Avid Media Composer and Film Composer ® ® ® Input and Output Guide Release 9.
© 1999 Avid Technology, Inc. All rights reserved. Printed in USA. Avid Media Composer and Film Composer Input and Output Guide for the Windows NT Operating System• Part 0130-04216-01 Rev.
Contents Chapter 1 Planning a Project Working with Multiple Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 About 24p Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Types of Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Planning a Video Project. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Planning a 24p Project . . . . . . . . . . . . . . . . . . . . .
Chapter 2 Film-to-Tape Transfer Methods About the Transfer Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Transferring 24-fps Film to NTSC Video. . . . . . . . . . . . . . . . . . . . . . . 39 Stage 1: Transferring Film to Video . . . . . . . . . . . . . . . . . . . . . . . . 40 Frames Versus Fields . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Part 1: Using a 2:3 Pulldown to Translate 24-fps Film to 30-fps Video . . . . . . . . . . . . . . . . . . .
Logging Directly into a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Logging Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Logging Preroll . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Logging Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 Naming Tapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Choosing a Video Resolution and Color Rate . . . . . . . . . . . . . . 110 Entering Capture Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Setting Up the Digitize Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Selecting a Deck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Selecting a Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Selecting Source Tracks . . . . . . . .
Calibrating Video Input. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 Saving Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Saving a Custom Default Setting for the Video Input Tool . . 157 Adjusting Video Levels for Tapes Without Color Bars . . . . . . 158 Digitize Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160 Chapter 5 Digitizing Before You Begin . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Decompose When Redigitizing . . . . . . . . . . . . . . . . 188 Redigitizing the Sequence Without Using Decompose . . 190 Relinking Clips by Key Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 Modifying the Pullin Frame. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Chapter 6 Multicamera Planning and Digitizing Developing a Postproduction Model . . . . . . . . . . . . . . . . . . . . . . . . . 197 Tape Numbering Schemes. . . . . . . . . . . . . . . . . . . .
Using Open Media Management (OMM) . . . . . . . . . . . . . . . . . . . . . 227 Setting Up to Use OMM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 OMM Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Import and Export Settings . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Using OMM to Import Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Reimporting Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Choosing Output Formats for 24p Projects . . . . . . . . . . . . . . . . 274 Choosing Title Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Performing an Insert Edit with Pulldown . . . . . . . . . . . . . . . . . 278 Digital Cuts and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 Changing the Default Pulldown Frame . . . . . . . . . . . . . . . . . . . 280 Using EDL Manager. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Avid QuickTime Codec . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 Installing the Avid QuickTime Codec on Other Systems . . . . 325 Exporting with the Avid QuickTime Codec. . . . . . . . . . . . . . . . 326 Exporting with Other Supported QuickTime Codecs . . . . . . . 334 Exporting from a Third-Party QuickTime Application . . . . . . 334 Using the Avid AVI Codec . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 Installing the Avid AVI Codec on Other Systems . . .
Compression Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373 Storage Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376 Estimating Drive Space Requirements . . . . . . . . . . . . . . . . . . . . 376 Maximizing Drive Space. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 Managing Storage to Improve Playback Performance . . . . . . 386 Appendix C Avid Log Specifications Understanding Avid Log Specifications . .
Figures Figure 1-1 Workflow: Video Project with Video Source . . . . . . . . 20 Figure 1-2 Workflow: Video Project with HD Source, SDTV Downconversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Figure 1-3 Offline Workflow: Film Source, SDTV Transfer . . . . . 24 Figure 1-4 Online Workflow: Film Source, SDTV Transfer, Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Figure 1-5 Offline Workflow: Film or HDTV Source, SDTV Downconversion . . . . . .
Tables Table 1-1 Film Shoot Specifications . . . . . . . . . . . . . . . . . . . . . . . . 34 Table 2-1 Ratio of Film to Video . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Table 2-2 Ratio of Film to Video . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Table 3-1 Modifying Bin Information Options . . . . . . . . . . . . . . 88 Table 4-1 General Digitize Settings Options . . . . . . . . . . . . . . . . 96 Table 4-2 Deck Settings Options . . . . . . . . . . . . . . . . . . . . .
Table A-2 Animation File Import Specifications . . . . . . . . . . . . 361 Table A-3 QuickTime Import and Export Specifications . . . . . 362 Table A-4 AVI Import and Export Specifications . . . . . . . . . . . . 363 Table A-5 OMF File Import Specifications . . . . . . . . . . . . . . . . . 365 Table A-6 Recommended Field Dominance Settings for Two-Field Import/Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368 Table B-1 Resolution Groups . . . . . . . . . . . . . . . . . . .
CHAPTER 1 Planning a Project This chapter presents suggested workflows and other information that can help you plan your film-originated or video-originated project. This chapter includes the following topics: • Working with Multiple Formats • About 24p Media • Types of Projects • Planning a Video Project • Planning a 24p Project Working with Multiple Formats Avid systems offer you a flexible approach to finishing your project, whether it originates as video or film.
option to digitize footage at 24 fps and edit the content in its native frame rate. Then use the Symphony system’s film-tape-film-tape (FTFT) and Total Conform capabilities to finish and deliver uncompressed NTSC, PAL, 4:3, 16:9, and letterbox formats, as well as frameaccurate film cut lists and edit decision lists (EDLs), all from the same 24p (24-fps progressive) media. Alternatively, use the Film Composer® system’s Universal Offline Editing technology to digitize and edit footage at 24 fps.
For more information, see “How the Avid System Stores and Displays 24p Media” on page 48. Types of Projects When you start a project on your Avid system, you need to decide on a project type. Choose your project type based on your source footage. If your Avid system includes support for 24p projects, you can choose one of the following options from the New Project dialog box: For information on creating a new project, see the editing guide or Help for your Avid system.
Planning a Video Project An Avid video project is one that digitizes and stores 30-fps NTSC or 25-fps PAL media as digital video that conforms to the ITU-R 601 standard (SDTV or standard-definition TV). This section presents two possible workflows for video projects: • Video source (Figure 1-1) • High-definition (HD) source with SDTV downconversion (Figure 1-2) Offline editing is done in a Media Composer system, and finishing is done in a Symphony system.
1. (Option) Import a log file to create a bin. (Step 1) Betacam Log 2. If you imported a log file, batch digitize in the Media Composer offline system. Otherwise, log and digitize, or digitize on-the-fly. 3. Complete offline edits and create a final sequence. 4. Copy project information from the offline system to the Symphony online system. Source footage: NTSC 30 fps or PAL 25 fps Betacam or Digital Betacam VTR (Step 2) Media Composer offline editing system (Step 3) Betacam (Step 4) 5.
1. (Option) Import a log file to create a bin. 2. If you imported a log file, batch digitize in the Media Composer offline system. Otherwise log and digitize, or digitize on-the-fly. Use an HD VTR or other equipment to downconvert the HD source. 3. Complete offline edits and create a final sequence. 4. Copy project information from the offline system to the Symphony online system. (Step 1) HD Log (Step 2) HD VTR Media Composer offline editing system (Step 3) HD (Step 4) Proj 5.
Planning a 24p Project A 24p project is one that uses 24p media, which is created and stored in the Avid system. In most cases, the source footage is film shot at 24 fps, but new technology is introducing 24p videotape formats, both for cameras and VTRs. For 24p videotape, you need to use a 24p VTR to downconvert the high-definition format of HDTV to SDTV digital video for digitizing by the Avid system.
versions of a sequence, consider using PAL film-to-video transfer and graphics sized for PAL. Your choice will depend on other production requirements, such as audio workflow and hardware availability. n The Avid system's Title tool uses downstream-key (DSK) capabilities to apply the correct title to each output format for your project. For more information, see the effects guide for your Avid system.
1. The telecine process uses one-light or bestlight transfer and syncs picture and sound to create ITU-R 601 video. The process adds 2:3 pulldown to film footage to create an NTSC videotape, or uses 4.1% speedup for PAL videotape. The telecine process also creates a shot log (for example, a FLEx file). 2. Convert the shot log file with Avid Log Exchange (ALE), then import the shot log file into Media Composer or Film Composer to create a bin or bins. 3.
6. The telecine process uses the pull list and a full color-corrected transfer to create NTSC or PAL videotape with selects from the original negative (picture only). The process also creates a new shot log file. 7. Copy the project information from the floppy disk to the Symphony online system. 8. Convert the new shot log with ALE and import it into the Symphony system. 9. Batch digitize in an online resolution, based on the new shot log file. 10.
Film or HD Video Source, SDTV Downconversion, Multiformat Output This workflow is based on film or video footage shot at 24 fps and planned for HDTV (high-definition television). Different workflows are being developed for this new technology, which includes 24p tape formats, VTRs, and cameras. This workflow presents one possible path. Figure 1-5 shows the offline stage of the workflow, using a Media Composer or Film Composer system with the Universal Offline Editing option.
1. Source videotape comes either from a telecine transfer or a 24fps video camera. The telecine process transfers 24-fps film footage at 1:1 (no pulldown). It also creates a shot log (for example, a FLEx file). 2. For telecine transfer projects, convert the shot log file with ALE and import it into Media Composer or Film Composer to create a bin or bins. 3. Batch digitize the footage in an offline resolution, based on the shot log. Use a 24p deck to downconvert HDTV to 601 video.
6. For film-originated projects, the telecine process uses the pull list and full color-corrected transfer to create HDTV videotape with selects from the original negative (picture only). The process also creates a new shot log file. 7. Copy the project information from floppy disk to the Symphony online system. 8. For telecine transfer projects, convert the new shot log file with ALE and import it into the Symphony system. 9. Batch digitize in an online resolution, based on the new shot log file.
Alternative Audio Paths The workflows in this section illustrate four alternative paths for digitizing and synchronizing audio: • NTSC Audio and Video Synchronized During Transfer • NTSC Audio and Video Digitized Separately • PAL Audio and Video Synchronized During Transfer (PAL Method 1) • PAL Audio and Video Digitized Separately (PAL Method 2) The Avid system provides multiple formats for output.
NTSC Audio and Video Synchronized During Transfer This method uses audio and video synced in the telecine system and transferred to NTSC videotape. 1. The telecine process syncs picture and sound to create NTSC ITU-R 601 video. The process adds 2:3 pulldown, slows the film speed to 23.976 fps (labeled 24 fps) and slows the audio to 44056 or 47952 Hz (digital) or 59.94 (analog).
NTSC Audio and Video Digitized Separately In this method, you digitize audio and video separately, and then synchronize them in the Avid system. 1. The telecine process creates NTSC ITU-R 601 video. The process adds 2:3 pulldown and slows the film speed to 23.976 fps (labeled 24 fps). For effects work, some footage can be transferred and digitized without pulldown (frame-to-frame). 2. Digitize the audio. If audio was transferred at 29.97 fps, set the pulldown switch on the Digitize tool to 0.99.
PAL Audio and Video Synchronized During Transfer (PAL Method 1) This method uses audio and video synced in the telecine system and transferred to PAL videotape. This method is known as PAL Method 1. It is most commonly used for 24-fps film footage that is intended for PAL TV broadcast. 1. The telecine process syncs picture and sound to create PAL ITU-R 601 video (25 fps). The process adds 4.1% speedup. Telecine transfer process (Step 1) Nagra or DAT playback system DAT 2.
PAL Audio and Video Digitized Separately (PAL Method 2) In this method, you digitize audio and video separately, and then synchronize them in the Avid system. This method is known as PAL Method 2. Telecine transfer process (picture only) 1. The telecine process creates PAL ITU-R 601 video without sound (MOS). The process adds 4.1% speedup. (Step 1) Film shot at 24 fps 2. Digitize the audio (without speedup) in the Avid system. DAT (Step 2) Sound recording (Nagra or DAT) 3.
Film Project Considerations This section presents information that could be useful in planning film projects that you will edit on an Avid system: • Film Shoot Specifications • Viewing Dailies Film Shoot Specifications Use the guidelines in Table 1-1 to help you plan for film shoots. Table 1-1 Film Shoot Specifications Element Supported Formats Notes Film type 16mm Use Standard 16mm or Super 16mm. Super 16’s aspect ratio closely matches 16:9.
