC and PAL video media. For information on Film Projects, see “Planning a Film Project” in the Help. Project Resolutions You must capture media to begin a project. Connect your media device to the Avid Adrenaline Digital Nonlinear Accelerator (DNA).
Project Resolutions n With the Media Composer application, there are two ways to capture and playback. You can capture and playback through the Adrenaline hardware or you can capture and playback through a separate 1394 card. For additional information see “Capturing DV50 and DVCPRO HD Media Directly from a DV Device” on page 135. • 10-bit resolutions are available for Render, Import, Capture, Consolidate/Transcode, and Video Mixdown.
Chapter 1 Planning a Project Supported Resolutions and Hardware Configurations Resolution Hardware Configuration 28:1 Avid Adrenaline or separate 1394 card 20:1 Avid Adrenaline 14:1 Avid Adrenaline 10:1 Avid Adrenaline 3:1 Avid Adrenaline 2:1 Avid Adrenaline 1:1 (Uncompressed) Avid Adrenaline 10:1m Avid Adrenaline 8:1m Avid Adrenaline 4:1m Avid Adrenaline 3:1m Avid Adrenaline 35:1p Avid Adrenaline 28:1p Avid Adrenaline 14:1p Avid Adrenaline 3:1p Avid Adrenaline 2:1p Avid Ad
Working with Mixed-Resolution Projects Supported Resolutions and Hardware Configurations Resolution Hardware Configuration DNxHD 185X - (10 bit) Avid Adrenaline DNxHD 185 - (8 bit) DNxHD 175X - (10 bit) Avid Adrenaline DNxHD 175 - (8 bit) These resolutions appear, along with other Avid resolutions, wherever a list of resolutions appears (for example, in the Video Resolution pop-up menu of the Media Creation dialog box). The exact list depends on the project format (NTSC or a PAL).
Chapter 1 Planning a Project Video and Film Projects Avid systems offer you a flexible approach to finishing your project, whether it originates as video or film. For video projects, you can use the offline capabilities of the Avid editing system and the Total Conform capabilities of the Symphony system to produce the highest quality, uncompressed broadcast masters.
Chapter 2 Logging When you import shot log files or log directly into a bin, you provide the Avid system with frame-accurate clip information used to capture the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.
Chapter 2 Logging Any options you set in the ALE utility are saved each time you close the ALE utility. When you are converting an ATN file that contains multiple sections to an ALE file, multiple ALE files are created. The Avid Log Exchange window displays only the first ALE file created. The succeeding ALE files are given the same file name with incremental numbering. For example, the file Nations1.atn is converted to Nations001.ale, Nations002.ale, Nations003.ale, and so on.
Preparing Log Files for Import 4. Select the information you want to appear in the global settings of the .ale file. The global settings appear at the top of the .ale file. 5. Click OK. 6. Depending on the type of file you are opening, one of the following occurs: - If the file type is recognized by the ALE utility, the file appears in the Avid Log Exchange window. - If the file does not contain the Windows line-ending format, then the Line Endings dialog box opens.
Chapter 2 Logging The file appears in the Avid Log Exchange window. n For specific information on the various file types, see “Compatible Log Formats” on page 35. 7. Use the Options menu to select the tracks to include in the Tracks column of the log. The default track selections are Log V, Log A1, and Log A2. After you import the log into an Avid bin, the system captures all tracks shown in this column when batch capturing.
Preparing Log Files for Import 10. Select Convert > ALE. The default output selection is the ALE format. This is the required format for import into an Avid bin. The Avid Log Exchange window displays the converted ALE file. The converted file has the same file name as the original file, except the file name extension matches the converted file format. 11. (Option) Select the original file from the Window menu if you want to convert the file again using different options. 12. Select File > Close.
Chapter 2 Logging Using Drag-and-Drop Conversion for Log Files Use this shortcut to convert files into an ALE file. n If the log file is a Final Cut Pro, Cinema Tools, or a Tabbed shot log file, you cannot use drag-and-drop conversion. Use the procedure in “Converting Log Files with Avid Log Exchange” on page 30 to convert files of this type. To convert a log file by using drag-and-drop conversion: 1. Check the options that are set in the ALE utility.
Preparing Log Files for Import - If the file type is an ALE file, the ALE Convert Type dialog box opens. Select a file type for the converted output file and click OK. A message box opens, indicating the conversion was successful. 7. Click OK to close the message box. The converted files have the same file names as the original files, except the file name extension matches the converted file format. For example, the .ale file name extension is added to the new file names for the Avid format.
Chapter 2 Logging Compatible Log Formats (Continued) Log Format Requirements File Name Extension Shotlister Import directly .ale Tab Delimited Conversion required .txt Creating Avid Logs You can prepare an Avid log on any type of Windows or Macintosh computer by using a word processing application or a text editor. To ensure accuracy, you must follow the Avid log specifications described in “Avid Log Specifications” in the Help.
Preparing Log Files for Import • In the case of NTSC transfer tapes for film projects, you must supply pulldown information in the Pullin column of the bin before you can capture. This is the minimum information required to capture successfully. You can also add other information such as comments, auxiliary timecodes, or key numbers for film projects. You can make a separate log file for each videotape, or log clips from several different videotapes in one log.
Chapter 2 Logging Transferring Bins To transfer bins from MediaLog: 1. Save the MediaLog bins to a floppy disk. If you are using MediaLog for Macintosh, make sure the disk is DOS-formatted or that your Windows system can mount Macintoshformatted disks by using a third-party utility. If your MediaLog folders are available through a server or other networked source, then locate the MediaLog folder there instead. 2. Insert the floppy disk from MediaLog into the Avid system’s floppy drive. 3.
Importing Shot Log Files Double-Checking the Log Files When importing shot logs for video, the Avid system compares the video duration to the video out minus the video in. When importing film shot logs, the system compares the key number out minus the key number in. If the system detects a discrepancy, it reports the error to the Console and does not bring the clip into the bin.
Chapter 2 Logging Look in pop-up menu Source file list Files of Type pop-up menu 4. Click the Options button to open the Import Settings dialog box, if you want to select options for combining events on import. For information on Import settings, see “Import Settings” in the Help. 5. After selecting the appropriate options, click OK to close the Import Settings dialog box and return to the Select Files to Import dialog box. 6. Do one of the following: t If you are importing an .
Setting the Pulldown Phase Setting the Pulldown Phase If you are logging or capturing 24-fps sources (film-to-tape transfers, media downconverted from 1080p/24 footage, or both), you can set the pulldown-totimecode relationship for a transferred tape in the Film Settings dialog box. For information about the pulldown process, see. “Transferring 24-fps Film” in the Help.
Chapter 2 Logging The following illustration shows the relationship between film frames and video frames. Four film frames A B C D n Five NTSC video frames (ten fields) A1 odd A2 even B1 odd B2 even B3 odd C1 even C2 odd D1 even D2 odd D3 even A B X C D This setting is not available in matchback projects. However, you can modify the pulldown phase after you log it. See “Entering Pulldown Information” on page 55.
Logging Directly into a Bin The pulldown-to-timecode relationship might vary from tape to tape, or within the same tape, depending on how the footage was transferred. If you find that a tape requires a different pulldown phase, you can change the setting in the Film Settings dialog box, or use the Modify Pulldown Phase dialog box before capturing (see “Modifying the Pulldown Phase Before Capturing” on page 58.
Chapter 2 Logging Tips for Logging Preroll, Logging Timecode, and Naming Tapes Observe the following important guidelines for preroll, timecode formats, and naming of tapes when logging prior to capturing. Logging Preroll Be sure to leave adequate preroll with continuous timecode prior to IN points when logging your tapes. The recommended minimum preroll is 2 seconds for Betacam playback, 5 seconds for 3/4-inch U-matic playback, and 6 seconds for DV playback.
Logging Directly into a Bin n If you want your Avid system to consider master clips as coming from the exact same tape, you should try to select that tape name from the Select Tape dialog box. If you do not see the tape you are looking for, but know you have online media from that tape, you should click the Scan for Tapes button. For more information, see “Logging with an Avid-Controlled Deck” on page 46. • It is important that you devise a naming scheme for your tapes.
Chapter 2 Logging Logging with an Avid-Controlled Deck When you log with a compatible tape deck controlled from within your Avid system, you can automate part of the logging process by using buttons to enter frame-accurate timecode information from the deck. This method is more accurate than manual entry because timecodes are transferred directly from tape to the bin. n For information about connecting a compatible deck to your system, see the setup guide for your Avid system.
Logging Directly into a Bin n If you forget to connect and turn on the power to the deck before opening the Capture tool, you can reinitialize deck control after turning it on by clicking the Deck Selection pop-up menu, and selecting Check Decks. 4. If the Capture tool is not currently in Log mode, click the Capture/Log Mode button until the LOG icon appears. 5. Click the Deck Selection pop-up menu, and select a deck. For more information, see “Selecting a Deck in the Capture Tool” on page 91. 6.
Chapter 2 Logging 7. Provide the system with a tape name in one of the following ways: t Select the name of the tape from the list in the Select Tape dialog box and click OK. t Click New if the tape is not in the list. A new tape name line appears in the dialog box. Type the new name and click OK. The tape name is displayed in the Capture tool. n For guidelines when naming tapes, see “Naming Tapes” on page 44.
Logging Directly into a Bin 9. (Option) Enter a clip name and comment in the corresponding text boxes in the Capture tool. 10. To finish logging the clip, do one of the following: t If the deck is running: Click the Mark OUT and Log button or press the F4 key. The clip is logged into the bin and the deck continues to play. t If you want to cue the remaining start or end point: Use the deck controls to locate the start or end point.
Chapter 2 Logging To pause the deck while logging: 1. In the General tab of the Capture Settings dialog box, select the “Pause deck while logging” option. 2. Set up your deck and the Capture tool as described in “Logging with an Avid-Controlled Deck” on page 46. 3. When you reach the point where you want to start the clip, click the Mark IN button in the upper left of the Capture tool or press the F4 key. The Mark IN button changes to the Mark OUT button and the deck continues to play.
Logging Directly into a Bin Mark Memory button Clear Memory button Go to Memory button Logging with Non-Avid-Controlled Decks You can use the Capture tool to log clips directly into a bin from a source that is not controlled by your Avid system. For example, you can log clips from a deck that is not connected to the system, or from handwritten or printed log information for a tape that was previously logged but is not currently available.
Chapter 2 Logging Capture/Log Mode button Channel Selection buttons Message bar Clip Name text box Clip Comment text box Clear IN button Clear OUT Timecode display Deck controls Deck Selection pop-up menu Clear Memory button Source Tape Display button Mark OUT button Mark IN button Go to Memory button Mark Memory button 8. Click the Source Tape Display button. A dialog box opens. 9. Click Yes to open the Select Tape dialog box. 10.
Logging Film Information c For NTSC film-to-tape transfer or footage downconverted from 1080p/24, you must log the correct pulldown phase. See “Setting the Pulldown Phase” on page 41 and “Entering Pulldown Information” on page 55. 16. Click the Log Clip button. Log Clip The clip is logged into the bin. The clip name, which is automatically named and numbered by the system, is highlighted in the bin and ready to be renamed. 17. (Option) Rename the clip by typing a new name in the highlighted area.
Chapter 2 Logging • If you want to produce a cut list, or use film-tape-film-tape for recapturing, you must log key numbers. You can add key numbers after capturing, before you create the cut list. • All film and video reference numbers must be in ascending order. Displaying Film Columns To display film columns in the bin: 1. Click the Bin View pop-up menu, and select Film to display all the required film column headings. The Bin View pop-up menu is located at the bottom of the Bin window.
Logging Film Information 3. You can also track custom information for the job by creating a custom heading. To create a new heading, type a name that describes the information in the headings bar at the top of the bin. For more information on customizing bin views, see “Customizing Bin Views in Text View” in the Help. Entering Pulldown Information To accurately capture NTSC transfer tapes in 24p projects, you need to enter pulldown information into the bin.
Chapter 2 Logging Start timecode Pullin column (information required for NTSC If you do not have a transfer log, or if the transfer log is incorrect, you need to add the information manually. If you log clips by using the Capture tool, the Avid system uses the A frame as the default pulldown phase. You might need to edit this value. n For 24p projects, you can set a default pulldown phase in the Film Settings dialog box. See “Setting the Pulldown Phase” on page 41 (24p projects only).
Logging Film Information Determining the Pulldown Phase It is easiest to determine the pulldown of a sync point (or pulldown phase) if you ask your film lab to keypunch (cut a small hole in) the sync frame at the zero frame in the original film footage before transferring the film to video. Many film labs or transfer houses can also provide a pulldown frame indicator displayed at the far right of the burn-in key numbers, depending on the equipment available.
Chapter 2 Logging The following illustration shows a keypunch on the A frame. Notice where the timecode changes. Four film frames A B C D Five NTSC video frames (ten fields) A1 odd A2 even B1 odd B2 even B3 odd C1 even C2 odd D1 even D2 odd D3 even A Timecode change B Timecode change X Timecode change C Timecode change D 4. If there are three keypunched fields, or fields without motion, the pulldown is either B or D.
Logging Film Information To modify the pulldown phase for multiple clips: 1. Ctrl+click the clips you want to modify. 2. Select Clip > Modify. 3. Click the Modify Options pop-up menu, and select Pull-in. 4. Select A, B, C, or D. 5. Click OK. The pullin for all selected clips is changed, based on the pulldown phase you selected. To modify the pulldown phase for multiple clips that have the same pulldown-to-timecode relationship: 1. Ctrl+click the clips you want to modify. 2.
Chapter 2 Logging n After you capture an NTSC transfer, the timecode shows a loss of every fifth frame of video. For example, don’t be alarmed if you find that your timecode jumps at one point from 1:00:14:15 to 1:00:14:17. You haven’t lost a frame, just an extra pulldown field. Entering Frames-per-Second Rates for PAL Transfers When you log in advance for PAL film-to-tape transfers, you must log the footage as clips that have a 25-fps play rate, as listed in the FPS column of the bin.
Logging Film Information Entering Additional Timecodes (Option) Consider the following when you enter additional timecodes: • n In one of the Aux TC columns (that is, Aux TC1 through Aux TC5), type an auxiliary timecode that syncs with the video timecode logged in the Start column. You can enter up to five auxiliary timecodes. Supported timecodes depend on your project: 30-fps for NTSC (drop-frame or nondrop-frame) and 25-fps for PAL.
