2022.x

ManualsBrandsAvid Digidesign M-Audio Pinnacle Sibelius ManualsApplicationsMedia Composer

Table Of Contents

Title Page
Symbols and Conventions
If You Need Help
Avid Training Services
Editing Overview
- Editing Workflow
- Starting a Project
- Preparing to Edit
- Editing a Sequence
- Outputting a Sequence
Getting Started
- Turning on Your Equipment
- Using the Keyboard for Navigating in Dialog Boxes and Menus
- Using the Mouse Scroll Wheel for Navigating
- Customizing Mouse Functions
- Optimum Performance (Windows)
- Optimum Performance (Mac)
- Antivirus Applications
- Starting Media Composer (Windows)
- Starting Media Composer (Mac)
- Avid Link
- Quitting and Turning Off Equipment
Working with Projects
- Project Management Window
- Creating a New Project
- Avid Projects and Avid Users Folders
- Opening and Closing Existing Projects
- Deleting a Project
- Changing Project and User Names
- Backing Up Your Project Information
- Avid Attic Folder
  - Retrieving Files from the Avid Attic Folder (Windows)
  - Retrieving Files from the Avid Attic Folder (Mac)
Windows and Panels in the User Interface
- The User Interface
- Customizing the Avid User Interface
- Using Workspaces
Using Tools
- Using the Tools Menu
- Using Tabs
- Using a Deck Controller
- Deck Controller Window Reference
- The Command Palette
- Using the Avid Calculator
- Using The Console Window
- Accessing Hardware Information
- Viewing Project Statistics
- Using the Configuration Tab
Logging
- Avid Log Specifications
- Creating an Avid Log
- Double-Checking Log Files
- Logging Directly into a Bin
- Understanding the Pulldown Phase
- Setting the Pulldown Phase
- Film-Related Log Information
Preparing for Capture
- Logging and Shot Logs
- Importing Shot Log Files
- Preparing the Hardware for Capture
  - Establishing Sync for Audio-Only Input
- Selecting Settings for Capture
- Configuring Decks
  - Configuring a Deck or Multiple Decks
  - Deleting Deck Configuration Elements
- Understanding Timecode
- Connecting a DV Device
- Setting Up the Capture Tool
- Preparing to Capture Audio
- Preparing to Capture Video
- Capture Preparations Check List
Capturing Media
- Capturing and Logging at the Same Time
  - Naming Clips and Adding Comments in the Capture Tool
  - Capturing by Setting Both Marks
  - Capturing by Setting Only One Mark
  - Capturing On-the-Fly
  - Preparing to Autocapture
  - Autocapturing
  - Capturing from a Non-Avid-Controlled Deck
  - Capturing with Time-of-Day Timecode
- Capturing Directly from a DV Device
  - Capturing DV 50, DVCPRO HD, or HDV Media
  - Understanding DV Capture Offset
  - Capturing DV Material with Offset
- Capturing Audio from a Music CD
- Frame Chase Capture
  - Understanding Frame Chase Capture
  - Enabling Frame Chase Capture
  - Requirements and Guidelines for Frame Chase Capture
- Batch Capturing from Logged Clips
  - Preparing to Batch Capture
  - Batch Capturing Clips
- Recapturing and Decomposing
  - Understanding Recapturing
  - Understanding Decompose and Expert Decompose
  - Decomposing Sequences
  - Using Expert Decompose
  - Recapturing a Sequence Without Using Decompose
- Alternate Source Capture
- Using Capture Function Keys
- Handling Errors During the Capture Process
- Creating Subclips While Capturing
- Adding Markers On-the-Fly While Capturing
- Naming a New Tape from the Keyboard While Capturing
- Controlling Decks from the Keyboard
- Adding Extra Text Fields in the Capture Tool
- Ejecting Tapes with a Button or Key
- Delaying Audio During Capture
- Working in Quick Record Mode
- Capturing in Satellite Mode or No Device Control
- Scheduling a Capture Session
- Capturing to the Timeline
- Capturing Video Without Pulldown into a 24p NTSC Project
- Remote Play, Capture, and Punch-In
  - Selecting Remote Play and Capture Settings
  - Enabling Remote Capture
  - Enabling Remote Play
  - Setting up Your System for Remote Punch-In
- Relinking Clips by Key Number
- Modifying the Pulldown Phase After Capturing
- DV and HDV Scene Extraction
- Using the Panasonic VariCam
Importing Files
- Preparing to Import Files
- Creating and Modifying Import Settings
- Importing Media Files
- Importing with Multichannel Audio