Table 1-1 Film Shoot Specifications (Continued) Element Supported Formats Notes Audio timecodes 30-fps drop-frame or non-dropframe Use for NTSC transfer projects, and for generating audio EDLs. 25-fps timecode Use for PAL transfer projects, and for generating audio EDLs in the PAL format. Audio sync to in-camera timecode (Aaton® or Arri® 24-fps timecode) Use for automatic syncing of sound with picture in the Avid system. Clapsticks Use for manual syncing of sound with picture.
Film Dailies Method The film dailies method involves the general procedures shown. Specifics, such as tape formats, vary depending on facilities and needs. 1. Prepare work print for the circled (chosen) takes. .................... ..................... .................... ..................... Negative 2. Sync work print with audio mag track, and assemble each take on a roll with ink numbers. (Steps 1 and 2) Work print (Step 4) .................... Mag track KEM roll (Step 3) Screening 3.
Video Dailies Method The video dailies method involves the general procedures shown. Specifics, such as tape formats, vary depending on facilities and needs. 1. Prepare film negative for circled takes. 2. Transfer reels of negative synced to audio in telecine. Generate a simultaneous online transfer, or create the online transfer from selects after editing the sequence. .................... ....................
CHAPTER 2 Film-to-Tape Transfer Methods To capture and edit film-originated footage in your Avid system, you must transfer the footage to videotape.
About the Transfer Process You have your film rolls from the day’s shooting, and you’re ready to edit on your Avid system. To digitize that footage into the system, you first need to transfer the film to videotape. This process uses a special film projector called a telecine (the term loosely translates as “videofilm”). The telecine is usually part of a production system that includes audiotape recorders, a controller, and other equipment.
Telecine 2:3 pulldown 23.976 fps Stage 1 Betacam Digitize and reverse pulldown to 24 fps. Stage 2 Betacam or Digital Betacam video signal 29.97 fps Film shot at 24 fps Avid editing system at 24 fps Stage 1: Transferring Film to Video The NTSC film-to-video transfer occurs as a two-part process: the telecine adds extra frames during transfer and, at the same time, slightly reduces the film’s running speed.
To compensate, the telecine process creates an extra six frames every second (the difference between 24 and 30). That is, it creates five video frames for every four film frames. But remember, each video frame is subdivided into two video fields. To be more precise, the telecine creates 10 video fields (the equivalent of five video frames) for every four film frames. This is referred to as a 4:5 ratio. Table 2-1 states this relationship between film and video.
Five NTSC video frames (10 fields) Four film frames A B C D A1 odd A2 even B1 odd B2 even B3 odd C1 even C2 odd D1 even D2 odd D3 even Timecode change Timecode change Timecode change Timecode change The telecine alternates between capturing odd-numbered and evennumbered fields. For example, B1 and B3 both contain the odd-numbered scan lines of the B film frame.
Table 2-2 adds this new ratio. Table 2-2 Ratio of Film to Video Film Video 24 fps 30 fps 4 frames 5 frames (10 fields) 23.976 fps (0.999 x 24) 29.97 fps (0.999 x 30) Maintaining Synchronized Sound In most cases, the sound for your production has been recorded on a digital audio system, such as a DAT (digital audiotape), or ¼-inch tape system, such as a Nagra recorder. You need to synchronize the sound with the picture and make sure they are in sync in the Avid system.
Optionally, you can transfer only picture, and digitize the original audio directly into the Avid system. This approach can save telecine expense and give you better quality audio. For more information, see “Alternative Audio Paths” on page 29. Stage 2: Digitizing at 24 fps The telecine has converted your film footage into video running at 29.97 fps. Now you’re ready to use the digitizing process to input the material as a 24p NTSC project.
If you have transferred sound along with picture, the Avid system captures audio at the slowed-down speed. Then during editing and playback, the system speeds up the play rate by 0.1 percent to play in sync with the 24-fps video. Audio plays at 44100 Hz or 48000 Hz. Now you can edit the material at 24 fps on the Avid system. This approach ensures that all your edits correspond to true film frames so that you see an accurate representation of the finished film.
PAL Method 1 With PAL Method 1, you synchronize sound with picture during the telecine process. Stage 1: Transferring Sound and Picture to Videotape Some PAL film-to-tape transfers use pulldown. This method is not currently supported in Avid systems. As with an NTSC film-to-tape transfer, the telecine process creates two video fields for each film frame.
n Select this option in the Film Settings dialog box. For more information, see“Selecting Settings” on page 95 and the editing guide or Help for your Avid system. You must digitize audio along with video at the PAL rate of 25 fps if you want to use audio that was transferred along with picture during the telecine process. You set the Audio Transfer rate as Video Rate (100+%) in the Film Settings dialog box. For more information, see “Selecting Settings” on page 95.
Stage 2: Digitizing at 24 fps Now that you have your picture-only videotapes (at the rate of 25 fps) and your source recording tapes, you need to follow a two-step process: • Digitize the picture to create 24p media. • Digitize the sound at the film rate of 24 fps. You choose this rate from the Audio Transfer pop-up menu rate in the Film Settings dialog box. For more information, see “Selecting Settings” on page 95. In most cases, you will choose to edit at 24 fps.
Displaying Media While Editing When you click the Play button while editing a clip or a sequence (sometimes referred to as Edit Play), the system separates (interlaces) the progressive frames into fields and does the following: Choose your preference for playback in the Film Settings dialog box. For more information, see “Film Settings” on page 98 and the editing guide or Help for your Avid system. • On the Source, Record, Playback, or pop-up monitor, the system displays the footage at 23.
the system displays the sequence as described in the previous section, depending on your choice in the Digital Cut tool. For more information, see “Choosing Output Formats for 24p Projects” on page 274. Film-to-Tape Transfer Guidelines Observe the following general guidelines when transferring film to tape: • Instruct the telecine facility to record timecode on the address track. • Instruct the facility to use only a telecine transfer process when transferring to NTSC videotape.
Film-to-Tape Transfer Options This section describes options for transfer quality and various screening and editing aids that you can request during the transfer process, based on the considerations of budget and available facilities. Transfer Quality The quality of the film-to-tape transfers depends upon several options for the telecine transfer. The transfer quality options available from a telecine facility include: For more information on FTFT, see “Relinking Clips by Key Number” on page 192.
Additional Film Transfer Aids The transfer facility might have available one or more of the following production aids, which you can include in your film-to-tape transfer: c • Automatic logging: Whenever possible, you should instruct the facility to log tracking information directly into a computer database program. Logs generated automatically are more accurate than manual logs and can be imported easily into the Avid system.
CHAPTER 3 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 digitize the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.
Preparing Log Files for Import Preparing log files for importing into a bin can involve one or more of the following methods: • Convert a log file generated by a telecine or other film-to-tape transfer system, as described in “Creating Avid Logs” on page 62. This is the most accurate method for providing the Avid system with frame-accurate clip information for digitizing the transferred source tapes.
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 Nations1.ale, Nations1_2.ale, Nations1_3.ale, and so on. The converted output files are stored in the folder containing the original input file. To convert a log file to an ALE file: 1.
5. 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 NT line ending format, then the Line Endings dialog box appears.
Do one of the following: - Click Display & Save to open the file in the Avid Log Exchange window and change the file to the Windows NT® format. - Click Display Only to open the file in the Avid Log Exchange window, but not change the file. - Click Ignore to display the file as is without changes. The file appears in the Avid Log Exchange window. For specific information on the various file types shown here, see Appendix C.
6. 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 digitizes all tracks shown in this column when batch digitizing. 7. Choose Clean from the Options menu if you want Avid Log Exchange to clean the ALE output file to eliminate overlapping timecodes for clips. By default, Clean is selected.
9. Choose ALE from the Convert menu. The default output selection is the Avid Log Exchange (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. 10. (Option) Choose the original file from the Window menu if you want to convert the file again using different options.
11. Choose Close from the File menu. If you made changes in the editor a message box appears. 12. Click Yes. The converted file is stored in the same folder as the original log file. Using Drag-and-Drop Conversion Use this shortcut to convert any type of file into an ALE file. n Before you use the drag-and-drop conversion, you should check the options in the ALE utility. The current options are used when you perform the dragand-drop conversion. To convert a log file by using drag-and-drop conversion: 1.
4. Drag the selected files to the Shortcut icon for the ALE utility, and release the mouse button. 5. Depending on the type of files you are converting, one of the following occurs: • If the file type is recognized by the ALE utility, a message box appears, indicating the conversion was successful. • If the file type is not recognized, the Choose File Type dialog box appears: a. Select the type of the file you are converting. b. Click OK.
A message box appears, indicating the conversion was successful. • If the file type is an ALE file, the ALE Convert Type dialog box appears: a. Select a file type for the converted output file. b. Click OK. A message box appears, indicating the conversion was successful. 6. 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 .
You can use any text editor to create Avid logs. However, you must save the file as a text document (ASCII format). When logging manually, you should document the following information: • Identify the source tape for each shot. • Document each clip’s name, start timecode, and end timecode. • 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 digitize.
Transferring Bins from MediaLog For information on specific MediaLog procedures, see the Avid MediaLog for Macintosh User’s Guide or the Avid MediaLog for Windows NT User’s Guide. n The MediaLog program is a standalone application that speeds the process of creating and importing log information from a Macintosh or Windows computer. MediaLog mirrors the Avid system interface for creating projects, bins, and clip information in the bin, and includes serial deck control for logging directly from tape.
5. Ctrl+click the bins in the floppy disk window, and choose Copy from the Edit menu. 6. Click the project folder window to make it active, and choose Paste from the Edit menu. 7. Restart the application and open your project. 8. Associate the imported bins with your project by doing the following: a. Choose Open Bin from the File menu. b. Locate the new bin by using the Open Bin dialog box. c. Double-click the bin to open it within your project.
Importing Shot Log Files You can also import an EDL to a bin for use in digitizing. For more information, see the Avid EDL Manager User’s Guide. You can import any log created or converted to meet Avid log specifications. For film projects, most telecine and other film-to-tape transfer systems generate a log that you can import directly to the bin, after you convert it to .ALE format by using the Avid Log Exchange utility. Even if the telecine facility supplies you with an .
Look in pop-up menu Source file list Files of type pop-up menu 4. Choose Shot Log (*.ale) from the Files of type pop-up menu. 5. 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 Options” on page 216. 6. After selecting the appropriate options, click OK to close the Import Settings dialog box and return to the Import file(s) into bin dialog box. 7.
Logging Directly into a Bin You can log clips directly into a bin by using the Digitize tool in one of two ways described in this section: For complete information on working with bin headings and clip information, see the editing guide or Help for your Avid system. • Log directly into a bin with an Avid-controlled deck for semiautomated data entry. • Log manually during or after viewing of footage offline with a non-Avid-controlled deck or other source.
n To change the logged timecode format, choose Modify from the Clip menu. For information, see “Modifying Clip Information Before Digitizing” on page 85. Naming Tapes When entering tape names in the Digitize tool, consider the following: n • Tape names must be alphanumeric characters (A to Z, 0 to 9). They can include uppercase and lowercase characters. The maximum length of a name is 32 characters.
ations like these at the EDL stage might cause the system to identify different source tapes with similar names in the same way, causing you to lose track of source material. Logging with an Avid-Controlled Deck For information about connecting a compatible deck to your system, see the setup guide for your Avid system.
Digitize/Log Mode button Log button Channel selection buttons Message bar Clip Name text box Clip Comment text box Timecode display Deck controls Deck Selection pop-up menu Source Tape display n If you forgot to connect and turn on the power to the deck before opening the Digitize tool, you can reinitialize deck control after turning it on by choosing Check Decks from the Deck Selection pop-up menu. 4.
New tape name List of tapes Show Tapes option For guidelines when naming tapes, see “Naming Tapes” on page 69. 6. Provide the system with a tape name in one of the following ways: • Select the name of the tape from the list in the Select Tape dialog box and click OK. • 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 Digitize tool.
Go To IN • Go To OUT If the footage starts at a known IN point or ends at a known OUT point, type the timecode in the text box next to the Mark IN or Mark OUT buttons, press the Go To IN or Go To OUT button to scan the tape forward to the mark, or press Enter to enter it. After you set the mark, the icon in the Log button changes to the corresponding OUT or IN point, and a pencil appears on the button. 8.