Chapter 2 Logging Entering the Ink Number (Option) To enter ink numbers: 1. Open the Film Settings dialog box by clicking Film in the Settings scroll list of the Project window. 2. Make sure the correct options are selected for ink number format and ink number display, and click OK. n You can log different ink number formats in the same project as long as you change the ink number setting to the appropriate format before you log each type.
Exporting Shot Log Files For more information, see “Modifying Clip Information” in Help. For information on modifying the pulldown phase, see “Entering Pulldown Information” on page 55. c Modifying tape names and timecodes affect any key numbers entered for the selected clips. Exporting Shot Log Files You can export a shot log file from the Avid system in one of two formats for making adjustments in a text processor or for importing into another system.
Chapter 2 Logging t n Select Tab Delimited to export the selected bin as a tab-delimited ASCII text file. ALE and tab-delimited files include information for master clips and subclips only. Information for other objects, such as group clips, sequences, and precomputes, is not included. 7. To modify an existing setting, select Save. 8. To save the setting with a new name, select Save As and type a name in the dialog box that opens.
Chapter 3 Preparing to Capture Media Capturing is the process of creating digital media from videotape or audio input.
Chapter 3 Preparing to Capture Media You should check the following items before capturing: n • Client monitor: Before you begin capturing and editing, set up your NTSC or PAL Client monitor by using a color-bar generator (or house pattern) and lock in those settings, if you have not done so already. • 16:9 format: You can edit with video in the 16:9 aspect ratio for display of wide-screen images used in the high-definition television (HDTV) format.
Selecting Settings Selecting Settings Several settings dialog boxes have a direct bearing on the capturing process. Before capturing, review the options in the following sections. For information about locating and modifying settings, see “Using the Settings Scroll List” in the Help. Media Creation Settings The Media Creation dialog box allows you to set the video resolution and to select drives for capturing, creating titles and motion effects, importing, and performing audio and video mixdowns.
Chapter 3 Preparing to Capture Media To set drive filtering: 1. Double-click Media Creation in the Settings scroll list of the Project window. The Media Creation dialog box opens. 2. If necessary, click the Drive Filtering tab. 3. Select an option, as described in “Media Creation Settings” in the Help. 4. Click OK to save your settings. c The Avid system does not prevent you from using non-Avid drives, but their reliability cannot be assured.
Selecting Settings t Select Filter Based on Resolution to remove from the list drives that cannot support the selected resolution. This option causes the Avid editing system to utilize only Avid MediaDrives. t Select Filter Out System Drive to remove from the list the drive on which the operating system resides. t Select Filter Out Launch Drive to remove from the list the drive on which the Avid editing system resides.
Chapter 3 Preparing to Capture Media 7. Click the tab for the area in which you want to work. 8. Click the Video Resolution pop-up menu, and select a video resolution. The Video Resolution pop-up menu contains a list of the available resolutions. n Clicking Apply to All sets your selected video resolution for all applicable tabs in the Media Creation dialog box. Your settings are not saved until you click OK. 9. Select a video drive and an audio drive.
Selecting Settings Capture Settings Dialog Box Capture settings include essential options for capturing, batch capturing, autocapturing, capturing to multiple media files, DV scene extraction, and setting key commands. To open the Capture Settings dialog box: t Double-click Capture in the Settings scroll list. For more information on Capture Settings tabs, see “Capture Settings” in the Help.
Chapter 3 Preparing to Capture Media Selecting the Preroll Method The Preroll Method pop-up menu in the General tab of the Capture Settings dialog box includes the following four methods that help you capture more efficiently when a source tape contains timecode breaks: • Best Available: The Avid system first checks the tape for timecode to use for preroll. - If there is no timecode, or not enough timecode, the system uses the control track for preroll.
Selecting Settings Use this method if you know there are timecode breaks and want to capture material as automatically as possible. Because the system does not use timecode, it might occasionally capture the wrong frames if there is a problem with the control track. • Standard Control Track: The Avid system uses the control track to determine the preroll point. If there is a break in the control track, the system stops capturing and displays an error message.
Chapter 3 Preparing to Capture Media To select settings for capturing across timecode breaks: 1. Double-click Capture in the Settings scroll list of the Project window. The Capture Settings dialog box opens. 2. Click the General tab. 3. Select the preroll method (see “Selecting the Preroll Method” on page 72). 4. Select the “Capture across timecode breaks” option. 5. Click OK to close the dialog box and apply the options.
Selecting Settings • You can create longer clips whose media files would otherwise exceed the file size limitation of 2 GB. • You can group all drives with the multiple file options, enabling the system to capture long clips continuously; for example, satellite feeds. • The system makes more efficient use of drive space, particularly when capturing long clips. To capture video or audio to multiple media files: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2.
Chapter 3 Preparing to Capture Media t For MXF media, click the MXF Media Files tab. 4. In the OMF Media Files tab, select the option “Capture to multiple files.” n MXF media only captures to multiple files. 5. Accept the default or type a different time limit in the “Maximum (default) capture time” text box. c n If you think that any of your captured clips might exceed 30 minutes, make sure you enter a higher estimate in this text box; otherwise, the system stops capturing at 30 minutes.
Selecting Settings The Drive Group dialog box opens. 9. Ctrl+click multiple drives to include in the capturing session, or click the All button to select all drives. n If you click Clear, all selections are removed. You must select at least one drive before you can click OK to exit the dialog box. 10. Click OK to close the dialog box and apply the changes. 11. Proceed with capturing.
Chapter 3 Preparing to Capture Media Transfer Settings for Film Projects The following settings are important for transferring media in a film project. You should set the transfer settings for film projects immediately after you create a new project and before capturing. For information about other film settings, see “Film and 24p Settings” in the Help.
Selecting Settings - Advanced 2:3:3:2 pulldown: Select this option when using native DV editing with capture over Firewire. If you are capturing sound that has been created during an NTSC film-totape transfer, you need to set the pulldown switch before you begin capturing. See “Setting the Pulldown Switch” on page 95. For NTSC projects, you can mix footage transferred with pulldown and footage transferred without pulldown (video rate). You can also mix sound transferred at 0.99 (with pulldown) and 1.
Chapter 3 Preparing to Capture Media • Audio Source Tape TC Rate allows you to specify the digital audiotape (DAT) timecode format: either 30 fps or 29.97 fps (NTSC only). This timecode format must conform to the timecode format on your original DAT tapes. This setting is active when capturing audio only. This setting does not appear in 23.976p projects. • Set Pulldown-to-Timecode Relationship allows you to set a default pulldown phase for a 24p NTSC project. See “Setting the Pulldown Phase” on page 41.
Configuring Decks To configure a deck or multiple decks: 1. Double-click Deck Configuration in the Settings scroll list of the Project window. The Deck Configuration dialog box opens. 2. If you are configuring your system for the first time, click the Add Channel button to add a new channel box on the left side of the Deck Configuration dialog box and to automatically open a Channel dialog box.
Chapter 3 Preparing to Capture Media 3. Click the Channel Type pop-up menu, and select one of the following items, depending upon your system configuration: - FireWire if you are controlling a DV camera or deck through a FireWire connection. - Direct if you are controlling a deck through an RS-422 connection to the serial port. - VLAN VLX if you are controlling decks through a V-LAN/VLXi connection. 4.
Configuring Decks Decks appear on the right side. Channel boxes appear on the left side. n You can reopen the Channel settings to change the options at any time by double-clicking the channel box in the Deck Configuration dialog box. 7. If you did not autoconfigure the deck, click the channel box to select it. 8. Click the Add Deck button to open the Deck Settings dialog box.
Chapter 3 Preparing to Capture Media 9. Select settings based on your deck. For information on Deck settings, see “Deck Settings Options” on page 85. 10. Click OK to close the Deck Settings dialog box and return to the Deck Configuration dialog box. n You can reopen the Deck Settings dialog box to change the options at any time by double-clicking the deck box in the Deck Configuration dialog box. 11. Repeat steps 2 through 9 for each additional channel or deck you want to configure. 12.
Configuring Decks 13. Type a name in the Configuration name text box to name the deck configuration. The new deck configuration will appear in the Settings scroll list of the Project window. 14. Click the Apply button to complete the configurations and close the Deck Configuration dialog box. 15. If necessary, double-click Deck Preferences in the Settings scroll list of the Project window to adjust global deck control options. For more information, see “Setting Deck Preferences” on page 86.
Chapter 3 Preparing to Capture Media Setting Deck Preferences Deck preferences are global settings for basic deck control. These settings apply to all decks connected to your system, regardless of your deck configuration. You can open the Deck Preferences dialog box from the Settings scroll list of the Project window. See “Deck Preferences Settings” in the Help for a description of the Deck Preferences options.
Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode Understanding Drop-Frame Timecode and NonDrop-Frame Timecode Timecode is an electronic indexing method that denotes hours, minutes, seconds, and frames that have elapsed on a videotape. For example, a timecode of 01:03:30:10 denotes a frame that is marked at 1 hour, 3 minutes, 30 seconds, and 10 frames. NTSC video (the video format used mainly in the United States) uses one of two formats: drop-frame timecode and non-drop-frame timecode.
Chapter 3 Preparing to Capture Media PAL video (the video format used in many countries other than the United States) uses a scan rate of 25 fps. Timecode is indicated by colons. There is no need for drop-frame timecode in PAL video. You set the default timecode format for logging clips in the Deck Preferences dialog box (see “Setting Deck Preferences” on page 86). You set the default starting timecode in the General Settings dialog box (see “General Settings” in the Help).
Setting Up the Capture Tool Setting Up the Capture Tool The Capture tool provides controls for cueing, marking, and logging footage, and specifies capturing parameters such as source and target locations. Deck control in the Capture tool operates in the same way as in the deck controller. To open the Capture tool: 1. Do one of the following: t Click a bin to activate it and select Bin > Go To Capture Mode. (For more information, see “Entering Capture Mode” on page 88.) t Select Tools > Capture. 2.
Chapter 3 Preparing to Capture Media The following illustration shows the Capture tool for 25-fps and 30-fps projects.
Setting Up the Capture Tool • Setting the Video and Audio Input • Setting the Pulldown Switch • Selecting a Resolution in the Capture Tool • Selecting a Format in the Capture Tool • Selecting a Target Bin • Selecting the Target Drives • Interpreting the Time-Remaining Display • Selecting a Custom Preroll Selecting a Deck in the Capture Tool The Deck Selection pop-up menu in the Capture tool contains a list of any decks that were connected to the system, powered up, and initialized when you
Chapter 3 Preparing to Capture Media n Once deck control has been properly initialized, it will remain active for all deck controllers throughout the session until you quit the application. To activate playback from an available deck: t n Click the Deck Selection pop-up menu, and select the deck. You must have V-LAN VLXi hardware to manage more than one deck at a time. For more information on V-LAN equipment, contact your Avid sales representative. Selecting a Source Tape To select a source tape: 1.
Setting Up the Capture Tool n Drop-frame timecode appears in the Timecode indicator with semicolons between hours, minutes, seconds, and frames. Non-drop-frame timecode appears with colons. For more information, see “Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode” on page 87. 3. Provide the system with a tape name in one of the following ways: t Select the name of the tape from the list in the Select Tape dialog box and click OK.
Chapter 3 Preparing to Capture Media n When batch capturing, if the tracks are already logged into the bin, this selection will be made automatically, unless you deselect the option “Capture the tracks logged for each clip” in the Batch tab of the Capture Settings dialog box. For more information on Batch Capture settings, see “Batch Capturing Clips” on page 153.
Setting Up the Capture Tool n If you change the settings, the settings in the Video Input tool or in the Audio Project Settings dialog box change automatically. Setting the Pulldown Switch If you are capturing sound created during an NTSC film-to-tape transfer, you need to set the pulldown switch before you begin capturing. If you are capturing picture only, you do not need to set the switch. If you are working in a 23.976p project, the pulldown switch is not necessary and does not appear.
Chapter 3 Preparing to Capture Media Film Project Pulldown and Transfer Settings The following table indicates how the pulldown switch and transfer settings should be set, depending on your input media.
Setting Up the Capture Tool If you are capturing audio only, make sure to select the proper audio setup options. For more information, see “Adjusting Audio Project Settings” on page 103 and “Adjusting Audio Project Settings” on page 103. If you have set a digital sync mode in the Audio Project Settings dialog box, the Pulldown button is inactive and a message states that the Pulldown button has no effect.
Chapter 3 Preparing to Capture Media To select the draft resolution in the Capture tool while capturing DV media: t Click the Res (Resolution) pop-up menu, and select 15:1s. For film projects select 28:1p. Selecting a Format in the Capture Tool You can select either OMF® or MXF format used for capturing in the Media Type tab of the Media Creation dialog box. You can select a specific video resolution in the Capture tool or in the Media Creation dialog box (accessed through the Settings scroll list).
Setting Up the Capture Tool Selecting the Target Drives To select a target drive: 1. Decide whether to capture audio and video to a single drive, or separate drives, as described in the following sections. 2. Click the pop-up menus, and select the specific target drives as described in the following sections. Targeting a Single Drive By default, the Capture tool targets a single media drive volume for capturing the audio and video for each clip.
Chapter 3 Preparing to Capture Media The names shown in bold in the menus have the most storage available. The time remaining on each selected drive, displayed to the right of each menu, is calculated based on your resolution selection. Targeting a Drive Group Targeting a drive group (a group of media drives) is especially useful when you are capturing long clips to multiple media files (see “Capturing to Multiple Media Files” on page 74).
Setting Up the Capture Tool Using the Console Window to Access Network Drives This is a console command that allows your Avid editing application to access network drives that you have mapped to your Avid editing system. Once your network drives are mapped, typing in the console command displays the mapped drive letter in the appropriate tools in the Avid editing application. n For information about mapping dives to your computer, see your Windows documentation.
Chapter 3 Preparing to Capture Media Interpreting the Time-Remaining Display The Capture tool displays the time remaining on the selected drive after you select a resolution and target drive or drives for the captured media. Time remaining on the selected drives You can interpret this display based on the following factors: • Each captured clip has a maximum file-size limit of 2 GB. Any video clip whose media exceeds the 2-GB limit will have more than one media file associated with it.