- Adjusting Gain Before Importing Audio Files
- Sample Rate Conversion and Audio Import
- Setting Sample Rate Conversion Options Before Importing Audio Files
- Photoshop Graphics Import
  - Support for Multilayered Photoshop Graphics Import
  - Importing Photoshop Files
- Digital Bars and Tone
- Importing Color Bars and Other Test Patterns
- Setting XDCAM Import Options
- Importing XDCAM Media
- Importing XDCAM EX Media
- Automatically Importing Proxy Media from an XDCAM Device
- Copying XDCAM Proxy Media to a Local Drive or a Server
- Manually Importing XDCAM Media from the XDCAM Disk
- Importing Essence Marks as Markers in XDCAM Media
- Editing XDCAM Proxy Media
- Batch Importing High-Resolution XDCAM Media from the XDCAM Disk
- Editing and Finishing High-Resolution XDCAM Media
- Importing Sequences from Pro Tools through Interplay
- Importing Scenarist Closed Caption Files
- Using the Drag-and-Drop Method to Import Files
- Reimporting Files
- Batch Import Dialog Box
- Sequence Report for AAF Imports
Working with Bins
- The Bin Container
- Project Bin Container
- Object Icons in Bins
- Bin Map
- Bin Views
  - Using Text View
  - Sorting in Bins
  - Sorting Clips and Sequences
  - Understanding Bin Views
  - Saving a Custom Bin View
  - Using Frame View
  - Snap to Grid in Bin Frame View
  - Using Script View
- Bin Status Bar
- Bin Procedures
  - Using Bin Tabs
  - Using the Bin Fast Menu
  - Selecting Clips and Sequences
  - Duplicating, Copying, and Moving Clips and Sequences
  - Copying Clips and Sequences
  - Deleting Items from a Bin
  - Changing the Bin Background Color
  - Assigning Colors to Objects in a Bin
  - Accessing the Custom Color Picker for Color Palettes
  - Locking and Unlocking Items in a Bin
  - Selecting Offline Items in a Bin
  - Selecting Media Relatives for an Object in a Bin
  - Selecting Sources Used by an Object in a Bin
  - Selecting Unreferenced Items in a Bin
  - Displaying Faster Thumbnails
- Working with Bin Columns
  - Moving, Aligning, and Deleting Bin Columns
  - Duplicating Bin Columns with Timecode Information
  - Adding Customized Columns to a Bin
  - Changing a Custom Bin Column Heading
  - Applying the Same Text to a Column for Multiple Items
  - Adding a Metadata Bin Column Heading
  - Moving Within Column Cells
  - Bin Left Lock
  - Copying Information Between Columns
  - Displaying Timecodes in a 24p or 25p Project
  - Adding Timecode Columns to a Bin or the Media Tool
  - Frame Counting for Timecodes
  - Adding Timecode Values to the Timecode Columns
- Modifying Clip Information
  - Bin Column Headings
  - Modifying Data in Bins
  - Modify Command Options
  - Copying Information from Another Cell in a Custom Bin Column
  - Applying the Same Text to a Custom Column for Multiple Items
- Bin Find and Replace
- Bulk Edit
- Working with Film Information in Bins
  - Film Scene Workflow
  - Tracking Frames Based on File Name
  - Selecting a Film Gauge
  - Tracking 3-Perf Counts
  - Selecting an Edgecode Type
- Creating a Storyboard
- Setting the Bin Display
- Sifting Clips and Sequences
  - Understanding Sifting Timecodes or Keycode Ranges
  - Sifting Timecodes or Keycode Ranges
- Working with Restricted Material
- Printing Bins
- Favorite Bins
- Filtering Items in the Bin
- Using the Bin Container
  - Viewing a List of Bins
  - Creating a New Bin
  - Renaming a Bin
  - Opening and Closing Bins
  - Show Bin in Sidebar
  - Displaying Folders of Bins in the Bins List
  - Creating a Folder
  - Deleting a Bin or Folder
  - Viewing and Emptying the Trash
  - Saving Bins
  - Saving Bins Manually
  - Filtering Bins in the Bin Container
- Working with Bins and Projects in an Avid Shared Storage Environment
  - Sharing Bins and Projects in Avid Shared Storage
  - Opening a Shared Project
  - Working with Locks and Shared Bins
  - Refreshing Locked Bins
  - Considerations for Working with Shared Bins and Projects
  - Drive Filtering in Networked Workflows
- Managing Bins and Memory
- Setting the Media Cache
- The Inspector
Linking File-Based Media
- Viewing the Installed Plug-Ins
- Avid Universal Media Engine (UME)
- Automatically Linking Media from a Third Party Device