Adding a Memory Mark You can add a memory mark to a particular location on a tape. • To mark the location, click the Mark Memory button on the Digitize tool. • To move through the tape to the marked location, click the Go to Memory button. • To clear the memory mark, click the Clear Memory button. You can add one mark per tape. The memory mark is not stored on the tape. When you remove the tape from the deck and insert another tape into the decks, the mark is cleared.
n For NTSC projects, when you are logging within the Digitize tool, you should leave the deck empty. If a tape remains in the deck, the system will determine drop-frame or non-drop-frame from that tape whether or not it matches your tape’s timecode format. 2. Double-click Deck Preferences in the Settings scroll list of the Project window to open the Deck Preferences dialog box. 3. For NTSC projects, choose Non-Drop-Frame or Drop-Frame from the “When no tape in deck log as” pop-up menu. 4.
Digitize/Log Mode button Log button Channel Selection buttons Message bar Clip Name text box Clip Comment text box Timecode display Clear IN button Clear OUT button Deck controls Deck Selection pop-up menu Clear Memory button Source Tape display Mark OUT button Mark IN button Mark Memory button Go to Memory button 8. Click the Source Tape display button. A dialog box appears. 9. Click Yes to open the Select Tape dialog box. 10.
Logging Film Information Once you have entered or imported the basic log information into a bin, you might want to add film-related log information before digitizing. This section describes procedures and formats for adding various film headings. The following are some important requirements for film-based projects: For information on digitizing long clips to multiple files, see “Digitizing to Multiple Media Files” on page 124.
2. To log data under optional headings (for example, Ink Number, Auxiliary TC1-Auxiliary TC5, or Film TC), choose Headings from the Bin menu and Ctrl+click the specific headings you want to add from the Bin Column Selection dialog box. 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.
Entering the Pulldown of the Sync Point For information about importing a log file, see “Importing Shot Log Files” on page 66. To accurately digitize NTSC transfer tapes in 24p projects, you need to enter pulldown information into the bin. (This information is not required for PAL transfer tapes.) If you are importing a log generated during the telecine transfer, the pulldown information is automatically included in the bin. If you do not have a transfer log, you need to add the information manually.
It is easiest to determine the pulldown of a sync point 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. Ideally, the A-frame pulldown coincides with timecode ending in 0 and 5 (:00, :05, :10, and so on).
The following illustration shows a keypunch on the A frame. Notice where the timecode changes. Five NTSC video frames (10 fields) Four film frames A B C D A1 odd A2 even B1 odd B2 even B3 odd C1 even C2 odd D1 even D2 odd D3 even Timecode change Timecode change Timecode change Timecode change 4. If there are three keypunched fields, or fields without motion, the pulldown is either B or D.
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. If you want, you can digitize the footage on-the-fly, without logging the clips first. The minimum information required to capture the footage is the data logged in the Start and End video timecode columns.
Entering Additional Timecodes (Optional) Consider the following when you enter additional timecodes: • You can use the Duplicate command to convert timecodes from one format to another. For more information, see the editing guide or Help for your Avid system. 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.
Entering the Ink Number (Optional) 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.
Modifying Clip Information Before Digitizing For complete information on working with bin columns and clip information, see “Using Text View” in the editing guide or Help for your Avid system. c You can change or modify the information logged in the bin. This is especially useful if you find that some of the data is incorrect, or if you need to update the information based on technical needs, such as varying timecode formats or film specifications.
Selected clips are highlighted. 3. Choose Modify from the Clip menu. The Alter Timecode dialog box appears.
4. Choose an option, such as Set Timecode By Field, from the Modification Type pop-up menu. Depending on the modification you select, different options appear in the dialog box that allow you to establish the specific modification as shown in Table 3-1. 5. After choosing the type of modification, select an option or enter information into the text boxes (timecode values, for example) when they appear. 6. Click OK. The modification takes effect.
Table 3-1 Modifying Bin Information Options Type of Modification Options Description Set Timecode Drop/ Nondrop Drop, Nondrop Changes the timecode format between drop-frame and non-drop-frame. Setting must match the timecode format of the tape. Set Timecode By Field Start or End Changes either the start or end timecode. Only start timecode can be altered after digitizing. Hour, Minutes, Second, Frame Allows you to enter custom timecode. Start or End Changes either the start or end timecode.
Table 3-1 Modifying Bin Information Options (Continued) Type of Modification Options Description Set Pullin Punch frame timecode text box Sets the timecode location of the punch frame for pullin (film and matchback projects only). A, B, C, or D Selects the pulldown frame to match to the timecode entry (film and matchback projects only). Set Tracks V, A1, A2, A3, A4, A5, Changes the clip’s configuration of tracks A6, A7, and A8 track selector (film projects only).
3. Choose Export from the File menu. The Export dialog box appears. 4. Choose the Export setting by doing one of the following: • If you have previously created an Export setting for exporting shot log files, choose the setting from the Export pop-up menu. Then, go to step 9. For information on creating Export settings, see “Creating and Using Export Settings” on page 290. • If you want to review or edit Export settings, go to step 5. 5. Click Customize. The Export Settings dialog box appears. 6.
7. Type a name in the text box at the top of the dialog box to name the Export setting. The Export Setting name is added to the list of formats available from the Export dialog box. 8. Click OK to close the Export Settings dialog box. 9. Click OK to close the Export dialog box. The Export As dialog box appears with a default file name in the File name text box, based on the file type.
10. (Option) Change the file name. In most cases, keep the default file name extension. 11. Select the destination folder for the file and click Save. The file is exported and appears at the chosen destination.
CHAPTER 4 Preparing to Digitize Digitizing is the process of creating digital media from videotape or audio input.
Preparing the Hardware Your source material can originate from a videotape, a digital audiotape (DAT), a compact disc (CD), an in-house router, a tuner, or straight off-the-air, with the proper hardware configuration. n For information on connecting your equipment, see the setup guide for your Avid system. You should check the following items before digitizing: For more information on the 16:9 format option, see the editing guide or Help for your Avid system. • Client monitor.
Selecting Settings For information about locating and modifying settings, see the editing guide or Help for your Avid system. Several settings dialog boxes have a direct bearing on the digitizing process. Before digitizing, review the following options. General Digitize Settings The Digitize Settings dialog box includes two parts: General Digitize Settings and Batch Digitize Settings. Table 4-1 describes the General Digitize Settings options.
Table 4-1 General Digitize Settings Options Option Description Digitize to multiple files When this option is selected, the system writes digitized video to multiple files across multiple drive partitions. Select this option if clips might exceed the 2-GB file size limit. For complete instructions, see “Digitizing to Multiple Media Files” on page 124.
Table 4-1 General Digitize Settings Options (Continued) Option Description Digitize across timecode breaks When this option is selected, the system begins digitizing a new master clip at each timecode break. Select this option when you are performing unattended batch digitizing or autodigitizing. Deselect this option if you plan to digitize the entire tape as a single clip by digitizing to multiple media files. For complete instructions, see “Digitizing Across Timecode Breaks” on page 127.
Film Settings Film settings give the system important information about the type of film and audio transfer you use for your project. Transfer settings The following settings are important for digitizing. You should set film preferences immediately after you create a new project and before digitizing. For information about other Film settings, see the editing guide or Help for your Avid system. For information about film-to-tape transfer methods, see Chapter 2.
• Pulldown: Choose this option when you are digitizing film footage that has been transferred as NTSC with pulldown. Audio Transfer allows you to specify the rate of the audio that you digitize: - Film Rate (100%): Choose this option when digitizing sound that has been synchronized to picture as part of an NTSC filmto-tape transfer. In this case, set the pulldown switch in the Digitize tool to 0.99 (on).
Configuring Decks Deck Configuration settings allow you to establish deck control parameters for a single deck or for multiple decks. As with all settings, you can create multiple versions, allowing you to select among them for frequent changes in hardware configurations. Deck Configuration settings and global deck control preferences appear as separate items in the Settings scroll list of the Project window.
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 automatically open a Channel dialog box. n For more information on V-LAN equipment, contact your Avid sales representative. Channel refers to the signal path for deck control, whether directly through a serial port or through a V-LAN VLXi system connected to a serial port.
• VLAN VLX if you are connecting a deck by means of a VLAN/VLXi. 4. Choose the port to which you are connecting the deck from the Port pop-up menu. n If you are not sure which port to choose, check the 9-pin serial port connectors on the back of the system. If the ports are not labeled, see the hardware documentation supplied with your system. 5. Click OK to close the Channel dialog box. A dialog box appears with a question asking if you want to automatically configure the channel now. 6.
n You can reopen the Channel settings to change the options at any time by double-clicking the channel box. 7. If you did not autoconfigure the deck, click the channel box to select it. 8. Click Add Deck to open the Deck Settings dialog box. n With a deck already connected to the system, you can click the Autoconfigure button to bypass the Deck Settings dialog box and automatically configure a deck with the default settings. 9. Select settings based on your deck.
12. (Option) Select the “Verify configuration against actual decks” option if you want the system to check the deck configuration against the decks physically connected to the system. The system checks the deck configuration after you click Apply in the Deck Configuration dialog box and when you start the Avid application. A message warns you if the configuration does not match the deck. 13. Type a name in the Configuration Name text box to name the deck configuration.
Table 4-2 Deck Settings Options Option Description Name Type your custom name for the tape deck. The default name matches the deck type. Description Enter notes about the deck. Deck Type Choose your manufacturer and model from the menus. These decks have been qualified to work with your Avid system. Address For V-LAN VLXi use only (see your V-LAN VLXi documentation). If you are using direct serial port deck control, this option is unavailable.
Table 4-2 Option Deck Settings Options (Continued) Description Switch to search (seconds) When this option is selected, the system switches out of fast forward or rewind when it is within the specified number of seconds of the target timecode. By default, the system switches to search mode when it is 25 seconds from the target timecode. Deleting Deck Configuration Elements You can delete deck configuration elements to remove or replace them. To delete deck configuration elements in the Avid system: 1.
Table 4-3 describes the Deck Preferences options. Table 4-3 Deck Preferences Options Option Description When no tape in deck log as You choose the timecode format (Drop Frame or Non-drop Frame) for logging clips when no tape is in the deck. When a tape is in the deck, the system automatically uses the existing timecode format on the tape.
Table 4-3 Deck Preferences Options (Continued) Option Description Stop any paused decks when quitting Any paused decks are stopped when you quit the Avid application. Selecting this option saves wear on the deck heads. Poll deck during digital cut This option is selected by default. When it is selected, the Avid system checks the deck for the current timecode and displays it in the timecode window of the deck controller.
Resolution The list of resolutions depends on the model of your Avid system and the type of project you are working in. For 25-fps and 30-fps projects, the list shows single-field and two-field interlaced resolutions. For 24p projects, the list shows progressive, full-frame resolutions. For more information on video resolutions, see Appendix B. n You can also choose a video resolution directly from the Digitize tool.
Choosing a Video Resolution and Color Rate To choose a video resolution and color rate: 1. Choose Compression from the Tools menu. The Compression tool appears. Audio settings Video compression settings n In a 24p project, the Compression Tool indicates whether the pulldown switch is on or off. For more information, see “Setting the Pulldown Switch” on page 118. 2. Make sure the proper audio sample rate is indicated under Audio Rate.
Entering Capture Mode Capture mode provides you with the Digitize tool and the controls you need to capture your footage in digital form. When you enter Capture mode, the system initializes the Digitize tool and establishes an interface with the playback equipment attached to the system. To enter Capture mode: 1. Make sure the playback deck is properly connected to the system and is turned on. 2. Open your project and the bin in which you want to store your master clips. 3.
Digitize/Log Mode button Active bin 112
Setting Up the Digitize Tool The Digitize tool provides controls for cueing, marking, and logging footage, and specifies digitizing parameters such as source and target locations. Deck control in the Digitize tool operates in the same way as in the deck controller. You can open the Digitize tool in one of two ways: • Click a bin to activate it and choose Capture Mode from the Bin menu. • Choose Digitize from the Tools menu.
When you are working in a 24p NTSC project, the Digitize tool includes a pulldown button. For more information, see “Setting the Pulldown Switch” on page 118.
• Interpreting the Time-Remaining Display • Selecting a Custom Preroll Selecting a Deck The Deck Selection pop-up menu in the Digitize tool contains a list of any decks that were connected to the system, powered up, and initialized when you entered Capture mode. 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.
For information about deck preferences, see “Setting Deck Preferences” on page 106. n For information on tape naming conventions, see “Naming Tapes” on page 69. 2. In an NTSC project, play the tape briefly so that the system can detect the timecode format of the tape (drop-frame or non-dropframe). Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box, regardless of the format on the tape, and you might receive a message indicating a wrong tape.