Preparing for Audio Input Preparing for Audio Input Avid editing systems support direct input of four channels of audio. Source track assignments are mapped directly to audio tracks in the recorded clips. For example, when you record source footage with audio channels 1 to 3, the resulting master clip has matching audio tracks 1 to 3. Source track assignments are mapped directly to audio tracks in the captured clips.
Chapter 3 Preparing to Capture Media The Audio Project Settings dialog box opens. For information on Audio Project Settings, see “Audio Project Settings” in the Help. Saving the Audio Project Settings as Site Settings The values you set in the Audio Project Settings dialog box are saved as Project settings. Besides the entries in the Audio Project Settings dialog box, the Audio Project settings also store the mappings between tracks and output channels that you set up in the Audio tool.
Preparing for Audio Input • Create tone media by using the Audio tool. • Mix down audio tracks by using the Audio Mixdown tool. • Import files by using the Import dialog box. • Apply an AudioSuite plug-in that creates new source audio.
Chapter 3 Preparing to Capture Media In addition, controls in the Audio tool allow you to calibrate, set levels, and generate customized calibration tones for output to the speakers or a record device. To open the Audio tool, do one of the following: Audio Tool button t t Select Tools > Audio Tool. Click the Audio Tool button in the Capture tool. The Audio tool opens and displays meters for two to eight channels, depending on the configuration of your system.
Preparing for Audio Input Audio Tool Components (Continued) Component Description Digital scale to the left of the meters Displays a fixed range of values from 0 to –90 decibels (dB), according to common digital peak meter standards. Displays a range of values that you can conform to the headroom parameters Volume unit (VU) scale (analog) to the right of the of your source audio.
Chapter 3 Preparing to Capture Media 3. Adjust the output on the playback device so that the device’s volume meter shows the appropriate level for the reference signal in the Audio tool (0 VU for videotape playback, for example). You can adjust the output by using a deck that supports output gain or by sending the signal through a mixing console. Creating Tone Media You can create your own tone media as a master clip for editing directly into sequences. To create tone media: 1. Open a bin. 2.
Preparing for Audio Input 6. Click OK. After a few seconds, the media file is created and a master clip appears in the target bin. The default name reflects the options you selected. You can rename the clip by typing a new name. Using the Passthrough Mix Tool The Passthrough Mix tool allows you to select the mix and adjust the volume and pan values of the source audio that you monitor.
Chapter 3 Preparing to Capture Media Monitoring Audio with the Passthrough Mix Tool When you record, you can monitor the mix, volume, and pan values of audio channels with the Passthrough Mix tool. n The Passthrough Mix tool adjusts monitored audio only and has no effect on the recorded audio signal. To adjust audio in the Passthrough Mix tool: 1. Double-click Audio Project in the Settings scroll list. The Audio Project Settings dialog box opens. 2. Click the Input tab. 3.
Preparing for Audio Input Changing an Audio Level in the Passthrough Mix Tool To change an audio level value in the audio panel in the Passthrough Mix tool, do one of the following: t Click a number along the vertical edge of the Volume Level slider. t Click the Volume Level slider, and type a value. Values are cumulative until you press Enter. For example, if you want to enter the value 12, type it. However, if you type 1 and then want to change the value to 2, press Enter before typing the 2.
Chapter 3 Preparing to Capture Media 4. Select Calibrate from the PH (Peak Hold) Menu button in the Audio tool. The Audio tool changes to Calibrate mode: the scales display a range of approximately 2 dB, and the meters indicate levels within this range. Peak Hold Menu button Indicates the hardware calibration value set in the Hardware tab in the Audio Project Settings dialog box The Volume Unit scale varies, displaying a custom reference level setting, +1 dB above and –1 dB below. 5.
Preparing for Audio Input 4. Click the In/Out toggle buttons to display I for the channels you are using for input, for example, 7 and 8. Click the In/Out toggle buttons to display O for the channels you are calibrating, for example, 1 and 2. 5. Click the PH pop-up menu, and select Calibrate. 6. Click the PH pop-up menu, and select Play Calibration Tone. 7. Adjust the audio I/O device trim pots on the output channels (1 and 2) to 0 VU, using the meters of the input channels (7 and 8) as your guide. 8.
Chapter 3 Preparing to Capture Media Preparing for Video Input The Avid system provides a Video Input tool for calibrating composite video, component video, and S-Video. n If you are capturing SDI, HD-SDI, or DV, for example, from a D1, D5, digital Betacam, DV, or HD deck, you cannot adjust levels by using the video input controls in your Avid system. If you plan to make adjustments at the source deck, information in this section regarding the internal Waveform and Vectorscope monitors might be useful.
Preparing for Video Input Video Input Tool Components Component Description Input pop-up menu Lets you select the video input for SD projects: Composite, Component, S-Video, SDI, or DNA-1394. For HD projects, the menu displays HD-SDI. For SD or HD projects that use an optional 1394 board on the computer, the menu displays Host-1394. Sliders Let you change the value for each setting. Preset buttons The preset buttons are highlighted when the factory preset levels are displayed.
Chapter 3 Preparing to Capture Media Calibrating Video Input This section provides essential information for input calibration. You should calibrate the input levels for each videotape when you capture to ensure the continuity of picture quality between tapes. c When you recapture media from a project created on a different Avid system, only reuse settings that originate on systems that use the video I/O board. For projects from other Avid systems, check the Video settings for each tape.
Preparing for Video Input n n n For a description of each parameter, click the Video Input tool and press the F1 key. Sync for video input comes from the source selected in the Video Input tool. When you capture audio with video, the audio is always synced to the video source. For information regarding sync during audio-only input, see “Adjusting Audio Project Settings” on page 103. 4. Cue the tape to the section containing bars and tone (usually the beginning) and play the tape.
Chapter 3 Preparing to Capture Media The Client monitor displays one of the following types of bars (or a variation of them). Full-field color bars Color bars can be either 75% or 100% of peak levels. Full-field bars (NTSC or PAL) 100% white SMPTE standard split bars SMPTE bars (NTSC only) 75% white Color bars (top 67% of frame) 7.5 black level (NTSC with setup) 100% white (lower 25% of frame) 5.
Preparing for Video Input n Waveform Monitor button To distinguish between 100% and 75% full-field bars, you will notice in 100% bars that the luminance waveform plot displays fairly even steps from the first bar (white) to the last bar (black). In 75% bars, the white bar is at 100%, which causes a larger step from the first bar (white) to the first color bar. 7. Open the Waveform monitor by clicking the Waveform Monitor button.
Chapter 3 Preparing to Capture Media Luminance Settings for Video Input Parameter/ Video Standard a Black level (setup) Video Standard: NTSC NTSC-EIAJ PAL White level (gain) Video Standard: NTSC NTSC-EIAJ PAL SMPTE Bars Full-Field Bars at 75% or 100% Signal Level Adjust Line slider to approximately 190 Adjust Line slider to approximately 150 Adjust Black or Brightness slider to place black level at: Adjust Black or Brightness slider to place black level at: 7.5 IRE 0.0 IRE NAb 7.5 IRE 0.0 IRE 0.
Preparing for Video Input c If you incorrectly selected or deselected the 100% Bars button, the factory presets for Saturation or RY and BY Gain will be incorrect. Adjusting these controls in this condition results in oversaturated or undersaturated video.
Chapter 3 Preparing to Capture Media Green Line in VHS Video Some VHS tape decks do not output the full 240 lines of video normally included in the VHS format. As a result, after you capture from a device such as a VCR, a green line might appear at the bottom of the monitors in the Avid application. This line is at the bottom of the visible area of the picture, and is not seen in a standard consumer monitor in most cases.
Preparing for Video Input Whenever you batch capture or select a tape name during capturing, the system recalls the saved settings as follows: n • The system looks for a Tape setting with the same name as the tape. If the setting exists, the system recalls it. • If no matching Tape setting exists, the system looks for a setting labeled “Default” and loads that setting. For information on customizing this default setting, see “Saving a Custom Default Setting for the Video Input Tool” on page 123.
Chapter 3 Preparing to Capture Media Adjusting Video Levels for Tapes Without Color Bars Color bars are the best way to set the video levels consistently. However, if you have a tape or series of tapes with no color bars, you might need to adjust levels by using the internal Waveform and Vectorscope monitors. n Calibrate your Client monitor before making these adjustments. To adjust video levels for tapes without color bars: • Find a series of frames in the footage that includes black areas.
Capture Preparations Check List Configure your deck or decks using Deck Configuration and Deck Preferences settings. (See “Configuring Decks” on page 80 and “Setting Deck Preferences” on page 86.) Set up the Capture tool for video resolution and color compression. (See “Setting Up the Capture Tool” on page 89.) Insert a tape into the deck, enter Capture mode, and set up the Capture tool for source tape, source deck, pulldown switch (24p projects), and other requirements.
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Chapter 4 Capturing Media When you capture, you convert source material from videotape into master clips that contain reference information. You also create associated media files that contain the digital audio and video.
Chapter 4 Capturing Media Before You Begin Capturing Depending on your immediate needs, use the following guidelines for working through this chapter: • If you want to add locators, create subclips, or log errors to the Console during capturing, see “Special Capture Procedures” on page 129. • If you have no logs and want to begin capturing right away, see “Capturing and Logging at the Same Time” on page 136.
Function Keys Available When Capturing Function Keys Available When Capturing The following table lists the Function keys that are available when the Capture tool is active. Capture mode overrides any other functions mapped to these keys. c Capturing on-the-fly can cause incorrect pulldown and stuttering playback. Do not use the F1 or F2 keys for capturing 24-fps film that has been transferred to NTSC video unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 41.
Chapter 4 Capturing Media n For more information about the Console, see “Using the Console Window” in the Help. Consider the following when selecting whether to log errors to the Console during capture: • If the option “Log errors to the console and continue capturing” is selected on the Batch tab of the Capture Settings dialog box, when you batch capture and the system encounters an error, it aborts the clip, enters error comments into the Console, and continues capturing the next clip.
Special Capture Procedures To create a subclip on-the-fly: 1. Start capturing as usual. 2. At the point where you want the subclip to begin, press the F1 key. This highlights the subclip IN point in the Capture tool. Subclip Status indicator 3. While the system is capturing, you can type a name for the subclip. Press the Tab key to type comments about the clip. 4. When you want the subclip to end, press the F2 key. This highlights the subclip OUT point in the Capture tool.
Chapter 4 Capturing Media To set the duration of a timed subclip: 1. Double-click Capture in the Settings tab in the Project window, and click the Key tab. The Key tab in the Capture Settings window appears. 2. Enter the time in minutes and seconds to be used by the timed subclip in the Before mark (M:SS) and the After mark (M:SS) text boxes. 3. Click OK. To create a timed subclip: 1. Start capturing as usual. 2. At the point where you want to start a timed subclip, press the F3 key.
Special Capture Procedures The Name and Cmnt (Comment) text boxes revert to association with the master clip or the subclip being captured. t n Locator comments appear in the Locators window. To see the locator comments, open the Locators window as described in “Viewing and Navigating in the Locators Window” in the Help. If you are capturing with shared volume segmentation (“chunking”) enabled, see the Avid Unity MediaManager Setup and User’s Guide for details on the capture procedure.
Chapter 4 Capturing Media J-K-L Functions for Deck Control Press To K Stop the deck. L Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed. J Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal speed. K+L Shuttle the deck at 0.25x normal speed. J+K Shuttle the deck at –0.25x normal speed. The following restrictions apply: • The Capture tool, Digital Cut tool, or Deck Controller window must be selected for keys to be active. • Single-field stepping is not supported.
Capturing DV50 and DVCPRO HD Media Directly from a DV Device Capturing DV50 and DVCPRO HD Media Directly from a DV Device DNA button 1394 button When you capture DV50 or DVCPRO HD media, you can capture directly from a DV camera or deck connected through a separate IEEE-1394 port. The DNA or 1394 button icons above the Timeline window and the Device menu allow you to switch between an attached Avid Adrenaline and a DV camera or deck without disconnecting your Avid Adrenaline.
Chapter 4 Capturing Media The 1394 icon displays above the Timeline, and a check mark appears next to IEEE 1394 in the Device menu. n For information on playing back DV50 and DVCPRO HD media, see ”Playing Back Footage” in the Help. Delaying Audio Sometimes the source from which you are capturing provides an audio signal that is one or more frames ahead of the video. For example, the Panasonic AGDVX100 DV camcorder always records audio one frame ahead of the video.
Capturing and Logging at the Same Time There are several ways to capture and log at the same time: c • Capturing from a mark IN to a mark OUT. This method lets you specify the exact timecode location to begin and end capturing. You can also specify only a mark IN or mark OUT, and enter the other mark onthe-fly. These procedures are described in “Capturing from a Mark IN to a Mark OUT” on page 138. • Capturing on-the-fly. This method is easier than setting marks, but it is less precise.
Chapter 4 Capturing Media n When you capture footage from an NTSC film-to-tape transfer with pulldown, the playback flickers in the Client monitor during capturing because the system is dropping occasional frames due to the pullin process. The footage will play back smoothly in the Avid system, however, once the pullin conversion is complete. Capturing from a Mark IN to a Mark OUT Capturing from a mark IN to a mark OUT lets you specify exactly where to begin and end capturing.
Capturing and Logging at the Same Time t Type a timecode for the clip’s duration in the text box next to the Duration mark (below the mark OUT) in the format HH:MM:SS:FF. The system automatically calculates the appropriate timecode for the corresponding mark IN, mark OUT, or duration. 4. Click the Record button in the Capture tool, or press the F4 key. The Capture tool automatically rewinds the tape to the preroll point before the IN point of the clip, and the tape begins to play.
Chapter 4 Capturing Media n • If your source tape does not have timecode • If you are capturing from a digital source such as a CD or DAT player • If you are capturing from a live source, such as a studio feed, or an in-house router There is a slight delay of several frames after you manually select a spot to either start or to stop capturing. Therefore, use this method when you do not need precise beginning and end points in your clip.
Capturing and Logging at the Same Time Single-Frame Backward button Shuttle button Single-Frame Forward button Fast Forward/Rewind buttons Stop button Pause button Play button Eject button Clear Marks buttons 5. To begin capturing, play the deck; when it gets up to speed, click the Record button or press the F4 key. n Make sure you have cleared any previous marks so the deck does not begin cueing to the previous location.