- Linking File Based Media through the Source Browser
- Linking to QuickTime Media
  - Relinking to Linked QuickTime Files
- Linking to AVCHD Media
- Linking to MXF Media
- Linking to RED Media
  - Preparing your RED Clip for Transcode, Mixdown, or Render
- Linking to DPX Media
- Linking to H.265
- Linking to OpenEXR
- Linking to an AS-02 Bundle
- Linking to an AS-11 Sequence
- Linking to ProRes RAW
- Linking to Broadcast Wave and AIFF Files
- Linking with Multichannel Audio
- Linking Clips with Ancillary Data
- IMF Original and Supplemental Support
Managing Media Files
- Working with Media Files in an Avid Interplay Environment
- Understanding Unmounting Drives
- Unmounting Drives
- Using the Media Tool
- Consolidating Media
- Using the Consolidate Command
- Using the Transcode Command
- Background Consolidate and Transcode
  - The Background Queue Window
  - Using Background Consolidate and Transcode
- Loading the Media Database
- Refreshing Media Directories
- Deleting Unreferenced Clips and Media
- Backing Up Media Files
- Finding a Related Media File
- Relinking Media Files
- Unlinking Media Files
- Sequence and Clip Information Summary
  - Creating a Summary of Effects and Source Information
  - Summary Information Options
- Creating Dynamic Media Folders
- Starting and Stopping Avid Background Services
Viewing and Marking Footage
- Viewing Methods
- Customizing the Composer Window and Monitors
- Using the Info Window
- Using the Timecode Window
- Playing Video to the Client Monitor
- Activating and Deactivating the Client Monitor Display
- Selecting the Video Display Settings
- Playing Video to a Full-Screen Monitor
- Adjusting the Play Delay Offset
- Using the Tool Palette
- Playing Selected Clips in a Loop
- Loading and Clearing Footage
- Controlling Playback
- Video Quality Options for Playback
- Setting the Video Quality for Playback
- Marking and Subcataloging Footage
- Using Markers
- Finding Frames, Clips, and Bins
- Sequence and Clip Information Summary
  - Creating a Summary of Effects and Source Information
  - Summary Information Options
PhraseFind
- Using PhraseFind
- Farsi Information (ASCI Romanization)
Creating and Editing Sequences
- Entering Source/Record Mode
- Creating a New Sequence
  - Changing the Name and Timecode for a Sequence
  - Track Display for New Sequences
  - User Preferences for Creating Tracks
  - Adding Filler
- Making a First Edit
- Creating an Instant Rough Cut
- Undoing or Redoing Edits
- Editing Additional Clips into the Sequence
  - Performing an Insert or Splice-in Edit
  - Performing an Overwrite Edit
  - Performing a Replace Edit
  - Enabling Single-Mark Editing
- Mixing Frame Rates and Field Motion Types
  - How Media Composer Handles Mixed Rate Clips
  - Viewing Mixed Rate Clips in the Timeline
  - Viewing and Adjusting Motion Adapter Parameters
  - Modifying the Field Motion Attribute for a Clip
  - Considerations When Working with Mixed Rate Clips
- Mixing Frame Sizes and Aspect Ratios
  - How Media Composer Reformats Clips in Sequences
  - Changing the Aspect Ratio for a Project
  - Modifying the Reformat Attribute for a Clip
  - Reformatting Options Reference
- Refreshing Sequences to Use Current Clip Attributes
- Lifting, Extracting, and Copying Material
  - Using the Avid Clipboard
- Strip Silence
- Adding Notes to Clips in the Timeline
- Playing Back a Sequence
  - Playback Performance Tips
  - Setting Video Memory and Video Frame Cache
  - Playing a Limited Duration of a Sequence
- Understanding Sync Breaks
- Fixing Sync Breaks
- Understanding Sync Lock
  - Syncing with Tail Leader
  - Syncing with Markers
  - Using Add Edit When Trimming
- Ganging Footage in Monitors
- Sync Point Editing
- Autosyncing Clips
  - Understanding Autosyncing
  - Creating an Autosynced Subclip
- Understanding AutoSequence
- Adding Audio or Video to Original Videotape Using AutoSequence
- Resyncing Subframe Audio
- Resyncing Audio for a Selected Subclip
- Working with Phantom Marks
- Creating Video and Audio Leaders
- Performing Audio Slip
- Performing an Insert Edit to an Exported Sequence
- Performing an OP1a MXF Mixdown
Working with High-Resolution Media
- What is Resolution Independence?