Selecting Source Tracks You can choose the tracks to digitize from the source tape. Click the channel selection buttons in the Digitize tool to select only those tracks that you want to digitize. Channel selection buttons n When using an Avid-controlled deck, the TC (timecode) track will be selected by default, and the system will digitize the timecode from the source tape. If you deselect the TC button, the system will digitize with time-of-day timecode.
Setting the Pulldown Switch If you are digitizing sound that has been created during an NTSC filmto-tape transfer, you need to set the pulldown switch before you begin digitizing. If you are digitizing picture only, you do not need to set the switch. n Make sure your film preferences are properly set. For more information, see “Selecting Settings” on page 95. To set the pulldown switch, click the Pulldown button in the Digitize tool.
Table 4-4 indicates how the pulldown switch and transfer settings should be set, depending on your input media. Table 4-4 Film Project Pulldown and Transfer Settings Type of Input Media Project (Set in the New Project Dialog Box) Pulldown Switch Setting and Indicator on Meridien ™ I/O Box Source Transfer Settings Playback (Set in the Film Speed Settings Dialog Box) (fps) NTSC film-to-tape transfer or simul-DAT tapesa 24p NTSC On (0.99) 29.
Choosing a Resolution in the Digitize Tool If you did not already choose a resolution in the Compression tool, or the Compression tool is closed, you can use the Res (Resolution) popup menu in the Digitize tool. To choose a resolution, click the Res pop-up menu in the Digitize tool and make a selection. The resolution list contains a list of the available compression ratios, depending on the model of your Avid system. Choose 1:1 for uncompressed media.
• Create a new bin by click the New Bin button in the Project window. Selecting the Target Drives Selecting target drives for the digitized media is a three-step process: 1. Make sure you are in Digitize mode. If the Digitize tool is in Log mode, click the Digitize/Log Mode button until the DIG icon appears. For tips on targeting media drives for effective storage and playback, see Appendix B. 2.
Targeting Separate Drives for Audio and Video To achieve optimal performance, stripe two or more drives. For more information, see the AVIDdrive Utility User’s Guide. You can target separate physical drives for video and audio tracks. If you choose the uncompressed resolution, you must target the audio to the audio drives and target the video to the video drives. This improves performance because the system is not required to address all the information in separate locations on a single drive.
Time remaining on the chosen drive You can interpret this display based on the following factors: • Each digitized clip has a maximum file size limit of 2 GB (gigabytes). Any video clip whose media exceeds the 2-GB limit will have more than one media file associated with it. • When you choose another resolution, the time-remaining display adjusts accordingly.
Digitizing to Multiple Media Files You can digitize video to multiple media files across multiple drive volumes, with the following advantages: • You can create longer clips whose media files would otherwise exceed file size limitation of 2 GB. • You can group all drive volumes with the multiple file options, enabling the system to record continuously during digitizing of long clips — such as satellite feeds or program airchecks.
multiple files” option selected, the allocation process can take a long period of time in preparation for potentially unlimited clip lengths. This option instructs the system to preallocate according to an estimated maximum clip length. The default is 30 minutes. c If you think that any of your digitized clips might exceed 30 minutes, make sure you enter a higher estimate in this field; otherwise, the system will stop digitizing at 30 minutes. 4. Click OK to close the dialog box and apply the options. 5.
Change Group The Drives dialog box appears. 7. Ctrl+click to select multiple drives to include in the digitizing session, or click the All button to select all drives. 8. Click OK to close the dialog box and apply the changes. When you digitize, any clip that exceeds the capacity of a drive (whether that drive is empty or already contains media files) will continue digitizing onto another drive in the group.
n For more information on managing media files, see the editing guide or Help for your Avid system. Digitizing Across Timecode Breaks If the tape you are digitizing contains breaks in the timecode, there are two settings you can use to digitize across the timecode breaks: • Use control track instead of timecode for preroll When you select this option, the system does not use timecode to perform 1 to 6 seconds of VTR preroll before digitizing.
3. Click OK to close the dialog box and apply the options.
Preparing for Audio Input The Avid system supports direct input of eight channels of audio. Source track assignments are mapped directly to audio tracks in the digitized clips. For example, when you digitize source footage with audio channels 1 to 5, the resulting master clip has matching audio tracks 1 to 5. n Eight-channel audio input requires the appropriate hardware configuration. For more information, see the setup guide for your Avid system.
To switch the audio file format: 1. Double-click General in the Settings scroll list of the Project window. The General Settings dialog box appears. Audio File Format pop-up menu 2. Choose either OMF (AIFF-C) or OMF (WAVE) from the Audio File Format pop-up menu. 3. Click OK. Audio is written in the chosen file format when you: • Digitize audio tracks in Capture mode. • Create new clips by using the Audio Punch In tool. • Create tone media by using the Audio tool.
If you switch the audio format in the middle of a project, all new audio media files will be written in the new format with the following exceptions: • Media files written when rendering audio effects: The system uses the file type of the A-side (outgoing audio) media for a transition. For example, if the A-side of an audio dissolve is in OMF (AIFF-C) format and the B-side (incoming) is OMF (WAVE), the rendered file will be OMF (AIFF-C).
• Digital audio input: If you are digitizing audio from a digital source (such as a DAT recording, for example), you should establish sync from the digital source. For more information, see “Checking for a Valid Digital Sync Signal” on page 132 and “Adjusting Audio Project Settings” on page 132.
The Audio Project Settings dialog box appears.
• Sync Mode: The Sync Mode pop-up menu includes two optional sources for audio sync: - Video Sync — This sets the clock and timing for the sample rate internally. Use Video Sync for all analog audio input and output to ensure the audio sample clock is always in sync with the clock. This prevents long-term drift between audio and video. Audio locks to the video output signal except for digitizing video, when it is locked to the video input signal.
Using the Audio Tool For information on output procedures involving the Audio tool, see “Preparing for Audio Output” on page 253 and the editing guide or Help for your Avid system. Audio Tool button The Audio tool, along with your hardware’s audio parameters, allows you to do the following in preparation for input: • Check and manage your audio hardware setup. • Check audio levels before digitizing.
The Audio tool has the following characteristics: • The Output Control button displays a panel that contains a single slider control for raising or lowering global audio output. • The Setup Control button displays a panel of audio output options for channel assignments, mixing tracks, and ignoring pan and volume settings. • The Reset Peak button resets the current maximum peak measurements. It also stops the playback of the internal calibration tone.
Resizing the Audio Tool You can resize the Audio tool for greater visibility during input and output. For example, when batch digitizing in a busy facility, you can make the tool larger to watch levels from across a room. To adjust the size of the Audio tool, click the top or bottom of the tool and drag it to the preferred size. Adjusting the Reference Level The volume unit scale (VU) to the right of the meters is a sliding scale relative to the fixed digital scale displayed on the left.
2. Enter the new value for the reference level (–12, for example), and click OK. The volume unit scale slides to match the new reference level, which is displayed on the digital scale. Digital scale displays corresponding reference value. n Volume unit scale slides up to display less headroom. Adjusting the reference level requires recalibration of the audio I/O device. For more information, see “Calibrating the Eight-Channel Audio I/O Device” on page 142.
Choosing a Peak Hold Option The Peak Hold pop-up menu provides two options for displaying peak levels in the meters, as follows: • When you choose the Peak Hold option, the meters display a normal rising and falling volume trail in the meters. This is the default option.
• When you choose the Infinite Hold option, each meter permanently retains a single bar at the peak volume level measured during playback. The effect is cumulative: the bar continues to rise and hold with each new peak, and serves as a record of the highest peak for each channel. Infinite Hold peaks remain during and after playback. To delete the peaks and start over at any time, click the RP (Reset Peak) button.
Before you digitize, make sure the audio I/O device is properly calibrated. See “Calibrating the Eight-Channel Audio I/O Device” on page 142. To check and adjust input levels: 1. Click the In/Out toggle buttons in the Audio tool for the channels that you will use for input. The Audio tool displays an I for Input. 2. Play back the source audio (from a videotape or DAT, for example). If the recording includes reference tone, cue to the tone and play it back.
3. Set the appropriate calibration tone parameters for the project. You can also use the default output tone of –14 dB (digital scale) with a 1000-Hz signal. n If you set the tone media frequency to 0, the system generates random noise. 4. Choose a target bin for the tone master clip and a target drive for the tone media file from the pop-up menus. 5. 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.
Calibrating Input Channels for the Audio I/O Device To calibrate input channels for the audio I/O device: 1. Connect a sine wave generator that can produce a 1-kHz tone, +4 dBu @ 0 VU to channel 1 of the audio I/O device. 2. Choose Set Reference from the PH (Peak Hold) pop-up menu in the Audio tool. 3. Enter the reference level for the system (typically –14 or –20) and click OK. (For more information, see “Adjusting the Reference Level” on page 137). 4.
Volume Unit scale varies, displaying custom reference level setting, +1 dB above and –1 dB below. 7. Adjust the Channel 1 input level trim pot by inserting a screwdriver into the trim pot and turning it until the Audio tool’s onscreen meter reaches 0 VU. The input channel is now calibrated. 8. Repeat this procedure for each input channel of the audio I/O device. To return to the default Audio tool display, choose Calibrate from the PH (Peak Hold) pop-up menu.
Calibrating Output Channels for the Audio I/O Device If the input channels of the audio I/O device are correctly calibrated for reference, you can use the input channels to calibrate the output channels. To calibrate output channels for the audio I/O device: 1. Make sure the audio I/O device is properly calibrated for input (see “Calibrating Input Channels for the Audio I/O Device” on page 143). 2. Connect two output channels to two different input channels.
To check peak levels in the Console: 1. Open the Audio tool. 2. Click the RP (Reset Peak) button to clear the system’s record of the most recent maximum peaks. 3. Play a sequence or portion of the sequence. 4. After playing back the audio, open the Console by choosing Console from the Tools menu. 5. In the Console command line, type: DumpMaxPeaks 6. Press Enter. A list of peak values appears in the Console.
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 serial digital video, for example, from a D1, D5, or digital Betacam VTR, 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.
n • The preset buttons are highlighted when the factory preset levels are displayed. • The Settings pop-up menu lets you save the settings for an individual tape each time you calibrate bars. • The Internal Waveform Monitor and Vectorscope Monitor buttons open or hide these tools. Your Avid system supports the SMPTE/EBU component standard for 625 timing and Betacam component levels for 525 timing. The system does not support the MII component video standard.
Preset button • When you click a slider of a lit preset button, the button pops out (arrow turns black), and the slider moves to the position of the pointer. • When a preset button has a black arrow and you click it, the button becomes lit (appears green), and the slider moves to the factory preset level for that parameter. • When you click a lit preset button, the button pops out (arrow turns black), and the slider returns to the last manual setting.
c When you redigitize media from a project created on a different Avid system, only reuse settings that originate on systems that use the Meridien video I/O board. For projects from other Avid systems, check the Video settings for each tape. Before you calibrate the video input, check the following: • Make sure your monitor is properly calibrated for displaying footage accurately. For more information, see your monitor’s hardware documentation.
For a description of each parameter, click the Video Input tool and press the F1 key. The Video Input tool displays the appropriate parameters for the chosen video format. Input pop-up menu n n Sync for video input comes from the source selected in the Video Input tool, whether composite, component, S-Video, or Serial Digital. The proper source device must be connected to the Meridien I/O box as described in the setup guide for your Avid system.
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) Color bars (top 67% of frame) 75% white 7.
5. If you are digitizing from a consumer-grade video deck (such as a home VCR) or a deck that has no built-in time-base corrector (which includes a number of 3/4-inch U-matic or S-Video models) and you are having trouble with the incoming video quality, click the Consumer Source button located below the sliders in the Video Input tool. If clicking the Consumer Source button does not improve the video quality, Avid recommends that you purchase a time-base corrector (TBC).
NTSC waveform values (IRE) White level at 100 IRE (digital 235) (100% bars) White level at 77 IRE (digital 180) (75% bars) Black level at 7.5 IRE (digital 16) (Black level falls at 0 IRE for NTSC-EIAJ) Line slider PAL waveform values (volts) White level at 1 V (digital 235) (100% bars) Black level at 0.3 V (digital 16) Line slider 8. Adjust the Line slider located below the Waveform monitor to display the appropriate line of the test pattern, then adjust the luminance values based on Table 4-5.