Chapter 4 Capturing Media n If the Name text box is not visible on the Capture tool, you can type a clip name but you cannot view your typing. To display the Name text box, you must click the triangular opener before you begin capturing. 7. Press the Tab key after typing a clip name to enter comments about the clip. You cannot edit the text during capturing, but you can backspace to retype the comments.
Capturing and Logging at the Same Time c c The Avid system can capture across timecode breaks, but it cannot capture across control-track breaks in the recording (that is, if the recorded footage breaks up into noise between shots). If such breaks in recording exist on your tape, consider using the methods described in “Capturing On-the-Fly” on page 139. Capturing on-the-fly can cause incorrect pulldown and stuttering playback.
Chapter 4 Capturing Media 5. Load the source tape and cue past any false starts. 6. Play the tape, and wait 4 seconds before clicking the Record button. Capturing from a Non-Avid-Controlled Deck If you have a deck that cannot be controlled directly by the system, you can capture with manual deck control. To capture with manual deck control: 1. Enter Capture mode and set up the tools, as described in Chapter 3. 2.
Capturing and Logging at the Same Time n If the tape name you are searching for does not appear in the Select Tape dialog box, click the Scan for tapes button. Tape and project names are listed. New tape name List of tapes Show Tapes option 4. Provide the system with a tape name in one of the following ways: t Select the name of the tape from the list in the Select Tape dialog box and click OK. t Click the New button if the tape is not in the list. A New Tape name line appears in the dialog box.
Chapter 4 Capturing Media Live Capture with External Timecode LTC (longitudinal or linear timecode) from an external source allows production facilities to capture from multiple sources at the same time they are recording to tape. A facility that has a central timecode generator can use that clock to send identical timecode to all systems. This timecode output can be run directly to the Avid system through the LTC IN connection on the Adrenaline DNA.
Live Capture with External Timecode 5. Click the Toggle Source button until the No Deck icon appears. Toggle Source button 6. Click the TC Source pop-up menu, and select LTC Input. The menu contains two other choices: n - Internal: Uses internal system timecode. - Auto Detect: Detects LTC input by default. If the LTC input is deactivated, the Capture tool automatically switches to internal timecode. If the LTC input is reactivated, the Capture tool switches back to LTC input.
Chapter 4 Capturing Media Capturing to the Timeline You can capture footage directly from tape to a sequence loaded in the Timeline in one step, bypassing several steps such as organizing and reviewing clips, marking edit points, and performing edits. To capture to the Timeline: 1. Prepare for capturing (see Chapter 3). 2. Set options in the Capture Settings dialog box: a. Click the Settings tab in the Project window. b. In the Settings scroll list, double-click Capture.
Capturing to the Timeline 8. Click the yellow Splice-in button or the red Overwrite button in the Capture tool to select the type of edit. Splice-in button Overwrite button Record button 9. Click the Record button to begin recording. 10. If you did not mark the OUT point in advance, click the Record button again when the footage reaches the appropriate frame. If you already marked an OUT point, recording stops automatically.
Chapter 4 Capturing Media For example, if you want to capture video footage to track V2, click and hold the red V button in the Capture tool and select V2 from the pop-up menu. The Track Selector panel in the Timeline displays the resulting patch. Select the track to patch. The result is displayed in the Timeline. n You can also patch tracks in the Timeline in the same way you patch tracks when editing from the Source monitor. See “Patching Tracks” in the Help.
Batch Capturing from Logged Clips Batch Capturing from Logged Clips Once you have imported a log or have manually logged a group of clips into a bin, you can automate the capture process by using the Avid system’s batchcapturing capabilities. When you batch capture, you open a bin, select the clips you want to capture, and select Clip > Batch Capture. The Avid system automatically finds the start and end timecode for each clip and captures it.
Chapter 4 Capturing Media To resize the Capture tool during batch capturing: t Click the triangular opener to the left of the deck controller. Triangular opener The triangle points to the right, and the deck control and logging controls close. Preparing Settings for Unattended Batch Capturing Unattended batch capturing allows you to capture a large number of clips with minimal supervision by selecting Capture settings that avoid a pause in the capture process.
Batch Capturing from Logged Clips 3. Click the General tab and select the “Capture across timecode breaks” option. For more information, see “Capturing Across Timecode Breaks” on page 73.) 4. Click OK to close the dialog box and apply the options. c You cannot batch capture clips that contain timecode breaks between the logged IN and OUT points. Also, you cannot capture across breaks in the recording (that is, if the recorded footage breaks up into noise between shots).
Chapter 4 Capturing Media 4. Select Clip > Batch Capture. The Batch Capture dialog box opens. n If the clips you want to batch capture are not highlighted in the active bin, Batch Capture appears dimmed in the Clip menu. 5. Select options in the dialog box: n - If the bin contains some clips that are already captured and you do not want to recapture those clips, select the “Offline media only” option.
Changing Function Key Commands 9. If the system needs another source tape, the system prompts you for the tape. At this point, you have several options: n t Load the new tape and click Mounted to continue the capturing process. t Select the “Skip this clip” option to bypass just the first clip from the tape and continue capturing the remaining clips. t Select the “Skip this tape” option to bypass all the clips from the mounted tape. The system then prompts you for the next tape.
Chapter 4 Capturing Media 2. Click the key you want to map, and then select the new function from the menu. 3. Click OK. Recapturing Your Material Recapturing is the process of recording previously captured source footage based on existing clips and sequences. Recapturing uses the batch-capturing process and does not require extra logging time because the clip information for such things as source tracks, timecodes, and compression settings already exists in the bin.
Recapturing Your Material c • You can quickly recapture selected clips if you make an error while capturing the first time (for example, if you forget to check audio levels or set the wrong resolution). • You can recapture clips if you accidentally delete media files. Recapturing requires your original source footage. Do not delete the media files if the source footage is no longer available, unless you will not need the material again.
Chapter 4 Capturing Media Recapturing Sequences Recapturing a sequence creates new master clips and associated media files based on the length of each clip edited into the sequence. It breaks any links to the original source clips, and only the sequence and its new master clips are linked to the newly captured media files. There are two approaches to recapturing a sequence: • Use Decompose to create a bin of clips, and then batch capture the clips. • Recapture the sequence without using Decompose.
Recapturing Your Material For film projects, clips created with Decompose retain all the information from the original master clips, including Pullin column information, key numbers, ink numbers, or any other information formerly entered in the bin. To use Decompose: 1. Activate the bin that stores the sequence and select the sequence. 2. Select Clip > Decompose. The Decompose dialog box opens. 3. To preserve clips that already have existing media files, select the “Offline media only” option.
Chapter 4 Capturing Media For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, batch capturing will fail if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00. 7. Click OK. The new master clips appear in the bin. You can now sort and select these clips like all other objects in the bin. 8.
Relinking Clips by Key Number 9. (Option) Select the “Extend handles beyond master clip edges” option to allow the handles to extend before the beginning and after the end of the original master clip. When you batch capture, deselecting this option prevents capturing across a discontinuous timecode error.
Chapter 4 Capturing Media Relinking by key number eliminates the need for the telecine transfer facility to match the timecode and pulldown of the second transfer to the timecode of the first transfer. n For more information about relinking, see “Relinking Media Files” in the Help. To relink clips by key number: 1. After you have finished editing the offline sequence, use the FilmScribe application to create a pull list of the clips used in the sequence.
Relinking Clips by Key Number 8. Select Clip > Relink. The Relink dialog box opens. 9. Click the Relink by pop-up menu, and select “Key Number [KN Start] picture only”. 10. Select the “Relink all non-master clips to selected online items” option. 11. (Option) If you did not batch capture the original clips, select the “Allow relinking to offline items” option. 12. In most cases, select the “Relink only to media from the current project” option.
Chapter 4 Capturing Media If you duplicated the offline sequence, the offline sequence is still linked to the original clips. If you did not duplicate the sequence and you need to relink to the original clips, follow this procedure. To relink a sequence to the original clips: 1. Duplicate the sequence. 2. Create a new bin and move the sequence to the bin. 3. Locate the original clips. Look for a bin with the original clips, or use the Media tool to locate the original clips.
Modifying the Pulldown Phase After Capturing t If you want to maintain the start timecode for each clip, review the original tape field by field, using the procedure described in “Entering Pulldown Information” on page 55. t If you do not need to maintain the start timecode: a. Step through the clip frame by frame (using the Step buttons or another method). Look for two frames that are identical (no movement). b. Think of these frames as frames B and X of a four-frame series.
Chapter 4 Capturing Media c When you change the timecode of a clip, you lose the key number of the clip and need to enter it in the bin, adjusting it to match any changes to the timecode. After you determine the pullin frame, modify the clip information as follows. To modify the clip information: 1. In a bin, select the clip you want to modify and press the Delete key. The Delete dialog box appears. 2. Deselect the option “Delete master clip(s)” and select “Delete associated media file(s).” 3. Click OK.
DV Scene Extraction DV Scene Extraction While you are capturing, DV Scene Extraction allows you to generate subclips and locators automatically, based on time-of-day (TOD) information contained in the DV format. Discontinuities in the DV TOD metadata indicate each place in a master clip or subclip where a new take was initiated on a DV camera.
Chapter 4 Capturing Media - Add Locators: Creates locator marks where the TOD information breaks occur while capturing. - Create Subclips: Creates subclips where the TOD information breaks occur while capturing. - Both: Creates subclips and locator marks where the TOD information breaks occur while capturing. 6. Click OK. 7. Select Tools > Capture and then click the Record button. When capturing has finished, subclips are created with the same source clip name and the file name extension .sub.
DV Scene Extraction n To cancel the process, press Ctrl+period. 8. Click OK. In the bin, subclips are created with the same source clip name and the file name extension .sub.01 where TOD information breaks occurred. Locator marks appear in the master clip where TOD information breaks occurred. If you select a DVCPRO, a non-DV, or an audio-only clip, an error message appears, informing you that an incompatible clip was selected. These clips are bypassed during the DV Scene Extraction process.
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Chapter 5 Importing Files When you import files, the system converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. Any corresponding media files are stored on a target drive that you specify.
Chapter 5 Importing Files Creating and Using Import Settings You can create one or more sets of import parameters and save them as an Import setting. For example, you can create one setting for importing QuickTime® files and another for importing files from AudioVision®. This feature is especially useful when you use the drag-and-drop method to import multiple files (see “Using the Drag-and-Drop Method to Import Files” on page 177).
Creating and Using Import Settings 4. Name the setting by clicking the Custom setting name column, typing a name, and pressing Enter. 5. Double-click the new Import setting. The Import Settings dialog box opens. 6. Select the appropriate options. See “Import Settings” in the Help. 7. Click OK. Once you create a new Import setting, you can select the setting whenever you import a frame, clip, or sequence.
Chapter 5 Importing Files 3. Select the appropriate options, as described in “Import Settings” in the Help. 4. Click OK. Importing Files You can access files for import from any folder, disk, or drive source mounted on the desktop, such as a floppy disk, fixed drive, removable drive, or network server. You can import more than one file at a time, including files of multiple types. Consider copying all graphics files to a single folder before you import the files.
Importing Files 7. Select File > Import. The Select Files to Import dialog box opens. Look In pop-up menu Views button Source file list File to import Files of Type pop-up menu Options button Single/Dual Drives button Video Resolution pop-up menu Video and Audio Drive pop-up menus 8. Click the Files of Type pop-up menu, and select an import file type to display only files of the selected file type in the source file list: t Select Shot Log to import Avid Log Exchange (.
Chapter 5 Importing Files n n t Select OMFI to import files that have been saved in the OMFI file format, such as sequences transferred from an effects or digital audio workstation. t Select CamCutter to import clips recorded with Editcam™ or Editcam-station products. See “Importing Editcam Files” on page 184. t Select AAF to import files that have been saved in the AAF file format. t (Windows only) Select MetaSync™ Files to import XML files that have been created by MetaSync Manager.
Using the Drag-and-Drop Method to Import Files 11. Click the Video Resolution pop-up menu, and select a resolution for the imported media. See “Creating and Using Import Settings” on page 172. 12. Click the Single/Dual Drives button. From the pop-up menu, select a destination drive for the imported file. 13. Select files or deselect files from the source file list by using the standard selection methods for your operating system. 14. Click Open.
Chapter 5 Importing Files Importing Single-Layer Photoshop Graphics A single-layer graphic is a graphic file that was created on a single layer or a layered graphic that was flattened in Photoshop. The Avid system imports this kind of graphic as a matte key or master clip, depending on the format of the Photoshop file. • If the graphic uses a transparent background or an alpha channel, the Avid system creates a matte key. • If the graphic uses a background color, the Avid system creates a master clip.
Importing Photoshop Graphics Understanding Multilayered Graphics Import When you import a multilayered graphic, you can import each layer as a separate object (a matte key or master clip). You can then manipulate individual layers like any other matte key or master clip. You can also import the graphic as a flattened image, or select the layers to import. For example, a graphic artist might create a collage of still images, with a layer of text.
Chapter 5 Importing Files During the import, the Avid system creates a sequence with each layer on a separate video track; this makes it easy to edit all layers into the final sequence. This sequence preserves the names and order of the layers as created in the original Photoshop file, as shown in the following illustration. You can then edit the tracks to build up to the full collage. Note the following: • 180 Graphics must be RGB 8 or 16 bits, or grayscale.
Importing Photoshop Graphics • Layer order and layer names are preserved during import. • Hidden layers are imported as matte keys. • Opacity is converted to Foreground level in the Matte Key effect. • Text and shape layers are rasterized (converted from vector-based to bitmap) during import. Not all layer options and types are supported for import (see “Support for Photoshop Layer Options” on page 181 and “Support for Photoshop Special Layer Types” on page 182).
Chapter 5 Importing Files Support for Photoshop Layer Options (Continued) Layer Option Supported Notes Layer/Set Mask No Layer and set masks are ignored. To preserve a layer mask, apply it to the layer. To preserve a set mask, merge the set into an empty layer. To preserve a special layer’s mask, rasterize the layer. Layer Style No Layer styles are ignored. To preserve a layer style, you must convert the style into layers.
Importing Photoshop Graphics t If you select a single file, and the number of layers does not exceed the number of tracks supported by your Avid application, the following message box opens. t If you select a single file, and the number of layers exceeds the number of tracks supported, the following message box opens. t If you select multiple files, the following message box opens. 4. In the message box, do one of the following: n t Click Sequence of Layers if you want to preserve all layers.