- The Media Composer Editing Pipeline
- What's the Difference between Resolution and Size?
- What is Color Management?
- HDR
  - HDR Luminance Values Displayed in Nits
  - HDR Workflow
- Working with Color Spaces
- Using a Proxy Workflow
  - Setting the Proxy Mode for the Timeline
- Changing Source Properties on a Master Clip
- Reframing your Media
  - Panning a Shot
- Reformatting the Media to fit the Project Frame Size
- Setting the Color Properties of Acquired Media
  - Applying External LUTs to your Media
  - Importing a CLF File
  - Using Color Decision Lists (CDLs)
  - Removing Color Adapters from a Sequence
- Setting the Display Properties for Media Composer Viewers
- Setting the Playback Rate of a Clip
- Editing with Low-Resolution Proxy Media
  - Transcoding a Bin using Automated Profiles
  - Transcoding a Sequence
- Linking to MXF Media
- Relinking to the Source Media
- Relinking to the Proxy Media
- Merging Additional Metadata for Clips
- Rendering Effects
- Viewing Sequences with Mask Regions
- Exporting Sequences to File
- Exporting Sequences to External Applications
- Exchanging Sequences with DaVinci Resolve
- Playout from Media Composer
- Support for ACES Workflow
  - Creating an ACES Project
- High-Resolution Sequence Formats Supported by Media Composer
- HD Resolution Sequence Formats
- High-Resolution Output Formats Supported by Media Composer
- Avid MXF (DNx) Render & Output Quality
  - DNxHR Family
Script-Based Editing
- Understanding Lined Scripts
- Script Integration — Lining in the Digital Realm
- Understanding the Script Window
- Working with the Script Window
- Working with Script Text
  - Editing a Script
- Working with Page or Scene Numbers and Searching in a Script
- Linking Clips to a Script
- Interpolating Position for Script Integration
- Working with Slates in the Script Window
- Working with Takes in the Script Window
- Indicating Off-Screen Dialog in a Script
- Using Color Indicators in the Script Window
- Script Marks
- Finding Clips and Script
- Editing From the Script Window
  - Assembling a Rough Cut From the Script Window
  - Splicing a Script Range
- Setting Pre-Roll for Script Window
- Refreshing Locked Scripts
Using the Timeline
- Customizing Timeline Views
- Timeline Sequence Map
- Navigating in the Timeline
- Working with Segments
- Working with Multiple Tracks
- In to Out Highlighting in the Timeline
- Editing in Heads or Heads Tails View
- Performing a Quick Edit Using the Top and Tail Commands
- Working with Add Edits (Match Frames)
- Dupe Detection
- Editing with the Film Track
- Tracking Color Frame Shifts
- Finding Black Holes and Flash Frames
- Printing the Timeline
- Searching for Text in the Timeline
Working with Trim Edits
- Trimming with the Timeline Palette
- Understanding Trim Displays
- Setting Small Trim Display
- Trim Settings Overview
- Timeline Trim States
- Selecting Trim Sides
  - Selecting Video Tracks for Trimming
  - Selecting Additional Transitions
  - Soloing Audio while Trimming
- Overwrite Trimming
- Ripple Trimming
- Dual-Roller Trimming
- Trimming with Sync Locks On
- Refining Trims
- Reviewing Trim Edits
- Trimming with the J-K-L Keys
- Trimming On-the-Fly
- End of Trim Indicators
- Using Dual-Image Playback During Trims
- Trimming During a Playback Loop
- Creating Overlap Edits
- Extending an Edit
- Maintaining Sync While Trimming
- Slipping or Sliding Segments
  - Selecting Segments for Slip or Slide Trimming
  - Performing a Slip or Slide Trim
- Trimming in Two Directions
- Using the Transition Corner Display
Working with Audio
- Overview of Audio Tools
  - Accessing Audio Effect Tools
  - Using Audio Timecode
- Working with Multichannel Audio Tracks
  - Displaying Track Formats in Bins
  - Modifying Track Formats in Bins
- The Track Control Panel
  - Using the Track Control Panel
  - Soloing Audio Tracks
  - Making Tracks Inactive
- Using Audio Scrub
  - Selecting Tracks for Audio Scrubbing
  - Performing Smooth Audio Scrub
  - Adjusting Digital Scrub Parameters
  - Performing Digital Audio Scrub
- Audio Displays in the Timeline
  - Displaying Audio Waveforms