Table 4-5 Luminance Settings for Video Input Parameter/ Video Standard a SMPTE Bars Full-Field Bars at 75% or 100% Signal Level Black level (setup) Adjust Line slider to approximately 190 Adjust Line slider to approximately 150 Adjust Black slider to place black level at: Adjust Black slider to place black level at: 7.5 IRE 0.0 IRE NAb 7.5 IRE 0.0 IRE 0.
11. Adjust the Sat and Hue sliders (composite or S-Video) or the RY Gain and BY Gain sliders (component) until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. n c There is no hue adjustment for PAL video. 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.
2. Accept the default name (matching the tape name), or type a new name for the settings. c If you do not use a name that matches the tape name, the system will not recall the setting automatically the next time you load the tape. 3. Click OK. Whenever you batch digitize or choose a tape name during digitizing, the system recalls the saved settings as follows: n c • The system looks for a Tape setting with the same name as the tape. If the setting exists, the system recalls it.
To create a customized default Video Input tool setting: 1. Choose Video Input Tool from the Tools menu. The Video Input tool opens. 2. Adjust the Calibration settings, as described in “Calibrating Video Input” on page 149. 3. Choose Save As from the Settings pop-up menu in the Video Input tool. The View Name dialog box appears. 4. Type Default, and click OK. (You must use this spelling and initial capitalization.
• Find a series of frames in the footage that includes skin colors. Skin colors should fall generally between the target boxes for the red and yellow vectors in the Vectorscope monitor. Skin colors should be realistic. • Chroma should not exceed 110 or fall below –120 on the vector • Pure yellows should be a rich gold and not reddish or greenish in tone. Find a pure yellow and adjust both hue and saturation as necessary.
Digitize Preparations Check List Use this check list to help you prepare for the digitizing process. Check your hardware configurations, particularly connections between your deck and the Avid system. (See the setup guide for your Avid system and “Preparing the Hardware” on page 94.) If you are working on a complex project with multiple streams of video and high-resolution images, make sure your drives are striped properly. (See the AVIDdrive Utility User’s Guide.
CHAPTER 5 Digitizing When you, 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.
Before You Begin Depending upon your immediate needs, use the following guidelines for working through this chapter based on a chosen digitizing method: • If you want to add locators, create subclips, or log errors to the console during digitizing, read “Special Digitizing Procedures” on page 163. • If you have no logs and would like to begin digitizing right away, see “Digitizing and Logging at the Same Time” on page 167.
Table 5-1 lists the Function keys that are available when the Digitize tool is active. Digitize mode overrides any other functions mapped to these keys. Table 5-1 Function Keys Available When Digitizing Press To F1 Mark the beginning of the subclip while digitizing. F2 Mark the end of the subclip while digitizing. F3, F5 to F12 Add a locator to the current frame while digitizing. Each Function key adds a different color locator. See “Adding Locators On-the-Fly” on page 165.
For more information on Digitize settings, see “Redigitizing Your Material” on page 185. • If the option “Log errors to the console and continue digitizing” is selected in the Digitize Settings dialog box, when you batch digitize and the system encounters an error, it will abort the clip, enter error comments into the console, and continue digitizing the next clip.
3. While the system is digitizing, you can enter a name for the subclip by typing the name. Press the Tab key to enter comments about the clip. 4. When you want the subclip to end, press the F2 key. This highlights the subclip OUT point in the Digitize tool. n You can press the F2 key repeatedly as you search for the end point of the subclip. The system accepts the last occurrence as the end point.
Table 5-2 Locators Mapped to Function Keys Locator Color Function Key Red F3 and F5 Green F6 Blue F7 Light blue (cyan) F8 Magenta F9 Yellow F10 Black F11 White F12 To add a locator to a frame while digitizing, watch the playback of the footage in the Edit monitor and press one of the locator keys when you see the appropriate shot or frame.
To add clip names and comments on-the-fly, start typing the clip name at any time during the digitizing of a clip. The annotate window opens on screen, allowing you to see the text as you type. After typing the clip name, press the Tab key and begin typing comments. You cannot edit the text until after the digitizing is complete, but you can backspace and retype the information.
tape, automatically naming and entering each cut into the bin. These procedures are described in “Autodigitizing” on page 173. Two additional techniques you can use when digitizing and logging at the same time are described in “Digitizing from a Non-Avid-Controlled Deck” on page 175 and “Digitizing with Time-of-Day Timecode” on page 177. You can log and digitize at the same time with either a PAL or NTSC film-to-tape transfer as the source.
Setting Both Marks To digitize by specifying a mark IN and a mark OUT: 1. Make sure you have selected the proper Digitize Settings and set up the capture tools, as described in Chapter 4. Mark IN Mark OUT Go to IN 2. Set either a mark IN or a mark OUT for the clip you want to digitize, using either of the following methods: • Use the deck controls in the Digitize tool. Cue your source tape to where you want to start or end the clip, and click the Mark IN or Mark OUT button.
pleted digitizing. (After you log clips, you can modify information to correct input errors or to add information.) When the tape reaches the clip’s OUT point, digitizing stops and the system creates a new clip in the bin. Setting Only One Mark To set only one mark and enter the other mark on-the-fly: • Set an IN point and click the Record button to begin digitizing. Then, click the Record button again to stop digitizing on-the-fly and set a mark OUT.
• n There is a slight delay of several frames after you manually select a spot both to start and to stop digitizing. Therefore, use this method when you do not need precise beginning and end points in your clip. • c If you are digitizing from a live source, such as a studio feed, or an in-house router If you are digitizing from a source deck that cannot be controlled by the Digitize tool or a V-LAN/VLXi unit Digitizing on-the-fly can cause incorrect pulldown and stuttering playback.
Fast forward/Rewind Stop Pause Shuttle Play Eject Single-frame step Clear Marks 5. To begin digitizing, play the deck, and 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 that the deck does not begin cueing to the previous location. Digitizing begins within a few frames, and the timecode for the clip’s IN point appears. The Digitize Indicator box, to the right of the Record button, flashes on and off.
If you want comments to appear in EDLs, add them during editing by using the Add Comments command from the Clip Name menu. For more information, see the editing guide or Help for your Avid system. 7. Press the Tab key after typing a clip name to enter comments about the clip. You cannot edit the text during digitizing, but you can backspace to retype the comments. 8. Click the Pause button at any time to pause play. You can also abort the digitize procedure by clicking the Trash button.
c c The Avid system can digitize across timecode breaks, but it cannot digitize 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 “Digitizing On-the-Fly” on page 170. Digitizing on-the-fly can cause incorrect pulldown and stuttering playback. Do not use these methods for digitizing 24-fps film that has been transferred to NTSC video.
5. Load the source tape and cue past any false starts. 6. Play the tape, and wait 4 seconds before clicking the Record button. Digitizing from a Non-Avid-Controlled Deck If you have a deck that cannot be controlled directly by the system, you can digitize with manual deck control as follows: 1. Enter Capture mode and set up the tools, as described in Chapter 4. 2.
3. Click the Tape Name display to open the Select Tape dialog box and identify the source tape. You can select the option “Show other project’s tapes” to display the tape names and associated project names for all bins that have been opened in the current session. n Because the media file database does not open when you start your Avid system, tape names of all online media files do not appear automatically.
Digitizing with Time-of-Day Timecode When you digitize with an Avid-controlled deck, you can digitize your footage with time-of-day timecode rather than source timecode. To digitize with time-of-day timecode: 1. Enter Capture mode and set up the tools, as described in Chapter 4. 2. When selecting tracks, deselect the TC button. 3. Digitize by using any of the techniques described in “Digitizing On-the-Fly” on page 170.
5. (Option) You can mark an OUT point based on the following: • If you are digitizing to the middle of a sequence in the Timeline, mark both IN and OUT points for frame accuracy of overwrite. With splice-in, you only need a mark IN. • If you are digitizing onto the end of a sequence, you can mark just an IN point and then mark the OUT point later on-the-fly. Click the Splice-in button or the Overwrite button in the Digitize tool to choose the type of edit.
When digitizing ends, the clip appears in place in the sequence, and a master clip appears in the bin. Digitizing Video Without Pulldown into a 24p NTSC Project Film-to-tape transfers that were made without using pulldown can be digitized directly into a 24p project. This feature is useful when special effects are generated on a frame-to-frame basis to tape and need to be integrated into a 24p project.
You can also use the batch-digitizing process to redigitize clips you have already digitized. The redigitizing process is described in “Redigitizing Your Material” on page 185. n When you capture footage from an NTSC film-to-tape transfer with pulldown, the playback flickers in the Client monitor during digitizing 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.
Open/Close triangle The triangle points to the right, and the deck control and logging controls close. Preparing Settings for Unattended Batch Digitizing Unattended batch digitizing allows you to digitize a large number of clips with minimal supervision by selecting Digitize settings that avoid a pause in the digitize process. For more information on Batch Digitize settings, see Table 5-3 on page 182.
Batch Digitize Settings Options The Batch Digitize settings specify how to batch digitize clips. Table 5-3 describes the Batch Digitize Settings options. For information on the General Digitize settings, see “General Digitize Settings” on page 95. Table 5-3 Batch Digitize Settings Options Option Description Log errors to the console and continue digitizing.
Table 5-3 Batch Digitize Settings Options (Continued) Option Description Switch to the emptiest drive if current drive is full. When this option is selected, the system switches to the target media storage drive with the most available space when the current target drive becomes full during batch digitizing. The system switches before starting to digitize the clip, based on the number of minutes in the clip.
Handle length options appear only when a sequence is selected. n If the clips that you want to batch digitize are not highlighted in the active bin, Batch Digitize appears dimmed in the Clip menu. 6. Select options in the dialog box: For more information on handle lengths when redigitizing, see “Redigitizing Sequences” on page 187.
If you have not loaded a tape, the system prompts you to insert the first tape. 8. Insert the tape into the tape deck and click Mounted. A dialog box appears. 9. Click OK to confirm the tape and deck entries and begin the digitizing process. The system digitizes each clip from the tape, in start timecode order. 10. If the system needs another source tape, the system prompts you for the tape.
because the clip information for such things as source tracks, timecodes, and compression settings already exists in the bin. There are several situations in which you might want to redigitize: c • You can redigitize a sequence after you transfer it from another system, such as an offline Media Composer. • You can redigitize low-resolution clips at a higher resolution setting after they have been edited into a sequence.
new media files and reflects the shortened length of material. Therefore, redigitizing subclips streamlines the digitize process. Also, redigitizing breaks the link from the subclip to the original master clip. But if you edit the subclip into a sequence, the sequence will reflect any changes in the newly digitized subclip. Redigitizing Sequences Redigitizing a sequence creates new master clips and associated media files based on the length of each shot edited into the sequence.
Using Decompose When Redigitizing Decompose allows you to create new, shorter master clips based only on the material you have edited and included in your sequence, which saves system disk space. You can choose the handle length of the new master clips. Decompose breaks any links to the original source clips, and only the sequence and its new master clips are linked to the newly digitized media files. Decompose creates new master clips in the bin for each shot in the sequence prior to redigitizing.
3. To preserve clips that already have existing media files, select the option “Decompose only those items for which media is currently unavailable.” Do not select this option if you plan to decompose and redigitize the entire sequence. 4. Click the Handle Length text box and type the number of additional frames you want to digitize at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects.
Redigitizing the Sequence Without Using Decompose When you redigitize the sequence without using Decompose, the digitizing process creates media files for each shot in the sequence during the digitizing process. Skipping the Decompose procedure saves only a small amount of time, and you cannot make changes after the media files are created without repeating the entire procedure. Therefore, review “Using Decompose When Redigitizing” on page 188 before proceeding. To redigitize a sequence: 1.
6. To preserve clips that already have existing media, select the option “Digitize only those items for which media is currently unavailable.” Deselect this option if you plan to redigitize the entire sequence. 7. Click the Handle Length text box and type the number of additional frames you want to digitize at the heads and tails of the new master clips. This provides enough overlap to allow for trimming and transition effects.
Relinking Clips by Key Number For illustrations of workflows that include FTFT relinking, see “Planning a 24p Project” on page 22. The film-tape-film-tape (FTFT) relinking feature lets you re-create an offline, film-originated sequence as a final finished sequence by using the key numbers of the original film footage. During the offline stage, you digitize and edit footage that was transferred to tape through a one-light or best-light telecine transfer (FT).