Chapter 5 Importing Files t Click Select Layers if you want to select which layers to preserve. The Select Layers dialog box opens. Select the layers you want to import and click OK. If you select more than 24 layers, the additional layers will be imported but will not be included in the sequence. The Avid application displays messages as it creates media for each layer. At the end of the process, the objects are displayed in the bin you selected.
Importing Editcam Files n The Outakes.bin contains clips that were discarded by the Editcam operator. These clips are generally not imported. 5. Ignore the field specifying video resolution to be imported. 6. Ignore the field regarding video and audio drive selection. 7. Proceed with the import operation. The system displays a dialog box asking you to identify the drives that contain the media files. 8. Select the FieldPak drive letters as appropriate.
Chapter 5 Importing Files Reimporting Files If you are working with master clips or sequences that contain imported material, you can use the Batch Import command to reimport the imported files. For example, you might want to: c • Upgrade the video resolution of the imported files to an online resolution for distribution. • Create new media files when the media files are lost or accidentally deleted. Reimporting requires your original source file.
Reimporting Files Batch Import Dialog Box The Batch Import dialog box allows you to select a source file for each master clip that you selected in a bin. Your Avid system finds the source file automatically if the source file is located in the same folder where you last imported the file. The Batch Import dialog box opens when you select a master clip or sequence and select Clip > Batch Import.
Chapter 5 Importing Files Selected Clips Section The Selected Clips section shows the clips you selected for import. The caption at the top of the section summarizes the total number of clips shown and how many of them were found and are available to be imported. Clips displayed in black were found and are imported. Clips displayed in red were not found in their original location. Use the Set File Location button to find the source files for clips that were not found.
Reimporting Files Starting the Reimport Process To reimport imported files: 1. Mount any removable media drives that held the original graphics. 2. Do one of the following: t Double-click Media Creation in the Settings scroll list. t Select Tools > Media Creation. The Media Creation dialog box opens. 3. Click the Media Type tab. 4. Click the File Format menu, and select the format (MXF or OMF). n If your project uses an HD resolution, you cannot select OMF as a file format.
Chapter 5 Importing Files a. Select a clip or clips displayed in red in the Selected Clips section. b. Click the Set File Location button. The Locate File dialog box opens. c. Navigate to the location of the source file. If you select more than one clip displayed in red, the system attempts to find the rest of the clips in the same folder as the first clip and then, if not found there, in folders that maintain the same relationship with the first clip’s folder.
Chapter 6 Generating Output The Avid system provides tools for generating output for individual tracks or entire sequences to various videotape or audiotape formats. In addition, you can generate an edit decision list (EDL) for use in an online suite and a cut list for creating film negatives.
Chapter 6 Generating Output • Decide whether you want to generate stereo or mono audio. • Mix down multiple audio tracks, if necessary, as described in “Mixing Down Audio Tracks” in the Help. • Prepare the record tapes, as described in “Preparing Record Tapes” on page 206. • (Option) Record reference bars and tone to tape, as described in “Recording Bars and Tone” on page 207. • (Option) Prepare for assemble editing, as described in “Enabling Assemble-Edit Recording” on page 208.
Preparing for Output t Enter and then exit Capture mode. To select the sync source: 1. Select Tools > Video Output Tool. 2. Select the sync source from the OutputLock menu: Reference or TriLevel. If the source you select is not correctly connected, or if the sync generator is set to an incorrect frame rate, the application will automatically switch to internal timing. c Avid recommends that you use an external sync source whenever you record a digital cut to tape.
Chapter 6 Generating Output timecode for downstream encoding. See “Outputting Drop-Frame and NonDrop-Frame Timecode Simultaneously for Downstream Encoding” on page 229. Video Output Tool Use the Video Output tool to set options for the video output signal. Select the SD tab for standard-definition sequences, and select the HD tab for highdefinition sequences.
Video Output Tool Using the Factory Preset Buttons The preset buttons in the Video Output tool show the status of each Calibration setting as follows: • When the Video Output tool opens the first time you run the application, all preset buttons are lit (green), with the factory presets loaded for each slider. • When you click a slider of a lit preset button, the button dims (appears gray), and the slider returns to the most recent manual level setting.
Chapter 6 Generating Output To calibrate for video output: 1. Select Tools > Video Output Tool. The Video Output tool opens. 2. Click the SD or HD tab, depending on the project format. 3. From the Output menu, select the video signal for your output device: 196 - For SD, select either Component, Composite, or SVideo. - For HD, select HD Component. Then from the Component Format menu, select YPbPr (the default) or RGB.
Video Output Tool n The Video Output tool does not display basic calibration controls for Serial Digital, DV, or HD-SDI. All basic levels remain in digital form and cannot be adjusted from within the Avid application. For H-phase adjustment of a Serial Digital output signal, see “Calibrating the System with Passthrough Signals” on page 201. The Video Output tool displays the appropriate parameters for the selected video format, as described in the following table.
Chapter 6 Generating Output Video Format Output Parameters (Continued) Parameter Video Formats Description BY Gain Component HD Component The blue (B) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard. The signal consists of the following base equation for red (R), green (G), and blue (B) components: B–Y= (–0.587G + 0.886B – 0.
Video Output Tool - If you edited digital bars and tone into the sequence, go to the head of the bars and tone and click Play. - You can use internal bars from the Video Output tool by clicking the Test Patterns pop-up menu, and selecting either SMPTE_Bars, (SMPTE standard bars), ColorBars (full-field bars at 75% level), or ColorBars_100 (full-field color bars at 100% level). Bars are displayed on the Client monitor, and the signal appears on the external Waveform and Vectorscope monitors.
Chapter 6 Generating Output 6. Adjust the Hue and Sat slider (composite or S-Video output), or the RY Gain and BY Gain sliders (component output) until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. 7. Select from the VBI menu to preserve 5 lines above each field in NTSC or 8 lines above each field for PAL. 8. Select Internal, Reference, or Tri-Level from the OutputLock menu to lock your output connection to the appropriate signal.
Video Output Tool Calibrating the System with Passthrough Signals If you work in a production environment in which house standards are used to synchronize a number of devices including the source decks connected to your Avid system, you can calibrate the system one time to conform to existing standards with the least amount of alteration of the signal. This method involves the use of a passthrough signal (a signal that gets sent directly from an input source through to the output channels).
Chapter 6 Generating Output 9. Calibrate any of the available controls in the Video Output tool while checking the external Waveform and Vectorscope monitors. For example, composite output provides Gain, and Saturation controls. n For more information on using the Video Output tool, see “Video Output Tool” on page 194. 10. In the Video Output tool, click the Test Patterns pop-up menu, and select a test pattern.
Video Output Tool Setting the Calibration Tone The Audio tool provides an internal calibration tone you can customize and play as a reference signal on a digital cut. You can use the recorded reference signal for calibrating the digital cut audio at another site. The default tone playback is –20 dB (digital scale) with a 1000-Hz signal. In some cases, you might need to customize the signal.
Chapter 6 Generating Output Calibrating Global Output Levels You can use the meters in the Audio tool and the Output Control slider (master attenuator) in the Output tab in the Audio Project Settings dialog box to make global level adjustments for output from the system. These adjustments affect levels for all output tracks to both the speakers and record devices. c You should leave this output level at the factory preset of 0 dB.
Video Output Tool 4. Click the Mix Mode Selection Menu button, and select a type of output. - Select Stereo to mix the currently monitored audio tracks into a stereo pair. - Select Mono to pan all the currently monitored tracks to center. - Select Direct Out to map monitored tracks directly to up to eight channels of output (depending on your hardware configuration). By default, Direct Out maps all audio tracks in numerical sequence to existing output channels.
Chapter 6 Generating Output 6. Select Tools > Audio Tool. The Audio tool opens. Reset Peak button Peak Hold Menu button In/Out toggle buttons 7. Click the In/Out toggle buttons above the meters to display O for Output. 8. Play back one of the following sources of reference audio by doing one of the following: t Click the Peak Hold (PH) Menu button, and select Play Calibration Tone. t Play back a representative sequence or clip containing audio. 9.
Video Output Tool Frame-Accurate Recording Frame-accurate recording involves using the Digital Cut tool to record your sequence onto either a prestriped tape (a tape with prerecorded control track and timecode) or a partially striped tape.
Chapter 6 Generating Output To manually record bars and tone: 1. Select Tools > Video Output Tool and Tools > Audio Tool. 2. In the Video Output tool, click the Test Patterns pop-up menu, and select a color bars pattern. 3. In the Audio tool, click the PH (Peak Hold) pop-up menu, and select Play Calibration Tone (see “Setting the Calibration Tone” on page 203). 4. Set the record deck to Local for manual recording. 5.
Using the Digital Cut Tool Once assemble editing is enabled, you select additional options in the Digital Cut tool when you are ready to record, as described in “Recording a Digital Cut to Tape (Remote Mode)” on page 214. These switches are often located below the deck’s playback control buttons. For more information, see the documentation provided with your record device.
Chapter 6 Generating Output The Digital Cut tool provides several options for you to manage the recording of your sequence. For example, you can: • Record by using either assemble edit, insert edit, or crash record. • Record a selected portion of the sequence or selected tracks. • Record an entire sequence. • Record according to different timecode parameters. • Select the sequence video and audio tracks to record (Sequence Track buttons).
Using the Digital Cut Tool Sequence Track buttons Play Digital Cut button Enable Track buttons Preview Digital Cut button Halt Digital Cut button Deck control area Deck controls Deck Selection pop-up menu Timecode text boxes Selecting a Deck in the Digital Cut Tool The Deck Selection pop-up menu in the Digital Cut tool contains a list of all decks that were connected to the system, turned on, and initialized when you opened the Digital Cut tool.
Chapter 6 Generating Output • Auto-configure allows you to automatically configure the selected deck with the default deck settings for that deck. • Check Decks helps to reestablish deck control if the power to your decks was off or the decks were disconnected when you opened the Digital Cut tool. If the words “No Deck” appear in the pop-up menu, you need to configure a deck in the Deck Configuration dialog box. See “Configuring Decks” on page 80.
Using the Digital Cut Tool The ExpertRender dialog box opens. 3. Select “Prepare effects for Digital Cut,” and then click OK. Previewing a Digital Cut You can preview your digital cut in Remote mode or Local mode before actually making the cut. n You can manually record a digital cut, but the recording is not frame accurate. For more information, see “Preparing Record Tapes” on page 206. To preview a digital cut: 1. Select Output > Digital Cut. The Digital Cut tool opens. 2.
Chapter 6 Generating Output The Digital Cut tool goes through the motions of an insert edit and shows you how the tape will appear before, during, and after the cut, but does not actually change the master tape. You can then modify your digital cut, if you want, before it is committed to the master tape. To stop the preview at any time, press the space bar or click the Halt Digital Cut button.
Using the Digital Cut Tool 5. Click the Effect Safe Mode button (selected by default) to allow the system to notify you that an effect needs to be rendered. During a digital cut, real-time effects can drop frames. To eliminate the chance of dropping frames, it’s best to render the real-time effects that might drop frames. The Effect Safe Mode option analyzes and identifies real-time effects that might cause dropped frames during the digital cut and allows you to render them.
Chapter 6 Generating Output t n Select Record Deck Time to ignore the timecode of the sequence and to start the recording wherever the record deck is currently cued. You can change the start timecode to match the record tape by using the Get Clip Info command. For more information, see “Changing the Sequence Name and Timecode” in the Help. t Select Mark In Time to ignore the sequence timecode. Establish a specific IN point on the record tape by cueing and marking with the deck controls.
Using the Digital Cut Tool n n After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending upon the record deck model. This provides several frames of overlap for the next IN point before the control track and timecode break up.
Chapter 6 Generating Output Prior to recording a digital cut, make sure you have selected the appropriate device. To select a device for a digital cut, do one of the following: t Click the DNA or 1394 button in the Timeline top toolbar to display either DNA or 1394. t Select Special > Device > IEEE 1394 or Adrenaline. The appropriate icon displays in the Timeline top toolbar, and a check mark appears next to the selected option in the Device menu.
Using the Digital Cut Tool 7. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of the digital cut. 8. Select Local in the Deck Control options area. 9. Click the Sequence Track buttons to select the audio and video tracks you want represented in the digital cut. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence. 10. For 23.
Chapter 6 Generating Output Output Mode Resolution Options The output mode pop-up menu in the Digital Cut Tool displays the relevant resolution options depending on your project type and the output device. The connected output device is displayed in the Digital Cut Tool. Connected Output Device Output Mode Resolution Options Bit Depth Options The following table provides information on the available output resolutions.
Using the Digital Cut Tool Output Mode Resolution Options Project Type Device Available Output Mode Resolution and Bit Depth 30i and 25i, or 25p SD Project Adrenaline RTa DNA (8-bit or 10-bit) RT DV25 (8-bit or 10-bit) b DV25b Comments With RT DNA selected, RT DNA allows you to output through the following connectors: Composite, SVideo, Component, SDI, or DNA-1394. With RT DNA selected, output is 1:1 uncompressed. With RT DV25 selected, full realtime effects playback is supported.
Chapter 6 Generating Output n Performing a digital cut to a serial-controlled deck might not be frame-accurate if the output resolution is set to RT DV25 or DV25. When performing a digital cut to a serial-controlled deck, set the output resolution to RT DNA and make sure your output device is connected to a connection other than 1394 (for example, SDI or Composite).
Using the Digital Cut Tool The following table describes the Output Mode resolutions for progressive projects. Progressive Project Output Mode Resolution Options Project Type Play Rate Available Output Mode Resolution and Bit Depth PAL 25p project 25 DV25 DV50 RT DV50 (8-bit or 10-bit) RT DV25 (8-bit or 10-bit) NTSC 23.976p projects 23.
Chapter 6 Generating Output Outputting DV50 and DVCPRO HD Media Directly to a DV Device You can output DV50 or DVCPRO HD sequences directly to a DV device. This lets you output without any loss due to compression and decompression. DV50 and DVCPRO HD Output You can output: If the project is: And if the output device is: DV50 Any SD project IEEE 1394 DVCPRO HD The following HD projects: IEEE 1394 • 720p/59.94 • 1080i/50 • 1080i/59.