  - Displaying Volume and Pan Values
  - Identifying Sample Rates by Color
  - Using Audio Meters in the Timeline
  - Adjusting Volume
- Displaying Audio Formats in Bins
- Working with Surround Sound Audio
  - Surround Mixing
  - Surround Monitoring
  - Assigning Surround Sound Mix Output
- Adjusting the Play Buffer Size for Audio (Software-only Models)
- Using the Audio Mixer Tool
  - Accessing the Audio Mixer and Audio Mixer Modes
  - Audio Mixer Tool Controls
  - Resizing the Audio Mixer Tool
  - Audio Grouping
  - Track Selection in the Audio Mixer Tool and in the Timeline
  - Using the Track Solo and Track Mute Buttons
  - Using the Go to Next Event and Go to Previous Event
- Rendering and Unrendering Order for Audio Effects
- Audio Volume Staging and an Audio Editing Workflow
- Using Clip Volume and Pan Mode
  - Adjusting Clip Volume and Pan for Audio Tracks
  - Surround Sound Pan Controls
  - Using the Pan Grid for Surround Panning
  - Using the Advanced Panner for Surround Sound Panning
  - Using the Center Percentage and LFE Controls
  - Audio Mixer Fast Menu: Clip Volume and Pan Mode
  - Bypassing Existing Volume Settings
  - Adjusting Volume While Playing a Clip Volume Effect
  - Improving Response Time When Adjusting Volume
  - Modifying How Media Composer Interprets Pan
  - Using the Center Pan Command
  - Isolating Clip Portions for Audio Adjustment
- Using Volume and Pan Automation
  - Using Volume and Pan Automation in the Timeline
  - Volume and Pan Automation Mode
  - Understanding Volume or Pan Automation Recording
  - Using the Audio Mixer Tool for Volume and Pan Automation
  - Audio Mixer Tool Fast Menu: Volume and Pan Automation Mode
  - Using Keyboard Shortcuts with Audio Keyframes
- Copying, Pasting and Moving Audio Keyframes
  - Creating a New Keyframe
  - Copy and Paste Individual Keyframes
  - Copy and Paste by Lassoing an Area of Audio Keyframes
  - Copy and Paste a Whole Region or Marked Region of Audio Keyframes
  - Moving Keyframes in the Timeline
  - Removing Hidden Keyframes
- Using Live Mix Mode
  - Entering Live Mix Mode
  - Using Live Mix Mode with an External Controller
  - Using Live Mix Mode Without an External Controller
  - Switching Between Live Mix Mode and Other Audio Mixer Modes
  - Audio Mixer Tool Fast Menu: Live Mix Mode
  - Live Mix Mode Example
- Fading and Dipping Audio
- Adjusting Audio Clip Gain in the Timeline
- Audio Sample Rate Conversion
- Changing the Audio Sample Rate for Sequences and Audio Clips
- Mixing Down Audio Tracks
- Mixing Down Multiple Audio Tracks
- Splitting Multichannel Tracks to Mono Tracks
- Using the Audio EQ Tool
  - Audio EQ Tool Features
  - Applying Audio EQ Effects
  - Saving Audio EQ Effects
  - Removing Audio EQ Effects with the Fast Menu
  - Removing Audio EQ Effects with the Remove Effect Button
  - Audio EQ Examples
  - Using Audio EQ Templates
  - Adjusting EQ While Playing an Audio Effect
- Recording Voice-Over Narration
  - Recording Voice-Over Narration Using the Capture Tool
  - Audio Punch-in Tool Features
  - Audio Punch-in Tool Scenarios
  - Recording Voice-Over Narration Using Audio Punch-in
  - Extended Audio Punch-In
  - Monitoring Previously Recorded Tracks While Recording Voice-Over Narration
  - Audio Punch-In Support for Open I/O Devices
  - Using Peak Hold While Recording Voice-Over Narration
- Using Automatic Voice-Over
- Audio Ducking
- Audio Grouping
Using External Audio Devices
- Configuring an External Controller
- Configuring External Controller Settings
- Using an External Fader Controller or Mixer to Record Volume Automation
- Adjusting the Volume or Pan of Individual Keyframes
- Using the 002 and the Command|8
- Using Mbox Family Audio Devices
  - Configuring the Mbox Device
  - Setting Up the Mbox Pro for Passthrough Monitoring (Windows Only)
- Configuring USB-to-MIDI Software for External Controllers
- Avid HD Native and Pro Tools|HD Hardware Configuration for Media Composer
  - Configuring the ASIO Driver (Windows)
  - Configuring the Core Audio Driver (Macintosh)
- Using a GPI Device with the Audio Punch-In Tool
Using Avid Media Controllers