5. Process the new log file through ALE and import it into the bin that holds the duplicated sequence. (For more information, see “Creating Avid Logs” on page 62 and “Importing Shot Log Files” on page 66.) 6. Batch digitize the clips imported from the new log file. Choose 1:1 or another high-quality resolution. (For more information, see “Batch Digitizing from Logged Clips” on page 179.) 7. Select the duplicated sequence and the new clips. 8. Choose Relink from the Clip menu. The Relink dialog box appears.
Deselect this option if you know the new clips were digitized with a different project name. Also, if the sequence does not relink to the new clips, try deselecting the option and relinking again. 12. Click OK. The new clips are linked to the sequence. 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: 1. Duplicate the sequence. 2.
To determine the correct pullin frame, use one of the following approaches: • If the source footage includes burn-in code with the pulldown phase, go to the start of the clip and look for the pulldown for the first frame. • If you want to make sure to maintain the start timecode for each clip, review the original tape field by field, using the procedure described in “Entering the Pulldown of the Sync Point” on page 79.
For example, if the A frame ends in 0 or 5, and the start timecode ends in 2, the pullin falls on the X frame and you need to modify the timecode along with the pullin. Move forward one frame to create a start timecode ending in 3. Then you can change the pullin to C. 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.
CHAPTER 6 Multicamera Planning and Digitizing Your Avid system’s multicamera editing tools allow you to incorporate multiple camera angles easily into the nonlinear editing process. This chapter describes workflows and digitizing for multicamera projects. Techniques for editing multicamera projects are described in the editing guide and Help for your Avid system.
The guidelines of organizing for a large multicamera project are as follows: • Choose a tape-numbering scheme and be consistent. • Record or film the multicamera shoot logically according to offline and online editing needs. • Manage the production path of both sound and picture for quality and efficiency.
Tape Numbering for Film Productions Many multicamera film productions use alphabetical designations for classifying source footage. For example, the cameras are referred to as A, B, and C, covering the scene from left to right as viewed from the camera side. A fourth camera X is often a floater, used to grab closeups and miscellaneous shots. You can classify the shot rolls with the letter of the source camera, then numbered sequentially. For example, camera roll A1 is the first roll for camera A.
Finished program Online edit Online masters Betacam D2 Simultaneous multicamera recording EDL Digitize Offline edit Offline work tapes 3/4 inch Facilities and tape formats might vary. The basic model can apply to any multicamera production in which a broadcast-quality program is the goal. Production Paths for Film Productions For multicamera television productions shot on film, the most common picture path is described in “Video Dailies Method” on page 37.
• Multicamera filming Alternatively, you can record in-camera timecode both on film and on an audio track for autosyncing in the Avid system. Online Edit Online masters Finished program 1” EDL D2 Simultaneous telecine transfer Cut list Telecine Digitize Offline work tapes For workflows that include multiformat output, see “Planning a 24p Project” on page 22. Offline Edit Facilities and formats might vary.
Audio for Videotape Productions In the following example, the goal is to create a finished master with production dialog on channel 1, music and sound effects on channel 2, audience left on channel 3, and audience right on channel 4.
Audio for Film Productions In the following example, the goal is to create a finished master tape with production dialog on channel 1, music and sound effects on channel 2, audience left on channel 3, and audience right on channel 4.
ferred to tape in telecine, with audio timecode recorded onto the address track and used during digitizing and editing. This is just one example. Choose the right path for your production. Digitizing Workflow The organization of the digitize bins helps to avoid slowing the system with large bins. It also keeps editing resources free of clutter. The basic procedure for using the digitize bins is as follows: 1.
Line 10 Cam 1 11 3. Gather all multigroups into one bin for easy access. Cam 2 12 2. Gather each tape load into one bin, sort by name, then multigroup. Cam 3 13 Cam 4 14 1. Digitize each reel separately. For television productions shot on film, scenes are often referred to as Scene A, B, C, and so forth. When the film is transferred to tape for offline editing, you can import the log of the transfer and batch digitize the reels, as shown in the following illustration.
Cam A Reel 001 Cam B 2. Gather takes into one bin, sort by name, then group. Reel 002 3. Gather appropriate groups into one bin for each act. Cam C Reel 003 Cam X Reel 004 1. Digitize each reel separately. Digitizing Methods For more information on logging and digitizing procedures, see Chapter 3, Chapter 4, and Chapter 5.
• Autodigitize entire reels: This method allows you to bypass the logging procedure, but requires the most storage space. Film productions generally use one digitizing method: import the log from the telecine transfer and use this to batch digitize. However you choose to digitize, you should have accurate notes on the number and content of takes on each reel to identify the content of each clip when necessary. Logging Tips For additional logging tips, see “Logging Tips” on page 68.
accessed by clicking the Add Deck button on the Deck Configuration dialog box. • When loading a tape and assigning a name to a source reel, give the reel the same name as the online master tape (same as the work tape). • Name each bin after the source reel number. By default, all clips are named after the reel and are numbered incrementally beginning with the file name extension .01.
• For storage, you have four 9-GB drives. With this set of circumstances, you might distribute the media as shown in the following illustration. Storage requirements are based on information provided in “Storage Requirements” on page 376. Work tapes Tracks digitized Storage required Line 10 X2 3.60 GB Cam 1 11 X2 4.24 GB Cam 2 12 X2 Cam 3 13 X2 Cam 4 14 X2 Targeted drive 3.60 GB 3.60 GB 4.
during a particular take. If you group the take with the missing camera, the shots shift in the Quad Split to fill the missing angle, which can disorient the editor. Correct this problem by creating a dummy clip. To create a dummy clip: 1. Log a new source clip into the bin. 2. Match the timecode from one of the clips from another camera, and use any name.
You can also spot-check the picture quality by loading two or more clips from each bin into the Source monitor and viewing the clips. If you find a problem, you can redigitize before the edit session begins.
CHAPTER 7 Importing Files The Avid system support numerous file types. For a complete list, see Appendix A.
Preparing to Import Files Before you begin the import process, make sure the system and the files are ready for import as follows: • To read about issues and tips for mixed-resolution projects, see “Working with Mixed-Resolution Projects” on page 213. • For graphics file and OMFI (Open Media Framework® Interchange) file import, prepare the files in advance according to specifications described in Appendix A. • For a complete description of Import settings, see “Import Settings Options” on page 216.
and sequences. For more information, see “Reimporting Files” on page 231. 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 dragand-drop method to import multiple files. See “Using the Drag-andDrop Method to Import Files” on page 226.
To adjust the parameters in an Import Settings dialog box: 1. Double-click an Import setting in the Settings scroll list of the Project window. The Import Settings dialog box appears. The following illustration shows the default settings. 2. Select the appropriate options. For a complete description of all options in the Import Settings dialog box, see “Import Settings Options” on page 216. 3. Click OK. You can now select this setting whenever you import a frame, clip, or sequence.
Import Settings Options Table 7-1 describes the Import Settings options. Table 7-1 Import Settings Options Option Suboption Description Aspect Ratio, Pixel Aspect Maintain, square Select this option for an image that was created in a squarepixel environment, such as a graphics application. Use this option primarily for icons, logos, and other graphics that cannot be resized and are not intended to fill the entire screen.
Table 7-1 Option Import Settings Options (Continued) Suboption Description Maintain & Resize, square Select this option for an image that was created in square-pixel terms when you want to preserve an aspect ratio other than 4:3. The system fits the longest dimension to the screen size and fills the missing pixels in the shorter dimension with video black, creating a border. If the image has an alpha channel, this black will be keyed out in the alpha channel.
Table 7-1 Option Suboption File Field Dominance Import Settings Options (Continued) Description This pop-up menu allows you to choose the field dominance of the media you are importing. When the field dominance of the imported media matches the field dominance of the project format, no special processing is required. For more information, see “Two-Field Media Files and Field Dominance” on page 367.
Table 7-1 Option Autodetect Sequential Files Import Settings Options (Continued) Suboption Description ITUR-601 Video Levels Select this option if the imported graphics file uses video levels based on the ITU-R 601 (formerly CCIR 601) standard. These graphics include Avid color bars or images that include superblack (zero black) for keying purposes. Depending on your installation, Avid color bars are located in one of the following folders: C:\Avid\Media Composer\Supporting Files\Test Patterns C:\Avid
Table 7-1 Import Settings Options (Continued) Option Suboption Description Single Frame Import Format: Slide Choose this option for all graphics. The other menu choice, Media Files, is not applicable to Avid systems that use the Meridien board. Duration of x seconds Select this option to specify the duration of the master clip created from the import. The default is 10 seconds.
Table 7-1 Option Suboption Import Settings Options (Continued) Description Media Drive Select the drive on which you want to store the imported file or files. Boldface indicates the drive with the most available space. Resolution For graphics and video files, select the resolution for the imported media.
You can access files for import from any folder 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. n For information on using the drag-anddrop method, see “Using the Drag-andDrop Method to Import Files” on page 226. For more information about the files displayed in the Import files into bin dialog box, click the Details button.
Look in pop-up menu Details button File browser File to import Files of type pop-up menu Options button Resolution pop-up menu Media Drive pop-up menu 4. Choose an import file type from the Files of type pop-up menu to display only files of the chosen file type in the source file list: • Choose either Graphic or Audio to import one of more than 30 supported graphics and audio file types. For more information on the various file types and their import specifications, see Appendix A.
• Choose Shot Log to import Avid log (.ALE) files containing clip information into a bin. For more information about Avid log specifications, see Appendix C. By default, the system displays only file types that belong to the chosen category in the source file list of the dialog box. 5. (Option) Select the option All Files from the Files of type pop-up menu to display all files in a chosen folder, regardless of file type. Use this option if you want to batch import from multiple file types. 6.
8. Click OK to save the settings, close the Import Settings dialog box, and return to the Import file(s) into bin dialog box. 9. Choose a destination drive for the imported file from the Media Drive pop-up menu. 10. For graphics and video files, choose a resolution for the imported media from the Resolution pop-up menu, see “Working with Mixed-Resolution Projects” on page 213. n For optimum speed when importing an OMFI file, select the Use Source option in the Import Settings dialog box.
Select either the resolution of the source file or the current Resolution setting to continue. When the system finishes importing the files, the clips appear in the selected bin. n If you import an OMF file with a stereo sound track, the Avid system creates a new master clip that contains the right channel of the sound track. The original master clip contains the left channel. Both clips appear in the bin you select.
Using Open Media Management (OMM) Open Media Management (OMM) is an Avid initiative to create a standard interface for integrating asset management systems with Avid editing systems. Avid has partnered with leading asset management companies to implement the OMM standard. The OMM standard is incorporated as a feature in Film Composer and Media Composer and allows direct, networked integration with asset management systems and Web-based media resources.
After you create these settings, you can import or export clips simply by using the drag-and-drop method. If you are exporting clips, you can also use the Export command from the File menu (see “Using OMM and the Menu-Command Method to Export a Clip” on page 322). Your asset manager application might require additional setup. See the documentation for the asset manager application.
3. Type the Universal Resource Locator (URL) location where the preferred asset manager is located: • For networks: http://assetmanagerlocation/hostinfo.xml The network URL is case sensitive, so make sure you use the correct location and type the information exactly as designated. • For local machines file:///c:mydir/filename.xml 4. Select Login to Asset Manager at launch if you want to log in to your asset manager when you open your project. 5. Click OK.
Import and Export Settings You create import and export settings for OMM in the same way that you create any import or export setting. See “Creating and Using Import Settings” on page 214 and “Creating and Using Export Settings” on page 290. You can create multiple import and export settings and name them whatever you want, such as “OMM with media.
3. Start your browser and locate your asset manager or start the asset manager client application on your local machine. 4. In the asset manager window, click the clip you want to import and drag it to the bin. The imported clip appears in the bin and you can edit it into your sequence. For instructions on using OMM to export clips, see “Using OMM to Export Clips” on page 321.
reimporting the files, the new imported material plays in your sequence. When you reimport a media file, the entire media file, including all tracks, is reimported. For example, if only the video track of an imported file that contains both video and audio was edited into the sequence, the reimport process will import both the video and audio from the source file. n OMF files can contain only one master clip when you reimport them.