Using the Digital Cut Tool Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects When you are working in a 23.976p, 24p, or 25p project, you can output multiple formats for NTSC video, PAL video, and audio — all from the same progressive media. You click the Output Format pop-up menu in the Digital Cut tool to select the formats you want, as described in “Selecting Output Formats for 24p and 25p Projects” on page 225 and “Selecting Output Formats for 23.976p Projects” on page 228.
Chapter 6 Generating Output 24p and 25p Project Output Options Digital Cut Tool Menu Choice (Playback Speed) Target Project or System Pulldown Indicator on Adrenaline Output Format and DNA Recording Media 23.976 (NTSC) NTSC TV; video screenings; digital audio workstations (DAWs) that support pulldown On (0.99) Picture and sound to NTSC tape; sound to video-referenced audiotape 24 (NTSC) Audio for film projection; DAWs (video for reference only) Off (1.
Using the Digital Cut Tool Before you output the digital cut, make sure you select the correct destination timecode rate. See “Indicating the Destination Timecode Rate” on page 229. • 29.97 (NTSC): Plays back the sequence at 29.97 fps. This playback rate tells the system to speed up the playback speed without adding pulldown fields. As a result, the sequence plays faster (25 percent faster for 24p, 20 percent faster for 25p).
Chapter 6 Generating Output Selecting Output Formats for 23.976p Projects If you are working in a 23.976 project, all output play rates are available, but only 23.976 NTSC maintains the original audio quality. For 23.976 NTSC, the audio rate is not slowed down for output and remains at 48 kHz. For 29.97 NTSC, the audio rate is sped up 25 percent and is not usable. Use this output rate for animations and other special applications.
Using the Digital Cut Tool t Click the RS422 Output pop-up menu, and select Drop or Non-Drop t Click the LTC Output pop-up menu, and select Drop or Non-Drop Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding You can output drop-frame and non-drop-frame NTSC timecode simultaneously from a 24p or 25p project.
Chapter 6 Generating Output the video play rate is sped up in comparison with the audio timecode rate. If you select 30.00 fps, the sequence duration in the Digital Cut tool matches the sequence duration in the Timeline. The value you select (29.97 or 30.00) also sets the rate for LTC output, if any, without changing the playback rate of the media being output (24 NTSC). To indicate the destination timecode rate: 1. Select Output > Digital Cut. 2. Click the Dest. TC Rate pop-up menu, and select 29.
Using the Digital Cut Tool 10. Click the Output Options area, and select 23.976 (NTSC) and either 4:3 or 16:9. 11. Click the Play Digital Cut button. The system cues the record deck, then plays and records the insert edit. The Avid system automatically adds the correct pulldown fields. 12. To stop the recording at any time, press the space bar or click the Halt Digital Cut button.
Chapter 6 Generating Output Changing the Default Pulldown Phase for Sequences For more information on film-to-tape transfers, see “Film-toTape Transfers” in the Help. During a digital cut to 30-fps NTSC videotape, the Avid system defaults to an A-frame pulldown conversion. If you are appending sequences to the same output tape on which continuous pulldown is required, you might need to change the default pulldown phase (or pullin) to a B frame. A digital cut can begin only on field one of an A or B frame.
Using the Digital Cut Tool There are several components to this setting. • The recommended value represents the delay that is found in the machine template for the online DV device. If for some reason, there is no “online” DV device, the recommended value is set to the delay in the machine template of the “offline” DV device. If no DV device is configured in the Deck Configuration and Deck Settings dialog boxes, this value is set to 0.
Chapter 6 Generating Output Digital Cut with No Delay To correct this, the DV digital cut delay should be increased to have the Avid system delay sending the sequence to the device. If the DV digital cut delay is set to three frames, this should cause recording on the tape to begin with the correct sequence frame, as shown in the following figure. Sequence frames Tape frames Tape IN point Digital Cut with Delay To delay the sequence for a digital cut: 1. Click the Settings tab in the Project window.
Using the Matchback Option organized into a series of chronological instructions called events, which are interpreted by an edit controller that automates the assembly of the videotape master. Your Avid system includes EDL Manager, an application with powerful features and sorting capabilities to help you prepare an EDL. To start EDL Manager: t Select Output > EDL. For more information on specific features and capabilities of EDL Manager, see the EDL Manager Help.
Chapter 6 Generating Output How Matchback Works The matchback process refers to the video edit information for your sequence and performs a conversion to create a matching 24-fps cut list. Because of the difference in frame rates between video and film (30 fps or 25 fps for video versus 24 fps for film), the conversion of video edit points might fall within a film frame, requiring the addition or subtraction of a frame in that edit event in the resulting cut list.
Using FilmScribe Matchback Limitations Matchback is subject to the following limitations: • The Matchback option uses key numbers to conform the negative. Therefore, you must have key-number information entered into the bins for the project. • You can generate cut lists, but not change lists in a matchback project. • The matchback information applies to the picture only. You must generate a separate list (an EDL, for instance) for conforming the audio source tapes.
Chapter 6 Generating Output Preserving Information in the Vertical Blanking Interval You can choose whether or not to display 5 lines above each field in NTSC and 8 lines above each field for PAL and whether to preserve the lines when you perform a digital cut. These lines can be used to store additional encoded information such as closed captioning, edgecodes or key numbers for film projects, or various interactive or enhanced TV codes.
Preserving Information in the Vertical Blanking Interval Preserving Vertical Blanking Information Avid DNA systems automatically preserve the extra lines of VBI information when you capture footage. You can choose whether to display the lines and whether to retain the lines when you output your sequence as a digital cut.
Chapter 6 Generating Output Displaying VBI Information and Preserving VBI Information on Output To display VBI information and preserve VBI information for a digital cut: 1. Select Tools > Video Output Tool. The Video Output tool opens. VBI pop-up menu 2. Click the VBI pop-up menu and select Preserve. n If you select Blank, the Avid system fills the vertical blanking interval with video black (R=G=B=16). 3. Close the Video Output tool.
Preserving Information in the Vertical Blanking Interval Any VBI information that is present in your clips or sequences will now be displayed. If you perform a digital cut, any VBI information that is in your sequence will be output. c The VBI value resets to Blank each time you launch the application. If you want to preserve VBI information on output, set the value before you perform a digital cut.
Chapter 6 Generating Output n You cannot preserve VBI information for DV resolutions. You can only preserve VBI information for JFIF, uncompressed, and MPEG IMX resolutions. Effects of Preserving Vertical Blanking Information on Compressed Video Quality For resolutions other than 1:1, preserving vertical blanking information when you capture can affect the video quality in the rest of the frame.
Preserving Information in the Vertical Blanking Interval Feature Meridien Adrenaline DNA When does the system give you the opportunity to During capture and during a During playback and blank VBI information? digital cuta during a digital cut What dialog box or tool do you use to set VBI blanking? General Settings dialog box Video Output tool Is VBI supported for DV resolutions? No No Is VBI supported for MPEG IMX? No Yes Does NewsCutter support VBI? No Yes Doe NewsCutter XP support VBI? No
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Chapter 7 Exporting Frames, Clips, or Sequences You can export files for use with another system, another application, or another platform. Your Avid video-based editing system provides tools for exporting clips and sequences in various formats.
Chapter 7 Exporting Frames, Clips, or Sequences Understanding Export You can export material directly from your Avid system to many supported file types. You can export an individual frame, a selected region of footage, or an entire clip or sequence. You can export video, audio, or both for any of the following reasons: • You can export video files for touching up or creating special effects in third-party applications or other Avid applications.
Preparing to Export a Sequence • Always render fast-saved titles before using OMFI or AAF to export a sequence, or before creating an EDL from the sequence. • If your sequence contains numerous video tracks, consider mixing down the tracks in advance for faster export, unless you need to preserve the multiple-track information. For more information about mixing down video tracks, see “Performing a Video Mixdown” in the Help.
Chapter 7 Exporting Frames, Clips, or Sequences Exporting Frames, Clips, or Sequences This section provides the basic steps for exporting frames, clips, or sequences. More specific information is provided in the following sections: For information on using the drag-anddrop method, see “Using the Drag-andDrop Method to Export Frames, Clips, or Sequences” on page 251.
Exporting Frames, Clips, or Sequences n When you export as an OMFI or an AAF file, you do not need to select both the sequence and its source clips. Select only the sequence to export all the necessary information, including reference clips or source media. 2. Select the clip or sequence in one of two ways: t Click the monitor that displays the clip or sequence you want to export. t Click the clip or sequence in a bin. Ctrl+click to select multiple clips or sequences. 3. Select File > Export.
Chapter 7 Exporting Frames, Clips, or Sequences 5. (Option) If you want to view or modify the current Export setting, or create a new one: a. Click the Options button to open the Export Settings dialog box. For a description of your selections, see “Exporting OMFI and AAF Files” on page 253. b. To save your settings in the existing settings file, click Save. c. To create a new settings file, click Save As. The Save Export Setting dialog box opens.
Using the Drag-and-Drop Method to Export Frames, Clips, or Sequences Using the Drag-and-Drop Method to Export Frames, Clips, or Sequences To export a frame, clip, or sequence by using the drag-and-drop method: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 246. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 248. n You cannot use the drag-and-drop method to export ALE, tab-delimited, or sequential files. 3.
Chapter 7 Exporting Frames, Clips, or Sequences Customizing Export Settings In addition to selecting preset templates, your Avid system allows you to customize and name your Export settings. Preset Export Templates Your Avid system includes the following export templates: • Fast-Export QuickTime: Exports a QuickTime movie that uses the Same as Source setting. See “Exporting QuickTime Movies” on page 272. • Macintosh Image: Exports a PICT file for use in Macintosh graphic applications.
Exporting OMFI and AAF Files 7. Click OK. You can select this new setting whenever you export. n You can also create a new setting during the export process. See “Exporting Frames, Clips, or Sequences” on page 248. Exporting OMFI and AAF Files OMFI and AAF are industry-standard file formats that let you exchange compositions and media between applications.
Chapter 7 Exporting Frames, Clips, or Sequences There are two general types of data in an AAF file: • Media such as audio and video • Composition information, or metadata, that provides the instructions needed to combine and modify the media portions of the AAF file to produce a complete multimedia program Selecting an OMFI or an AAF Transfer Method OMF Interchange and AAF, as implemented in your Avid system, provide two basic methods for exporting files.
Exporting OMFI and AAF Files To export master clips or sequences as an OMFI or an AAF file: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 246. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 248. 3. Select File > Export. The Export As dialog box opens. You can create settings in advance. See “Customizing Export Settings” on page 252. 4. Click the Export Settings pop-up menu, and select a setting.
Chapter 7 Exporting Frames, Clips, or Sequences 7. Select other options as described in “Export Settings: OMFI and AAF Options” in the Help. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file. 10.
Improving Workflow Using Send To c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. Improving Workflow Using Send To The Send To feature enables you to send sequences or master clips from your Avid editing system to other applications, automating your workflow. The Send To option provides you with a choice of several pre-defined templates to streamline your workflow.
Chapter 7 Exporting Frames, Clips, or Sequences Send To Digidesign Pro Tools When exporting a sequence to Digidesign Pro Tools, simply choose Digidesign Pro Tools and choose how you want to export (i.e., linking or consolidating the audio) and the best export template for your request is automatically selected. To export directly to Digidesign Pro Tools: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 246. 2. Select a sequence in a bin. 3. Select File > Send To.
Improving Workflow Using Send To The Send To dialog box opens with a default export template. The filename displays the name of the sequence or clip you chose. 6. (Option) Change the file name. 7. Click Set to browse to the drive and folder to which you want to export the sequence. Click OK. n Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 8. Review the Export Setting Summary.
Chapter 7 Exporting Frames, Clips, or Sequences If you chose Link to audio + QT ref, Link to audio + QT mov, or Consolidate - embed audio + QT mov, the Export Setting 1 Summary will display the appropriate settings options for link or consolidate to audio. The Export Setting 2 Summary will display the appropriate settings options for QuickTime Movie, or QuickTime Reference. 9. (Option) If you need to make any changes, select the Options button and make any necessary changes and click Save. 10.
Improving Workflow Using Send To Send To DVD When you choose to export to a DVD authoring application, a QuickTime Reference Movie template is selected. If your sequence includes MetaSync tracks you can choose to export the MetaSync tracks as XML. To export directly to DVD: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 246. 2. Select a clip or a sequence in a bin. 3. Select File > Send To. The Send To submenu opens.
Chapter 7 Exporting Frames, Clips, or Sequences The filename displays the name of the sequence or clip you chose. 5. (Option) Change the file name. 6. Click Set to browse to the drive and folder to which you want to export the sequence. Click OK. n Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 7. Review the Export Setting Summary.
Improving Workflow Using Send To 8. (Option) If you need to make any changes, select the Options button and make any necessary changes. Click Save. 9. (Option) Perform the following if you want the DVD application to automatically launch after you export. a. (Option) Click the Auto Launch button, and select Add Item. b. (Option) Browse to find the DVD application. c. Click Open. d. Select Auto Load Exported File(s) if you want the files you export to automatically load in the DVD application. e.
Chapter 7 Exporting Frames, Clips, or Sequences Send To Sorenson Squeeze When you send directly to Sorenson Squeeze, a QuickTime Reference template is selected. 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 246. 2. Select a sequence in a bin. 3. Select File > Send To. The Send To submenu opens. n To access Send To from the shortcut menu, right-click the clip or sequence in the bin. 4. Select Encoding from the Send To submenu.
Improving Workflow Using Send To The filename displays the name of the sequence or clip you chose. 5. (Option) Change the file name. 6. Click Set to browse to the drive and folder to which you want to export the sequence. Click OK. n Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 7. Review the Export Setting Summary.
Chapter 7 Exporting Frames, Clips, or Sequences 8. (Option) If you need to make any changes, select the Options button and make any necessary changes. Click Save. 9. (Option) Perform the following if you want the Sorenson Squeeze application to automatically launch after you export. a. (Option) Click the Auto Launch button, and select Add Item. b. (Option) Browse to find the Sorenson Squeeze application. c. Click OK Open. d.