- Installing EuControl Software
- Configuring EUCon Settings in Media Composer
- Configuring Ethernet Connections (Macintosh)
- Setting the IP Address
- Configuring EuControl Settings
- Avid Media Controller Button Mappings
- Moving Through Footage with Avid Media Controllers
- Volume Automation and Pan on Avid Media Controllers
- Recording Volume Automation and Pan with Artist Series Controllers
- Using the Latch Mode Feature on Artist Series Controllers
- Using the Artist Series Controller for Editing Media
- Controller Application Sets
Using Audio Plug-Ins
- Audio Effects Plug-Ins Installation
- Audio Track Effect Plug-Ins
- Avid AudioSuite Plug-Ins
- Core Avid Audio Plug-Ins
Exporting Frames, Clips, or Sequences
- Understanding Export
- Preparing to Export a Sequence
- Exporting With the Send To Templates
- Send To Templates Reference
- Creating a Custom Send To Template for Exporting to Third-Party Applications
- Exporting With the Export Command or the Drag-and- Drop Method
- Customizing Export Settings
- Guidelines for Exporting AAF Files
- Exporting QuickTime Movies
- Installing or Copying the Avid Codecs for QuickTime on Other Systems
- Exporting from a Third-Party QuickTime or AVI Application
- Exporting as Windows Media (Windows Only)
- Creating a Custom Profile for Windows Media Export (Windows Only)
- Exporting to XDCAM
- Exporting a Simplified AAF
- Export Media Difference Between Sequences
- Exporting XDCAM OP1a Media
- Export OP1a MXF file as Panasonic AVC Long-GOP (H.264)
- Exporting MXF OP1a
- Exporting DNxHR Media as MXF OP1a
- Exporting as DPX
- Exporting as AS-11
- MOV Export
- MP4 Export
- Custom Color Space for Exported MOV, MP4, and OpenEXR
- AAC Audio Format for Exported MOV and MP4
- Exporting H.265
- OpenEXR Export
- Export with Mask Margins
- Exporting Your Clip or Sequence to a P2 Card
- Creating an AS-02 Export Volume
  - Creating an Export Volume
  - Moving Assets to an Export Volume
  - Committing Assets to an Export Volume
  - Archiving the AS-02 Bundle
- Working with Apple ProRes
- Working with BXF Files
- AMA File Export with Media Offline
Generating Output
- Preparing for Output: Overview
- Selecting the Device for Output
- Selecting the Sync Source for Output
  - Sync Options for HD Formats
  - Using LTC Timecode for Output
  - Adding LTC Out During Preroll
- Selecting a Video Output Signal
- Calibrating for Video Output
  - Using the Factory Preset Buttons in the Video Output Tool
  - Basic Video Output Calibration
  - Using Test Patterns
  - Calibrating the System with Passthrough Signals
  - Luminance Settings for Video Output
  - Adjusting Phase Controls
- Preparing for Converting HD Formats
  - Crossconversion and Downconversion Formats
  - Considerations for Crossconversion and Downconversion
- Preparing for Audio Output
  - Setting the Calibration Tone
  - Calibrating Global Output Levels
  - Setting Audio Output Options
  - Enabling 16-Channel Audio Output
  - Embedded Audio and Output Sample Rate Conversion
  - Using an XLR Adapter for Consumer-Level Analog Output
- Preparing Record Tapes
  - Striping Record Tapes (Recording Black with Timecode)
  - Recording Bars and Tone
- Enabling Assemble-Edit Recording
- Using ExpertRender to Prepare Effects for a Digital Cut
- Using the Digital Cut Tool
  - Selecting a Deck in the Digital Cut Tool
  - Previewing a Digital Cut
  - Recording a Digital Cut to Tape (Remote Mode)
  - Crash Recording Through Remote Deck Control
  - Recording a Digital Cut to Tape (Local Mode)
- Output Mode Resolution Options
- Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects
- Selecting Output Formats for 23.976p, 24p, and 25p Projects
- Output Format Reference for 23.976p, 24p, and 25p Projects
- Selecting the Timecode Format for Output
- Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding
- Indicating the Destination Timecode Rate
- Selecting the Video Pulldown Cadence
- Performing an Insert Edit with Pulldown
- Digital Cuts and Audio
- Changing the Default Pulldown Phase for Sequences
- Understanding DV Digital Cut Delay (or Offset)
- Delaying (Offsetting) the Sequence for a Digital Cut