Look in pop-up menu File browser File to import Status line Clip information Import settings Resolution pop-up menu Media Drive pop-up menu Figure 7-1 Batch Import Dialog Box 233
File Browser Section The file browser portion of the Batch Import dialog box allows you to search for the source file that you want to import for the current master clip shown in the Master Clip text box. You can use the Open button to open folders or to select a file for importing. The Cancel button allows you to cancel the entire import operation. If you click the Cancel button, none of the source files are imported.
Click To OK to Original Path Select the source file listed in the Original Path text box for import and start the import process. OK to All Start the import process by using the source files in the default folder that was chosen for the previous clip. If a default folder was not chosen, then the original folder of the first clip’s source file is used. If a source file is not found, the Status line displays a message that you need to select an import media file.
• Resolution pop-up menu: Allows you to choose a video resolution. Using Decompose When Reimporting The Decompose feature creates new master clips in the bin for each clip in the sequence prior to reimporting. Decompose allows you to create new master clips based only on the material you have edited and included in your sequence, which saves system memory. Using Decompose gives you greater control during the reimporting process.
media is currently unavailable.” Deselect this option if you plan to decompose and reimport the entire sequence. 4. Select “Imported clips” to decompose clips made from imported files. 5. 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. 6. Proceed with the reimporting procedure described in “Starting the Reimport Process” on page 237. n The Handle Length option affects only digitized clips, not imported clips.
• Offline only: Reimports only the selected imported master clips that are missing their media files. • All clips: Reimports all the selected imported master clips; for example, if you need to change the video resolution of the imported master clips. The Batch Import dialog box appears. See Figure 7-1. 4. Choose a destination drive for all the media files from the Media Drive pop-up menu. 5. Choose a video resolution for all the reimported files from the Resolution pop-up menu.
• Click OK to All if the source files for the master clips are located in the current folder or in their original folder. If a source file is not found, a message that you need to select an import media file is displayed in the Status line. Do the following: a. Choose a source file for the current master clip, using the file browser. The Clip Info portion of the Batch Import dialog box provides information about the current master clip you are processing. b.
About Reimporting Matte-Key Effects The Batch Import command allows you to reimport the source files for matte-key effects while automatically linking the new imported material with the master clips and sequences. When you play your sequence after reimporting the matte-key effect, the new imported material plays in your sequence. You must render imported sequential files with alpha channels before they will play back.
CHAPTER 8 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. You can also use VTR emulation for direct playback of sequences by using an edit controller in an analog editing suite.
Preparing for Output Preparing for video output involves the following procedures: For more information on mixing down audio tracks, see the editing guide or Help for your Avid system. • Render all non-real-time effects in the sequence, as described in the effects guide for your Avid system. • Establish a sync source for output, as described in “Establishing Sync for Output” on page 242. • Calibrate and adjust video output levels, as described in “Calibrating for Video Output” on page 243.
ence input (REF) on the Meridien I/O box before performing a digital cut. For more information, see the setup guide for your Avid system. Your Avid system supports longitudinal timecode (LTC) output. The LTC OUT connector on the Meridien I/O box provides SMPTE or EBU timecode that you can use as a sync source for decks with build-in synchronizers or to stripe a destination tape.
adjusting and conforming output signals to house standards, as described in “Advanced Video Output Calibration” on page 249. Using the Factory Preset Buttons The preset buttons on the Video Output tool show the status of each Calibration setting as follows: • When you first open the Video Output tool the first time you run the application, all preset buttons are lit (green), with the factory presets loaded for each slider.
Settings pop-up menu n Up to three output signals are active at once: Composite output, Serial Digital, and either Component or S-Video. You can record your output to any of these devices, or all at once if you record manually. For more information, see the setup guide for your Avid system. 2. Select the output format and display the appropriate controls: n • For Composite output, click the Controls button in the Out 1: Composite pane.
Table 8-1 Video Format Output Parameters Parameter Video Formats Description Black All formats, except Serial Digital A measurement of luminance in the video signal that is referenced to the blackest point in the visible picture. Also known as setup or pedestal. Color bars are used to set the black level. Gain, Y-Gain All formats, except Serial Digital A measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Color bars are used to set the white level.
n Sync for output comes from reference input (REF) on the Meridien I/O box. If there is no reference signal connected to the reference input, output signals are generated from internal timing. For more information, see “Establishing Sync for Output” on page 242. 3. Display color bars for calibrating: • If you edited digital bars and tone into the sequence, go to the head of the bars and tone and click Play.
Table 8-2 Luminance Settings for Video Output Parameter/ Video Standard a SMPTE Bars Full-Field Bars at 75% Signal Level Full-Field Bars at 100% Level Black level (setup) Adjust Black slider to place black level at: Adjust Black slider to place black level at: Adjust Black slider to place black level at: 7.5 IRE 0.0 IRE NAb 7.5 IRE 0.0 IRE 0.3 V 7.5 IRE 0.0 IRE 0.
n Output settings are Site settings, available to all users and all projects on the system. Advanced Video Output Calibration Advanced users and site engineers can use the following procedures to fine-tune output signals by using various test patterns and phase control. You can also adjust output by using the passthrough signal from an input device. Displaying Advanced Calibration Controls To display additional controls in the Video Output tool, click the arrow button in the lower left corner of the tool.
Using Test Patterns The expanded Video Output tool provides a pop-up menu of test patterns you can use to calibrate the system output. To display a test pattern, click the Test Patterns pop-up menu and choose a pattern. To add test patterns to the list: 1. Find or create a PICT file for a chosen pattern. n You can create your own test pattern files by digitizing the pattern from videotape and exporting it as a PICT file.
• PAL test patterns should be 296 lines high with the top 8 lines set to 16, 16, 16. • Both NTSC and PAL test patterns should be 720 pixels wide. The new test pattern appears in the Test Patterns pop-up menu in the Video Output tool. Adjusting Phase Controls The expanded Video Output tool provides controls for adjusting horizontal phase globally for output. Horizontal phase, or H phase, is the horizontal blanking interval used to synchronize the timing of two or more video signals.
To calibrate using a passthrough signal: 1. Connect a source signal with a test pattern from a signal generator. 2. Choose Video Input Tool from the Tools menu. The Video Input tool opens. 3. Choose a video format from the Input pop-up menu. The chosen input provides the passthrough signal. 4. Calibrate the input if necessary by using the Video Input tool, as described in “Calibrating Video Input” on page 149. 5.
11. Make any necessary adjustments to H phase, SC phase, and Hue by using the sliders on the Video Output tool while checking the external waveform and vectorscope monitors. n Whenever the Digitize tool is active, hue, horizontal phase (H phase), and subcarrier phase (SC phase) are set to values determined by the input circuitry and are not available to control the outputs. Therefore, these controls appear dimmed during passthrough. 12.
c Eight-channel audio output requires the appropriate hardware configuration. For more information, see the setup guide for your Avid system. Setting the Calibration Tone The Audio tool provides an internal calibration tone that 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 –14 dB (digital scale) with a 1000-Hz signal.
The Calibration Tone Parameters dialog box appears. 3. Enter new values for the tone level and frequency, and click OK. To play back the tone, choose Play Calibration Tone from the Peak Hold pop-up menu. To check the adjusted tone level in the meters, make sure the In/Out toggle buttons are switched to O for Output. Calibrating Global Output Levels You can use the meters and a master attenuator (output control slider) in the Audio tool to make global level adjustments for output from the Avid system.
Adjusting Output on Eight-Channel Audio Systems To adjust global output on a system equipped with an eight-channel audio I/O device: 1. Choose Audio Tool from the Tools menu. 2. Click the Output Control button (the speaker icon) to display the master attenuator (slider).
• Choose Direct Out to map tracks directly to up to eight channels of output (depending on your hardware configuration). 5. (Option) Depending on your type of output, you can make additional adjustments: • By default, Stereo Mix directs the mixed tracks to output channels 1 and 2. • By default, Direct Out maps all audio tracks in numerical sequence to existing output channels. You can remap a track to any channel by clicking the channel assignment display and choosing another channel.
Preparing Record Tapes There are two basic methods of recording to tape: frame-accurate recording by using the Digital Cut tool, and manual recording by using controls on the record deck. Each of these methods requires different treatment of the record tapes. 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.
To record manually: 1. Set the serial control switch on the record deck to Local. 2. Use the controls on the deck to start the videotape recording. 3. Play the sequence in your Avid system. Recording Bars and Tone You can also record a portion of bars and tone onto the tape before recording a digital cut.
Enabling Assemble-Edit Recording Insert editing is the default setting for the Digital Cut tool. You can also use Assemble-Edit settings in the Avid application, along with the assemble-editing capabilities of your record deck, to quickly record frame-accurate digital cuts without striping entire tapes in advance. c To avoid accidentally breaking timecode on prestriped tapes during digital cut recording, enable assemble editing only when in use, and disable it during normal insert edit recording.
These switches are often located below the machine’s playback control buttons. For more information, see your record device’s manual. In addition, make sure the record deck has the following settings: • The free run/rec (record) run switch should be set to record run. • The Ext (external)/Int (internal) sync switch should be set to internal. • The switch for internal timecode should be set to Regen (regenerate) or Slave Lock, not Preset.
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 or insert edits. • 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). • Select the tracks to record to on the tape (Enable Track button – Remote mode only).
Sequence Track buttons Play Digital Cut button Enable Track buttons Halt Digital Cut button Deck control area Output formats area (Systems with 24p support only) Deck controls Deck Selection pop-up menu Timecode text boxes Selecting a Deck The Deck Selection pop-up menu in the Digital Cut tool contains a list of all decks that were connected to the system, powered up, and initialized when you opened the Digital Cut tool. For information about configuring decks, see “Configuring Decks” on page 100.
The Deck Selection pop-up menu also lists three commands: • Adjust Deck opens the Deck Settings dialog box. Changes you make apply to the selected deck. • Auto-configure allows you to automatically configure the selected deck. • Check Decks helps to reestablish deck control if the power on your decks was off or the decks were disconnected when you opened the Digital Cut tool.
Sequence Track buttons Play Digital Cut button Halt Digital Cut button Deck control area Output formats area (Systems with 24p support only) Deck controls Deck Selection pop-up menu Timecode text boxes 3. (Option) Select the With Countdown option to preview the digital cut using a countdown. The default countdown is a computer-generated countdown containing the Avid logo. 4.
6. Select the audio tracks and topmost video track that you want represented in the digital cut preview by using the Sequence Track buttons. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence. 7. Click the Play Digital Cut button. The system plays a preview of the digital cut in the Record monitor and the Client monitor. 8. To stop the preview at any time, click the Halt Digital Cut button or press the space bar.
The Custom Countdown dialog box appears. Font Font Size Font Color 5. (Option) Choose another font, font size, or font color from the pop-up menus. n The menus display all currently available fonts, as determined by the contents of the Fonts folder in the Windows NT Control Panel. For information on adding fonts to your system, see your Microsoft Windows NT Help. 6. Click the Import button to import an available graphic file to use as a custom background. The Open dialog box appears. 7.
Recording a Digital Cut to Tape (Remote Mode) Recording in remote mode allows you to control your record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. To record a digital cut to tape: 1. Load a sequence into the Record monitor. (You cannot access digital cut options without a sequence loaded.) 2. Choose Digital Cut from the Output menu. The Digital Cut tool opens.
Sequence Track buttons Play Digital Cut button Enable Track buttons Halt Digital Cut button Deck control area (remote) Output formats area (Systems with 24p support only) Deck controls Deck Selection pop-up menu Timecode text boxes 3. Select or deselect the Entire Sequence option based upon the following: • Select the Entire Sequence option if you want the system to ignore any IN or OUT points and play the entire sequence from start to finish.
4. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of the digital cut. 5. Choose a deck from the Deck Selection pop-up menu. See “Selecting a Deck” on page 263. 6. Select Remote in the deck control option area. 7. Choose either Insert Edit or Assemble Edit from the pop-up menu. This menu only appears if you enabled assemble editing in the Deck Preferences settings. For more information about this option, see “Enabling Assemble-Edit Recording” on page 260. 8.
11. Select the video and audio tracks to record to on the tape by using the Enable Track buttons. 12. For 24p projects, choose an output format and title format, as described in “Choosing Output Formats for 24p Projects” on page 274 and “Choosing Title Formats” on page 278. c Make sure you have connected the correct deck and black burst generator for the output format you have chosen (PAL or NTSC). 13. Click the Play Digital Cut button. The system cues the record deck, then plays and records the sequence.