Improving Workflow Using Send To Send To Avid | DS When you choose to send to Avid | DS, the sequence is exported as an AFE file. 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 246. 2. Select a clip or a sequence in a bin. 3. Select File > Send To. The Send To submenu opens. n To access Send To from the shortcut menu, right-click the clip or sequence in the bin. 4. Select Avid DS from the Send To submenu. The Send To dialog box opens with a default export template.
Chapter 7 Exporting Frames, Clips, or Sequences 5. (Option) Change the file name. 6. Click Set to browse to the drive and folder to which you want to export the sequence. Click OK. n Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 7. Click the OK to save the AFE file. The file is exported to the selected destination.
Improving Workflow Using Send To 5. (Option) Change the file name. 6. Select the destination folder for the file. Click OK. n Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 7. Review the Export Setting Summary. 8. (Option) If you need to make any changes, select the Options button and make any necessary changes. Click Save.
Chapter 7 Exporting Frames, Clips, or Sequences 9. (Option) Perform the following if you want the third-party application to automatically launch after you export. a. (Option) Click the Auto Launch button, and select Add Item. b. (Option) Browse to find the third-party application. c. Click OK Open. d. Select Auto Load Exported File(s) if you want the files you export to automatically load in the third-party application. e.
Exporting Video in DV Stream Format Exporting Video in DV Stream Format Use the DV Stream format when exporting video that will be combined or processed with other DV-formatted media. This option requires a video track. To export in DV Stream format: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 246. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 248. 3. Select File > Export. The Export As dialog box opens.
Chapter 7 Exporting Frames, Clips, or Sequences 9. Select a video format and an audio format. For compatibility with DV cameras that require unlocked audio, deselect Locked. 10. Click OK. 11. In the Export Settings dialog box, do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 12.
Exporting QuickTime Movies Selecting a QuickTime Export Option (Continued) Option Description Custom This option is also available when you select QuickTime Movie from the Export Settings dialog box. When you select this option, the system decompresses the files, processes them, and compresses the files at the requested resolution. This method is slower and often loses quality.
Chapter 7 Exporting Frames, Clips, or Sequences n If you installed additional QuickTime Export formats, they appear in the popup menu with tildes (~) before their names. This indicates they have not been qualified and are not supported by Avid. QuickTime Movie (Same as Source) QuickTime Movie (Custom) 7. Select the Same as Source option to use the resolution of the source file or select the Custom option to customize your settings.
Exporting QuickTime Movies 9. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 10. In the Export As dialog box, select the destination folder for the file. 11. (Option) Change the file name. In most cases, keep the file name extension the same. 12. Click Save.
Chapter 7 Exporting Frames, Clips, or Sequences file. However, if you expect to move the exported QuickTime file to a system that doesn't have access to the media, then you should use the standard QuickTime export so the media files and QuickTime wrapper can be moved as one file. To export as a QuickTime reference movie: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 246. 2.
Exporting QuickTime Movies 7. Select other options as described in “Export Settings: QuickTime Reference Options” in the Help. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file. 10. (Option) Change the file name.
Chapter 7 Exporting Frames, Clips, or Sequences The file is exported to the selected destination. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.
Exporting QuickTime Movies The Export As dialog box opens. You can create settings in advance. See “Customizing Export Settings” on page 252. 4. Click the Export Settings pop-up menu, and select a setting. If you want to create a new setting, select Untitled. 5. Click the Options button. The Export Settings dialog box opens. 6. Click the Export As pop-up menu, and select QuickTime Movie. 7. Select the Custom option. 8. Click the Format Options button. The Movie Settings dialog box opens. 9.
Chapter 7 Exporting Frames, Clips, or Sequences A Codec Configuration dialog box opens. The settings depend on the codec that you selected. n The Quality slider does not affect your settings. 12. Select the settings that you want, and click OK. For Color Levels or Color Input, select the color levels of the source media. If you are exporting from an Avid editing system, use ITU-R 601 (SD) or 709 (HD). 13. Click OK in the Compression Settings dialog box. 14. Click OK in the Movie Settings dialog box.
Exporting As an AVI File 17. (Option) Change the file name. In most cases, keep the file name extension the same. 18. Click Save. The file is exported to the selected destination. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. Exporting As an AVI File To export as an AVI file: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 246. 2.
Chapter 7 Exporting Frames, Clips, or Sequences The Export Settings dialog box opens. 6. Click the Export As pop-up menu, and select AVI. 7. Select AVI options as described in “Export Settings: AVI Settings” in the Help. 8. Select an AVI codec by clicking the Codec Options button. The Video Compression dialog box opens. 9. Select the compressor you want, and click the Configure button to further configure the codec. For more information, see “Export Settings: AVI Video Compression Options” in the Help.
Installing the Avid Codecs for QuickTime on Other Systems The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 12. In the Export As dialog box, select the destination folder for the file. 13. (Option) Change the file name. In most cases, keep the file name extension the same. 14. Click Save. The file is exported to the selected destination.
Chapter 7 Exporting Frames, Clips, or Sequences Copying the Avid Codecs for QuickTime to Another Windows System To copy the Avid Meridien Codecs for QuickTime to another Windows system: 1. On your Avid system, open the following folder: drive:\WINNT\System32 2. Copy the codecs you need to a floppy disk or network server. The following table describes the codecs: Codec Description AvidAV1xCodec.qtx Avid 1:1x codec (Uncompressed MXF 8-bit) AvidAVd1Codec.qtx Avid DV 100 codec (MXF) AvidAVdnCodec.
Exporting from a Third-Party QuickTime or AVI Application Exporting from a Third-Party QuickTime or AVI Application To export files from a QuickTime compatible application or from an AVI compatible application on a Windows system for import (or reimport) into your Avid system: 1. Make sure the applicable codec is installed on the system. See “Installing the Avid Codecs for QuickTime on Other Systems” on page 283. 2. Conduct the export procedure according to the procedures used by the particular software.
Chapter 7 Exporting Frames, Clips, or Sequences Exporting Using an Avid Supplied Template The Avid editing application includes a number of Windows Media templates you can use to export media. To export as Windows Media using an Avid supplied template: 1. Select the sequence or clips to export. 2. Select File > Export. The Export A dialog box opens. 3. Click the Options button. The Export Settings dialog box opens. 4. In the Export As menu, select Windows Media. 5.
Exporting as Windows Media 7. Select Version: 8, 7 or 4. This refers to the available version 8, version 7, and version 4 Windows Media templates. 8. Choose from the Templates list of Windows Media options that best fits your needs. n Windows Media Legacy Template compatibility is subject to Windows media updates. 9. Click Save. 10. In the Export As dialog box, select the destination folder for the file. 11. (Option) Change the file name. In most cases, keep the file name extension the same. 12.
Chapter 7 Exporting Frames, Clips, or Sequences 4. From the Export As menu, select Windows Media. 5. Select Use Marks and/or Use Enabled Tracks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 6. Select Windows Media Custom Profile. 7. Click Set. 8.
Exporting as Windows Media Exporting Using a Custom Profile The Avid editing system allows you to create custom audio and video profiles. Once you create the profile, you can use the settings in that profile to export a sequence. Creating a Custom Video Profile To create a custom video profile: 1. Select the sequence or clips you want to export. 2. Select File > Export. The Export As dialog box opens. 3. Click the Options button. The Export Settings dialog box opens.
Chapter 7 Exporting Frames, Clips, or Sequences 4. In the Export As menu, select Windows Media. 5. Select Use Marks and/or Use Enabled Tracks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 6. Click the Add button and select Video. 7.
Exporting as Windows Media The Export Settings dialog box opens. 4. In the Export As menu, select Windows Media. 5. Select Use Marks and/or Use Enabled Tracks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 6. Click the Add button and select Audio. 7.
Chapter 7 Exporting Frames, Clips, or Sequences You are returned to the Export Settings window 9. Click Save to export the sequence. 10. In the Export As dialog box, select the destination folder for the file. 11. (Option) Change the file name. In most cases, keep the file name extension the same. 12. Click Save. The sequence is exported using the selected profile settings. Exporting Tracks As Audio Files To export the audio tracks in a clip or sequence as an audio file: 1.
Exporting Tracks As Audio Files 7. Select the options you require. Use the “Export Settings: Audio Options” in the Help to make your selections. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file. 10.
Chapter 7 Exporting Frames, Clips, or Sequences Exporting As a Graphic File You can export a single frame as a graphic file or you can select to export multiple frames as sequentially numbered files. To export as a graphic file: 1. Do one of the following: t If you plan to export a single frame, mark an IN point to export the marked frame from a bin or a monitor, or move the position indicator to the frame you want to export.
Exporting As a Graphic File 6. Click the Graphic Format pop-up menu, and select a format. Use “Export Settings: Graphic Format Options” in the Help to make your selection. 7. Select other options as appropriate. Use “Graphic Export Settings Options” in the Help to make your selection. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens.
Chapter 7 Exporting Frames, Clips, or Sequences When you are working with the Format Options settings, you can click Defaults to return the settings to their default values. c 296 If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.
Appendix A Working with HD Media Media Composer Adrenaline HD includes support for capture, editing, and output of high-definition (HD) media in the following resolutions: • Avid DNxHD™ • DVCPRO HD® Avid DNxHD encoding technology delivers mastering-quality 8-bit or 10-bit HD media at standard definition (SD) data rates and file sizes. Media Composer Adrenaline HD captures and processes DVCPRO HD media in its native format, through an optional 1394 (FireWire) card in your computer.
Appendix A Working with HD Media • Recording a Digital Cut for HD • Video Import and Export for HD High-Definition Television High-definition television (HDTV) is a digital broadcasting technology that delivers a larger, clearer, more detailed picture than standard definition television (SDTV). HDTV refers to specific digital television (DTV) formats that have been standardized by the Advanced Television Systems Committee (ATSC) and adopted by the United States Federal Communications Commission (FCC).
HDTV Workflows 1920 pixels 1080i HD NTSC SD 486 lines 720pixels 720 lines 720p HD 1080 lines 1280 pixels For more information about HD technology, see the Avid HD Handbook: An A to Z Guide, which is available on the Avid web site, www.avid.com.
Appendix A Working with HD Media Format of a Sequence” on page 316). Modifying the format of the sequence lets you keep both offline SD material and online HD material available in the same project. For PAL broadcast, transfer film at 1080p/25, edit offline in a 25p PAL project, and edit online in a 1080p/25 project.
HDTV Workflows 11. Relink the 1080p/23.976p sequence and clips by key numbers (FTFT). Then batch capture clips as HD media, using an Avid DNxHD resolution. 12. Complete any other finishing, using the original offline sequence for reference. 13. Use the Digital Cut tool to output a 1080p/23.976 master tape. Then convert the master tape to 720p/59.94 or 1080i/59.94 for broadcast. Optionally, use the Avid editing system to crossconvert to 720p/59.94 or 1080i/59.94 for preview or reference.
Appendix A Working with HD Media Offline Workflow: 24-fps Film Source for HDTV 1. The telecine process transfers 24-fps film footage to HD 1080p/23.976 video at 1:1 (no pulldown) and creates a shot log. 2. Create a 23.976p SD project on any Avid editing system that supports a 23.976p project. Telecine transfer process DAT DAT playback system Sound recording (DAT) 1 Film shot at 24 fps Telecine controller and record deck Log file 3.
HDTV Workflows Online Workflow: 24-fps Film Source for HDTV 7. The telecine process creates HD video with selects from the original negative (picture only) and a new transfer file. Telecine transfer process (picture only) From the offline session 7 Pull list 8. Transfer the project files and media to a Media Composer Adrenaline HD system. 9. Open the project and change its format to 1080p/23.976. Modify the format of the sequence to create a new 1080p/23.976 sequence. 10.
Appendix A Working with HD Media Video-Based Television Workflow The following workflow describes the steps in creating video-based television programs that originate on video footage and are planned for HDTV broadcast. Footage can be shot at • 1080p/23.976 • 1080p/25 • 1080i/50 • 1080i/59.94 The workflow for creating such programs uses a single system for offline and online editing, but you can adapt it to use one system for offline editing and another for online editing.
HDTV Workflows 3. Create an offline project as shown in the following table: HD Online SD Offline 1080p/23.976 23.976p NTSC 1080p/25 25p PAL 1080i/50 25i PAL 1080i/59.94 30i NTSC 4. Capture your material. Edit, apply effects, and create a final sequence. 5. Change the project format to the corresponding HD online format. Duplicate the final sequence, and then modify the format of the sequence to create a new sequence in the corresponding HD format 6.
Appendix A Working with HD Media Offline/Online Workflow: HD Video Source for HDTV 1. Shoot HD video at 1080p/23.976, 1080p/25, 1080i/50, or 1080i/59.94. This illustration uses 1080i/59.94 as an example. 1 2. Use an HD VTR to downconvert the source tape to 30i NTSC, 25i PAL, or 25p. 1080i/59,94 HD format 1080i 3. Create a corresponding offline project. 4. Capture your material. Edit, apply effects, and create a final sequence. 5. Change the project format to the corresponding online format.
HDTV Workflows Broadcast Graphics Workflow Another HDTV workflow produces graphics, such as bumpers and promos that are created in graphics programs for HDTV broadcast. Broadcast Graphics Workflow 1. Create files on a graphics workstation, using either 1280x720 for 720p or 1920x1080 for 1080i. 2. Export the files to a location that the Avid editing system can access. 3. Create a 720p or 1080i project, import the files, edit, and finish. 4. Create a broadcast master tape in the desired format.
Appendix A Working with HD Media Starting an HD Project To create a new HD project: t Select an appropriate format in the New Project dialog box. The following table describes the HD online formats. HD Online Formats 308 Format/Frame rate Units/second How used 720p/59.94 Frames HD broadcast. Video-originated material can be directly captured, edited, and output in this format. 1080p/23.976 Frames HD online. Film-originated material can be transferred to this format for editing and effects.
Capturing HD Video and Audio HD Online Formats (Continued) Format/Frame rate Units/second How used 1080p/25 Frames HD online. Film-originated material can be transferred to this format for editing and effects. For broadcast, output in the native frame rate and convert the output to the broadcast format. 1080i/50 Fields HD broadcast. Video-originated material can be directly captured, edited, and output in this format. 1080i/59.94 Fields HD broadcast.
Appendix A Working with HD Media You can select an HD resolution in the Media Creation tool or the Capture tool. DNxHD resolutions are available in 10-bit and 8-bit versions. 10-bit compressions are indicated by an X, such as DNxHD 220 X. DNxHD resolutions use the MXF media format. JFIF, MPEG, DV 25, and DV 50 resolutions are not available in HD projects. Available HD resolutions depend on the project format, as shown in the following table.