- Understanding Passthrough
- Using the List Tool
  - The List Tool
  - Creating a List
  - Editing a List
  - Viewing the EDL Source List in the Source Table
  - Importing an EDL
  - Creating a Cut List for Multiple Sequences
  - Creating Change Lists Across Multiple Reels
  - Appending All Markers to EDLs, Cut Lists, and Change Lists
  - Copying Options Between List Types
  - Changing the Options
  - Using Settings to Save, Recall, and Remove Options
  - Special-Purpose Templates
  - EDL: List Options
  - EDL: Formatting Options
  - Cut List: List Options
  - Change List: List Options
  - Cut List or Change List: Formatting Options
  - Cut List and Change List Icons
  - Change List Icons
  - Bad Clip Icon
  - Sample Workflow for Stages of Generating Cut Lists and Change Lists
  - Displaying Frame Count Numbers in Cut Lists
  - Editing and Troubleshooting EDLs
  - Avoiding Problems in EDLs
- Understanding Matchback
- Vertical Blanking Information
  - Vertical Blanking Interval Line Ranges
  - Displaying and Preserving Vertical Blanking Information
  - Editing a Sequence with Vertical Blanking Information
  - Effects of Preserving Vertical Blanking Information on Compressed Video Quality
- Preserving HD Closed Captioning and Ancillary Data
  - Data Track Method
  - Adding a Data Track
  - Adding the Active Format Description to the Data Track
  - Ancillary Data and AMA
  - Moving from Legacy Method to Data Track Method
  - Ancillary Data and Avid Editing Functions
  - Legacy Method
  - Controlling Ancillary Data through a Settings Window - Data Track Method
  - Controlling Ancillary Data through a Settings Window - Legacy Method
  - Controlling Ancillary Data with a Console Command (Legacy Method only)
  - Capturing Ancillary Data with a Data Track
  - Performing a Data Mixdown
  - Exporting a Sequence with Data Tracks
- Previewing Closed Captioning
  - Searching for Closed Captions Text in the Timeline
  - Exporting Closed Captions Text
Conforming and Transferring Projects
- Understanding Conforming
- Preparations for Conforming
- Conforming Workflow
- Conforming Sequences with Color Correction
  - Conforming Color Correction Sequences with Media Composer
  - Transferring Color Corrections with Color Correction Templates
- Transferring Project and Media Files Between Media Composer Systems
Using the NRCS Tool (Media Composer | News Option)
- Configuring the NRCS Tool
  - Configuring the ENPS Server for Avid Clients
  - Configuring the NRCS Settings
- Starting the NRCS Tool
- NRCS Tool Components
- Using the Directory Panel
- Changing the Text Display
- Editing Story Text (iNEWS Only)
- Finding the Read Time of a Story
- Sequences and Stories
- Associating a Sequence with a Story
- Adjusting the Story Timing (iNEWS Only)
  - Adjusting the Story Timing with a Time Marker (iNEWS Only)
  - Adjusting the Story Timing with a Time Pad (iNEWS Only)
- Using Associated Sequences
- Saving Changes to a Story (iNEWS Only)
- Using the Post to Web Feature
- Sending and Receiving NRCS Mail (iNEWS Only)
  - Sending NRCS Tool Mail (iNEWS only)
  - Receiving NRCS Tool Mail (iNEWS only)
- Disconnecting from Your NRCS Server
Working with MediaCentral | Production Management from Media Composer
- Do’s and Don’ts for Editors Working with MediaCentral | Production Management
- Checklist for Editors Working with Production Management
- Working with Production Management and Production Management Assets
- Connecting to a Shared Storage System
- Logging in to MediaCentral | Production Management
- Configuring Production Management Settings in Media Composer
- Additional Production Management Settings in Media Composer
- Defining the Media Creation Settings
- Administrator Settings for Media Composer Clients
- Editing with Production Management Assets
- Working with Assets in the Production Management Window
- Working with Assets in the MediaCentral | Panel for Media Composer
- Capturing Media to Production Management Folders
- Working with In-Progress Clips
  - Editing with In-Progress Clips
  - Limitations When Working With In-Progress Clips
