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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 a GPI Device with the Audio Punch-In Tool

803

To make use of this feature, you must:

• Understand when Media Composer sends GPI trigger signals. For more information, see

“Understanding GPI Trigger Signals” on page 803.

• Connect a V-LAN VLXi deck controller and a VLXi-GT GPI to your Media Composer system.

For more information, see “Connecting a V-LAN VLXi Controller and GPI” on page 804.

• Configure the V-LAN VLXi deck controller and the GPI. For more information, see

“Configuring a V-LAN VLXi Controller and GPI” on page 805.

• Create GPI settings for your specific needs. For more information, see “Working with GPI

Settings” on page 805.

Understanding GPI Trigger Signals

Media Composer sends three different GPI trigger signals under the following circumstances:

For more information on using the Audio Punch-In tool, see “Recording Voice-Over Narration Using

Audio Punch-in” on page 773.

GPI Signal Sequences

GPI signal sequences differ, depending on whether or not you are using the Audio Punch-In tool with

preroll and postroll.

When you use the Audio Punch-In tool without any preroll or postroll, the following occurs:

• Record Out is sent when recording begins.

• Stop Out is sent when recording (and playback) ends.

When you use the Audio Punch-In tool with preroll and postroll, the following occurs:

• Play Out is sent when preroll begins (the position indicator begins moving in the Timeline, and

the Play In/Out button in the Audio Punch-In tool blinks green).

• Record Out is sent when recording begins (the Record button in the Audio Punch-In tool blinks

red).

• Play Out is sent when recording ends and postroll begins (the Stop button in the Audio Punch-In

tool changes to blue).

• Stop Out is sent when postroll ends (the position indicator stops moving).

Record Out and Play Out repeat if you perform additional recordings.

Trigger Signal Sent When

Play Out Playback begins.

Recording with the Audio Punch-In tool ends but playback

continues because a postroll value is set in the Audio Punch-In

tool (that is, the signal is sent when the Stop button in the Audio

Punch-In tool changes to blue).

Record Out Recording with the Audio Punch-In tool begins.

Stop Out Playback stops.