Capturing HD Video and Audio n The data rate (bandwidth) for Avid DNxHD resolutions is calculated per second for each frame rate. For example, DNxHD 220 has a compressed data rate of 220 Mb/sec at 29.97 fps. DNxHD 185, which is an equivalent resolution, has a compressed data rate of 185 Mb/sec at 25 fps. For more information about DNxHD resolutions, see “Resolution Specifications: Avid DNxHD” in the Help.
Appendix A Working with HD Media - Special > Device > IEEE 1394 Your selection appears in the Video menu of the Capture tool: HD-SDI for input through the Adrenaline and Host-1394 for input through the optional 1394 board. For more information, see “Capturing DV50 and DVCPRO HD Media Directly from a DV Device” on page 135. If the device input is set to Adrenaline, you can capture audio from any input that appears in the Audio menu of the Capture tool, such as XLR.
Playback Modes for HD Video Input Tool for HD The Input menu on the Video Input tool displays HD-SDI or Host-1394, depending on your video input device. As with the standard definition SDI input, you cannot adjust video input for these digital formats. True 24 FPS Timecode Avid HD editing systems support direct device control at 24-fps, enabling you to capture true 24-fps timecode from HD decks.
Appendix A Working with HD Media white is mapped to 235. However, color values can change when converting from SD to HD, and vice versa. Avid HD systems automatically compensate for these differences (see “Video Effects for HD” on page 320). n YCbCr and YPbPr refer to the same color space. Avid editing systems use YPbPr to designate HD analog output, both in the Video Output tool and on the back of the Adrenaline.
Changing the Project Format Offline Formats for HD HD Online SD Offline 720p/59.94a 30i NTSC 1080p/23.976 23.976p NTSC 1080p/25 25p PAL 1080i/50 25i PAL 1080i/59.94 30i NTSC a. You cannot use this feature to change a 720p/59.94 project to an NTSC 30i project or an NTSC 30i project to a 720p/59.94 project, because the edit rates are different (see “Editing at 60 fps” on page 319). Use an NTSC 30i project for offline editing, then open a new 720p/59.
Appendix A Working with HD Media Editing in HD On Avid HD systems, editing HD media is very similar to editing SD media. The following sections describe features specific to HD projects. Modifying the Format of a Sequence When the Avid editing system creates a sequence, it uses the format of the current project.You can change this format by selecting Clip > Modify. The choice of formats is limited to the compatible frame rate of the sequence. For example, you can change an NTSC 30i sequence to 1080i/59.
Editing in HD The following table shows the choices you have for modifying sequences and how each type of sequence is modified. Choices for Modifying Sequences SD Offline HD Online How Sequence is Modified 23.976p NTSC 1080p/23.976 New sequence is created. 25p PAL 1080p/25 Existing sequence is modified. 25i PAL 1080i/50 Existing sequence is modified. 30i NTSC 720p/59.94 1080i/59.94 New sequence is created. Existing sequence is modified.
Appendix A Working with HD Media Mixing SD and HD You can mix SD and HD material in the same project. You can even mix SD and HD material in the same timeline if the edit rates match. For example, you can edit both NTSC 30i and 1080i/59.94 into the same sequence and then play the sequence in real time. This feature is useful if you want to preview SD material in an HD project. • In an HD sequence, an SD image is stretched to fill a 16:9 monitor.
Editing in HD Format column For information on displaying a column, see “Showing and Hiding Columns” in the Help. Displaying 16:9 HD Video in Monitors For HD projects, the monitors are displayed by default in the 16:9 aspect ratio. To switch between 16:9 and 4:3 aspect ratios: t Right-click in a monitor and select 16:9 Video. A check mark indicates that the monitors are displayed in the 16:9 aspect ratio. Editing at 60 fps The project type 720p/59.
Appendix A Working with HD Media • n Deck control for capture and digital cut is limited to 30 fps. A message box warns you if you try to mark an odd timecode value (such as 01:00:00:03). 1080i/50 and 1080i/59.94 are interlaced resolutions that you edit at 25 frames per second and 30 frames per second. Transcoding HD Media For HD projects, the Consolidate/Transcode dialog box lists compatible Avid DNxHD and DVCPRO HD resolutions, as listed in “HD Resolutions” on page 309.
Setting Video Output for HD Setting Video Output for HD Before recording output for HD, you need to check the settings in the Video Output tool. The Video Output tool includes two tabs. For HD projects, select the HD tab. The following topics explain the options in the HD tab.
Appendix A Working with HD Media Output Menu (HD Tab) This selection displays controls for adjusting output gain to an HD component device, such as a monitor or a deck. Select one of the following, depending on the connections from the Adrenaline to the output device: • HD Component YPbPr • HD Component RGB For information on connections on the Adrenaline, see “Using the Avid Adrenaline” in the Help. For information on adjusting output gain, see “Calibrating for Video Output” in the Help.
Setting Video Output for HD The Crossconvert choices depend on the format of the sequence, as described in the following table. HD Sequence Format Crossconverted HD Format 720p/59.94 1080i/59.94 1080p/23.976a 1080i/59.94 720p/59.94 1080p/25 -- 1080i/50 -- 1080i/59.94 720p/59.94 a. When converting 1080p/23.976 to 1080i/59.94 or 720p/59.94, the Avid editing system adds 2:3 pulldown frames to create a sequence with the correct frame rate.
Appendix A Working with HD Media High Definition SD - Anamorphic SD - Letterbox SD - Center Cut The format for SD downconvert matches the frame rate of the HD sequence, as described in the following table. HD Sequence Format Downconverted SD Format 720p/59.94 30i NTSC 1080p/23.976a 30i NTSC 1080p/25 25i PAL 1080i/50 25i PAL 1080i/59.94 30i NTSC a. When converting 1080p/23.976 to 30i NTSC, the Avid editing system adds 2:3 pulldown frames to create a sequence with the correct frame rate.
Setting Video Output for HD c Avid recommends using downconverted 720p/59.94 and 1080p/23.976 sequences for preview or reference only. When using digital cut to output the HD master sequence to tape, use the native frame rate of the sequence. Crossconvert and downconvert options that change the edit rate are not supported for digital cut. Test Patterns for HD This option lets you select a pattern from the HD Test Patterns menu.
Appendix A Working with HD Media OutputLock for HD This option lets you select the type of sync generator the system uses when outputting a sequence: reference (black burst), tri-level, or internal. c Avid recommends that you use an external sync source whenever you record a digital cut to tape. Connect the sync source to both the Adrenaline hardware and the tape deck. Most HD formats allow you to use any of these options, but you cannot use reference for 1080p/23.976.
Video Import and Export for HD Video Import and Export for HD Video import and export includes the following changes to support HD media: • HD projects use the ITU-R 709 color space instead of ITU-R 601. During import and export, the Avid editing system automatically uses the appropriate color space. For import and export, you can select RGB or 601/709 in the settings dialog box.
Appendix A Working with HD Media • 16:9 is the default pixel aspect ratio in the QuickTime and QuickTime Reference export dialogs. • Export of Windows Media format is available for both SD and HD projects. • Avid HD applications include two QuickTime codecs that support Avid HD compression: - Avid DNxHD - Avid DV100 For more information about using codecs and copying them to other systems, see “Using Avid Codecs for QuickTime” in the Help.
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Numerics 10-bit resolutions 25 1394 capturing directly through 135 16:9 format 66 24-fps timecode capturing from deck 313 24p and 25p projects indicating the destination timecode rate 229 output formats 225 starting 23 timecode for output 228 24p media capturing without pulldown 150 25i projects starting 23 30i projects starting 23 3-perf support 235 4-perf support 235 60 fps editing 720p project 319 A AAF (Advanced Authoring Format) files described 253 exporting 255 meth
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ file formats (Audio Project settings) 104 105 input 94 input levels, adjusting 107 requirements for film transfers 95 Audio board systems adjusting output on 204 Audio File format selecting 104 Audio I/O device adjusting output on 204 Audio input levels adjusting 107 calibrating for audio I/O device 111 Audio output calibrating 202 preparing for 202 Audio peak levels checking 113 Audio Project settings adjusting 103 audio file formats 104, 104, 105 Audio Project Settings d
ABCDEFGHIJKLMNOPQRSTUVWXYZ Buttons Add Channel (Deck Configuration dialog box) 81 Add Deck (Deck Configuration dialog box) 83 Effect Safe Mode 215, 218 In/Out (Audio tool) 106 Preset (Video tools) 115, 195 Reset Peak (Audio tool) 106 BY Gain slider adjusting for video input 120 adjusting for video output 200 C Calibrate command (Peak Hold Menu button) 112 Calibrating audio output global levels 202 of digital cut 203 global output levels 204 video input 116 table of luminance settings 120 with Vectorscope
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Capturing footage See Capturing Change lists using FilmScribe to create 237 Changing clip information before capturing 62 Changing default pulldown frame 232 Channel dialog box 81 Channel selection buttons (Capture tool) 93 Check Decks command (Deck Selection pop-up menu) 91 Check list for preparing hardware before capturing 65 for preparing to capture 124 Chrominance settings adjusting for video input 120 adjusting for video output 200 Chunking 131, 133 Clips See also Mas
ABCDEFGHIJKLMNOPQRSTUVWXYZ Deck settings for configuring decks 83, 91, 211 Decks capturing from non-Avid-controlled 144 configuring 80 digitizing from consumer-grade 118 for digital cut 211 limitations on consumer-grade 121 logging with Avid-controlled 46 logging with non-Avid-controlled 51 selecting 91 using the keyboard to control decks 133 Decompose feature 158 using when recapturing 158 Default pulldown frame changing the 232 Delay, DV digital cut 232 Deleting deck configurations 85 Destination bins se
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ DV Scene Extraction described 167 setting up 167 DV Stream files exporting 271 options 271 DV100 capturing 135 DV50 capturing 135 DVCPRO HD capturing 135 DVD exporting to 261 E Edit decision list See EDL Editcam files importing 184 EDL (edit decision list) creating 234 described 234 Effect Safe Mode button 215, 218 Effects in HD projects 320 Enable Track buttons (Digital Cut tool) 210 Entering additional film data 62 frames-per-second rates for PAL transfers 60 ink number
ABCDEFGHIJKLMNOPQRSTUVWXYZ reasons for 246 using drag-and-drop method 251 importing guidelines for 171 procedure for 174 using drag-and-drop method 177 importing mixed resolutions 27 reimporting 186 Film columns, displaying 54 data, entering 62 information, logging 53 minimum information for capturing 53 timecodes, entering 61 Film cut lists generating 237 Film settings for transfer 78 pulldown phase 41 FilmScribe application accessing 237 Film-to-tape transfer audio requirements for NTSC 95 Filtering driv
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Import Target section (Batch Import dialog box) 188 Importing files batch import 187 before you begin 171 EditCam 184 guidelines for 171 in mixed-resolution projects 27 Photoshop files 177 preparing for 171 procedure for 174 settings 172 shot log files 39 using drag-and-drop method for 177 In/Out buttons (Audio tool) defined 106 Ink numbers entering 62 Input audio 94 video 94, 94 Insert-edit recording 207 with pulldown 230 Installing Avid Codecs for QuickTime 283 ITU-R 709
ABCDEFGHIJKLMNOPQRSTUVWXYZ Media files capturing to multiple 75 Media Files Capture settings 75 Media Station XL capturing with 24 MediaLog transferring bins with 37 Memory marks adding 50 Menu commands Adjust Deck (Deck Selection pop-up menu) 91, 211 Auto-configure (Deck Selection pop-up menu) 91, 212 Batch Capture (Clip menu) 154 Batch Digitize (Clip menu) 160 Calibrate (Peak Hold Menu button) 112 Capture Tools (Tools menu) 46 Check Decks (Deck Selection pop-up menu) 91 Console (Tools menu) 101, 113 Digi
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Output formats described 28 for 24p and 25p projects 225 Output sync lock 326 OutputLock menu 193 P PAL (Phase Alternating Line) video frames-per-second rates for transfers 60 logging and capturing 137 luminance values 199 waveform values 120 Passthrough Mix Tool using 109 Passthrough signals calibrating video output using 201 Patching when capturing to the Timeline 149 Peak Hold pop-up menu (Audio tool) defined 106 Photoshop files importing multilayered 178 procedure 182
ABCDEFGHIJKLMNOPQRSTUVWXYZ R Recapturing master clips and subclips 157 sequences procedure 158 using Decompose 158 using Decompose during 158 Record button (Capture tool) mapping 134 Record Deck Time option (Digital Cut tool) 216 Record settings selecting 71 Record tapes preparing 206 Recording assemble-edit 208 digital cuts 209 using Local mode 217 using Remote mode 214 Redigitizing See also Autodigitizing, Batch digitizing, Digitizing Reimporting files overview 186 procedure 189 Relinking clips by key nu
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ selecting before capturing 67 Shared volume segmentation (”chunking”) 131, 133 Shot log files Avid log file specifications 36 converting with Avid Log Exchange (Windows) 30 exporting 63 importing 39 preparing text editors for 36 with MediaLog 37 Shot logs See Shot log files Single/Dual Drive Mode button (Capture tool) 99 SMPTE bars 199 SMPTE/EBU component standard support 115 Sorenson Squeeze exporting to 264 Sound roll entering data for 62 Source tapes selecting for captu
ABCDEFGHIJKLMNOPQRSTUVWXYZ Tri-level sync for HD 326 Trim pots adjusting 112 Troubleshooting vertical blanking interval information problems 242 U U-matic deck digitizing from 118 limitations when digitizing 121 Unattended batch digitizing 152 See also Batch digitizing, Digitizing, Redigitizing V VBI (Vertical Blanking Interval) 198, 238 Vectorscope monitor using 120 Vertical blanking information line ranges in 238 Vertical Blanking Interval and effects 241 and video quality 242 preserviing information 2
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ W WAVE file format option in Audio Project settings 104 Waveform monitor calibrating input with 119 Wide-screen format (16:9) 66 Windows Media exporting as 285 Workflows film-based HDTV 299 for video projects 24, 24 graphics for HDTV 307 video-based HDTV 304 Working with multiple formats 28 342