- Using the MediaCentral | UX Messages Window
  - Viewing Messages and Linked Media Assets
  - Sending Messages
- Performing a Send-to-Playback as a Background Process from Media Composer
Using Interplay Transfer to Export Media
- Installing the Interplay Transfer Client Software
- Setting Transfer Settings in the Avid Editing Application
  - Send to Playback with Multichannel Audio Tracks
  - Mapping Audio Tracks to Output Channels
- Transferring Avid Assets from an Avid Editing Application
- Transferring Avid Assets to a Playback Device
- Monitoring Transfers from Within the Avid Editing Application
Using MultiRez and Dynamic Relink
- Understanding MultiRez and Proxy Editing
- Acquiring Media at Multiple Resolutions
- Understanding How Clips are Associated with Multiple Resolutions
- Options for Clip and Media Association
- Understanding Dynamic Relink
  - Using Dynamic Relink with Media Composer | Cloud Editing Systems
- Workflow: Editing a Film or HD Project using MultiRez
- Considerations When Working with Dynamic Relink
- Using the Dynamic Relink Settings Dialog Box
- Relinking in Frame Chase Editing
- Using the Relink Dialog Box in an Avid Interplay Environment
- Displaying Whether Media Is Available for Dynamic Relinking
- MultiRez Button Menu
- MultiRez Bin Headings
- Understanding Options for Deleting MultiRez Clips and Media
- Deleting MultiRez Clips and Media from a Bin
- Working with Partially Online Files
- Quality Matching
  - Quality Matching Reference
MultiCamera Editing
- Understanding Grouping and Multigrouping Clips
- Creating Group Clips
- Grouping Stereoscopic Clips
- Creating Multigroup Clips
- Editing Group Clips
- Waveform Sync
- MultiCamera Displays
  - Real-time Playback in MultiCamera Mode
  - Limitations on Playback of MultiCamera Media
- MultiCamera Editing Techniques
- Selective Camera Cutting
Settings
- Understanding Settings
- Working with Settings
- Options for Moving User Settings Files
- Using the Format Tab
- Settings
File Format Specifications
- Specifications for Graphics (Image) Files
- Working with BWF Files
- Field Ordering in Graphic Imports and Exports
Project Formats and Resolutions
- Codecs and Format Specifications
- Greater than HD Formats and Resolutions
- HD Formats and Resolutions
- SD Formats and Resolutions
Working in HD and High-Resolution Projects
- Delivery Methods for Cinema and Television
- Transferring Film to Tape
  - Transfer of 24-fps Film to NTSC Video
  - Transfer of 24-fps Film to PAL Video
  - Viewing Video Dailies
- HD Workflow: Video-Based Television
- Producing Graphics for Broadcast
- Creating a Film-Based Project
  - Selecting a Project Format during Capture
  - Selecting a Project Format during Output
- Changing the Project Format
- Changing the Sequence Format
- (Media Composer | Symphony Option) Converting a 24p NTSC Sequence to 1080p/23.976
- Converting a 23.976p NTSC Sequence to 720p/23.976
- Editing at 60 fps
- Displaying 24p and 25p Media
- Outputting a Sequence
- (Media Composer | Symphony Option) Using HD Universal Mastering
  - (Media Composer | Symphony Option) Converting Audio for HD Universal Mastering
  - (Media Composer | Symphony Option) Performing a Digital Cut with HD Universal Mastering
- Working with HDV
- Understanding HDV
- HDV Workflow
- Capturing and Importing HDV
- Playing Back HDV Media
- Outputting HDV
  - Long-GOP Splicing for HDV Encoding
  - Outputting HDV through Avid Input/Output Hardware
  - Exporting an HDV Transport Stream
  - Exporting HDV as Windows Media
- Raster Dimensions
- Raster Sizes
International Character Support (ICS) in Avid Editing Applications
- Choosing a Locale on an English Language Operating System
- Using a Local Language Operating System (Windows Only)
- Non-English Character Support (Mac)
- Non-English Character Support (Windows)
- Using Foreign Keyboard Mapping (Windows)
- Considerations for International Character Support
Open I/O Support
- Activating and Deactivating I/O Hardware
  - Activating and Deactivating I/O Hardware
- Support for NewTek® NDI Video over IP
- Open IO Support for SRT
Index

Using the Panasonic VariCam

218