Recording a Digital Cut to Tape (Local Mode) You can record to tape without using the Digital Cut tool. For more information, see “Manual Recording” on page 258. Recording in local mode allows you to manually control your record deck by using the controls on the deck. This mode is useful when you need to use non-Avid-controlled decks, such as consumer-grade VHS or Hi8. To record a digital cut to tape by using the deck controls on the deck: 1. Load a sequence into the Record monitor.
Sequence Track buttons Play Digital Cut button Halt Digital Cut button Deck control area (local) Output formats area (Systems with 24p support only) Deck controller (disabled) 7. (Option) Select the With Countdown option to record the digital cut using a countdown. The default countdown is a computer-generated countdown containing the Avid logo. 8.
10. For 24p projects, choose an output format, as described in “Choosing Output Formats for 24p Projects” on page 274. c Make sure you have connected the correct deck and black burst generator for the format you have chosen (PAL or NTSC). 11. Press the Record button on the deck. 12. Click the Play Digital Cut button. The deck plays and records the digital cut. The playback appears in the Record monitor and the Client monitor.
Output Format pop-up menu To output a particular format, choose a play rate from the Output Format pop-up menu. A brief description of each output format is displayed in the Digital Cut tool. More extensive descriptions are provided in Table 8-3. The play rate you choose determines how the digital cut is recorded. For example, if you choose 23.976, you tell the Avid system to slow down the play rate to match that used during an NTSC telecine transfer.
Table 8-3 Digital Cut Tool Menu Choice (Playback Speed) 24p Project Output Options Target Project or System Pulldown Output Format and Indicator on Recording Media Meridien I/O Box 23.976 (NTSC) NTSC TV; video screenings; On (0.99) digital audio workstations (DAWs) that support pulldown Picture and sound to NTSC tape; sound to video-referenced audiotape 24 (NTSC) Audio for film projection; DAWs (video for reference only) Off (1.00) Picture and sound to NTSC tape; sound to DAT or mag tape 29.
reference only. Use this setting for direct audio output to be used in sync with film projection. Also use this setting when audio media files are being used in a digital audio workstation (DAW) and you need a digital cut for picture reference. Before you output the digital cut, check the DAT TC Format in the Film Settings dialog box to make sure the correct DAT timecode is set, based on the timecode rate of the recording device. If you choose SMPTE 29.
Choosing Title Formats If your system supports 24p projects, the Title tool allows you to save a title in any of four different formats: 4:3 NTSC, 4:3 PAL, 16:9 NTSC, 16:9 PAL. You can create titles in different formats in 24p,25i, and 30i projects.
5. Choose Sequence Time to start the recording at a timecode existing on tape that matches the start timecode of the sequence. 6. Choose Insert Edit from the pop-up menu. This menu only appears if you enabled assemble editing in the Deck Preferences settings. For more information about this option, see “Enabling Assemble-Edit Recording” on page 260. 7. Choose a deck from the Deck Selection pop-up menu. See “Selecting a Deck” on page 263. 8.
• n Play the sequence to an audiotape recorder by using analog output. You cannot control some analog audio decks from the Digital Cut tool. If the deck does not have a serial control port, you need to select Local when you record the digital cut. Your output choice in the Digital Cut tool automatically sets the pulldown switch (see “Choosing Output Formats for 24p Projects” on page 274).
If your sequence ends on a B or C frame, edit the sequence to end on an A or D frame to create a continuous 2:3 pulldown. To change the pullin: 1. Open the bin that holds the sequence. 2. Check if the Pullin column appears. If not, follow these steps: a. Choose Headings from the Bin Fast menu. b. Ctrl+click Pullin. 3. Type A or B in the Pullin column. • Pullin A: The first frame of the sequence plays back as two fields, the second frame as three fields, the third as two, and so on.
For more information on specific features and capabilities of EDL Manager, see the Avid EDL Manager User’s Guide or the EDL Manager Help. Using the Matchback Option The Matchback option on an Avid system, along with the Avid FilmScribe application, allows you to generate a film cut list from a 30fps or 25-fps video project that uses film as the source material.
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. For example, with a ratio of 24 film frames to 30 video frames, a 7frame video edit corresponds to approximately 5.6 film frames. However, film cuts cannot include partial frames, so the edit must be rounded to 5 or 6 frames.
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.
VTR Play Emulation VTR play emulation allows you to control a sequence loaded in the Record monitor from an edit controller for playback in the edit room along with other sources. n n To use VTR play emulation, you must connect a supported controller (any controller that uses Sony serial control protocol) to the system by using a special Avid 9-pin VTR emulation cable and a serial adapter. For information about the cable connection, see the setup guide for your Avid system.
Table 8-4 VTR Emulation Settings Options (Continued) Option Description Inhibit preloading when cueing by single frame. Do not inhibit preloading under normal circumstances. Preloading occurs by default in the Avid system. It improves playback performance by preparing the digital media for playback each time you cue a new frame. This option causes the system to match the behavior of a tape deck when you step through footage frame by frame.
n The VTR Emulation command behaves like a Local/Remote switch on a playback device, with VTR play emulation disabled (in Local mode) by default when you start the system. Once active, VTR play emulation allows you to control the sequence with an edit controller as follows: • You can shuttle, step (jog), play, cue, and mark edit points based on master sequence timecode for editing onto another master. Mark points will appear in the Timeline only if the controller sends that information to the Avid system.
CHAPTER 9 Exporting and Exchanging Material You can export and exchange material with another system, another application, or another platform. Your Avid video-based editing system provides tools for exporting clips and sequences in various formats, or for transferring projects and media between systems.
• Using the Avid AVI Codec • Transferring a Project Between Media Composer or Film Composer (for Windows NT) Systems About Exporting Files 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.
Creating and Using Export Settings You can streamline the export process by selecting a setting before beginning the export. Use the Settings scroll list to select a preset template or customize one of your own. For example, if you are exporting an OMFI composition with AIFF-C media to AudioVision, select the setting labeled “AudioVision AIFF-C Embedded.” For information on each of the templates, see the Avid Products Collaboration Guide.
To adjust the parameters in an Export Settings dialog box: 1. Double-click an Export setting in the Settings scroll list of the Project window. The Export Settings dialog box appears. The following illustration shows the default settings. n The name of a custom Export setting or template Export setting appears in place of (Untitled). 2. Select the appropriate file type and options based on the descriptions in Table 9-1.
Table 9-1 Option Suboption Export Settings Dialog Box Options Description Avid Log Exchange Select this option to export the selected bin as a shot log file that complies with Avid Log Exchange (ALE) specifications. For information about Avid Log Exchange, see “Converting Log Files with Avid Log Exchange” on page 54. Tab Delimited Select this option to export the selected bin as a shot log file in the form of a tab-delimited ASCII text file.
Table 9-1 Option Export Settings Dialog Box Options (Continued) Suboption Description AudioVision Compatibility Select this option to translate the video composition for transfer to AudioVision. OMM Clip Select this option to use OMM to copy a clip or clips to an asset manager (see “Using OMM to Export Clips” on page 321). If you do not select one of the following options, OMM exports only information about the clip.
Table 9-1 Export Settings Dialog Box Options (Continued) Option Suboption Description Sound AIFF-C Select this option to export audio tracks in the industry-standard AIFF-C format, which is compatible with many third-party sound editing and multimedia applications. Note that your Avid system does not compress audio media. WAVE Select this option to export audio tracks in the WAVE format (.WAV file name extension). Nearly all Windows and Windows NT applications that support sound use WAVE files.
Current export options set in the Export Options dialog box 3. If you want to change any of the additional options, click the Options button in the Export Settings dialog box. An Export Options dialog box appears. The export file type determines which options appear in the dialog box and the dialog box’s name. The following screen shows the options for a clip selected for export as a PICT file.
These options do not appear in 24p projects. 4. Select the options you want in the dialog box. Some file types include additional settings. To view or adjust these settings: a. Click the Options button (for graphics files) or the Compression Settings button (for AVI or QuickTime files) in the lower left corner of the dialog box. These buttons appear dimmed if no additional options are available. b. Select the options you want.
5. When all options are listed correctly in the Export Settings dialog box, click OK. You can now choose this setting whenever you export a frame, clip, or sequence. For more information, see “Exporting Frames, Clips, or Sequences” on page 315 and “Using the Drag-and-Drop Method to Export Frames, Clips, and Sequences” on page 318. Export Options Settings Additional options are available from the Export Settings dialog box. The available options depend on your choice in the Export Settings dialog box.
Table 9-2 Option Export Options Settings (Continued) Suboption Description Use Both Fields When this option is selected, the system combines both video fields to produce higher resolution. Select this option if you are exporting any of the two-field resolutions (20:1, 10:1, 3:1, 2:1, or 1:1). This option is not available in 24p projects. Field Dominance This pop-up menu appears when Use Both Fields is selected. It allows you to choose the field dominance during export.
Table 9-2 Export Options Settings (Continued) Option Suboption Description Color Levels RGB Graphics levels When this option is selected, the system exports the file with levels calibrated for RGB computer environments. Choose this option for most graphics file types if the destination is a third-party computer graphics application.
Table 9-2 Export Options Settings (Continued) Option Suboption Description Audio Sample Size 8 bits When this option is selected, the system exports an 8-bit audio sample size for use in third-party systems that do not support 16 bits. This option is also used to minimize the data throughput requirements (for example, to improve playback in multimedia projects). 16 bits When this option is selected, the system exports a 16-bit audio sample size (currently the industry-standard bit rate for audio).
Video Compression Options The Compression Settings button appears in the Export Settings dialog box when the Use Source Compression option is deselected. Click the Compression Settings button to open the Video Compression dialog box. n Because the Avid AVI and Avid QuickTime codecs use the resolution of your original source files, selecting another resolution requires conversion of the media and slows down the export process considerably. Maintain the resolution of the source media whenever possible.
Table 9-3 Option QuickTime Compression Options (Continued) Suboption Description Avid QuickTime For quick export of high-resolution files. Maintains the resolution of the digitized media. Encapsulates media files, making them readable by QuickTime applications that are also equipped with the codec. For more information, see “About the Avid QuickTime and AVI Codecs” on page 324.
Table 9-3 Option QuickTime Compression Options (Continued) Suboption Description H.263 For video conferencing. Optimized for low data rates and low motion. Intel Indeo Video 4.4 For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. Files do not export at 720 x 540 and 720 x 486 frame sizes, even though these sizes are listed.
Table 9-3 Option QuickTime Compression Options (Continued) Suboption Description Photo-JPEG For medium-quality, lossy compression (in which some picture information is lost) requiring moderate storage space and data throughput on playback. Uses the Joint Photographic Experts Group (JPEG) algorithm for image compression; results in files that are 20 to 30 percent the size of the uncompressed files.
Table 9-3 Option Suboption Colors QuickTime Compression Options (Continued) Description Choose the colors that you want included in the exported file. The selections vary according to the codec you choose. Some codecs have only one color setting. Do not select the option Millions of Colors +. This option creates an alpha channel that is not used for export from the Avid system.
AVI Compression Options Options for AVI compression settings are described in Table 9-4. Table 9-4 AVI Compression Options Option Suboption Description Compressor Microsoft Video 1 You can use this option when creating files that will play with Video for Windows®. Click Configure to open the Microsoft Video 1 Configuration dialog box. You can then adjust the quality of the compressed file using the temporal quality rate slider.
Table 9-4 Option AVI Compression Options Suboption Description Avid AVI Codec For export of AVI files to Avid AVI-compatible applications also equipped with this codec. Click Configure to open the Avid AVI Codec dialog box. You can then enable the codec and choose a compression ratio. When you are exporting from the Avid system, always select the “Source has ITU-R 601 Color Levels” option. Full Frames (Uncompressed) For high-quality export in which no picture information is lost.
Table 9-5 Additional Export Options Settings File Type Dialog Box Option Description BMP Parameters Windows This option creates files that are compatible with systems running the Microsoft Windows operating system. OS/2® This option creates files that are compatible with systems running the IBM OS/2 operating system. Blackpoint This option allows you to adjust a film exposure value that corresponds to filming a 2% black card. Values can be between 0 and 1022.
Table 9-5 File Type Dialog Box Additional Export Options Settings (Continued) Option Description Baseline Only for applications that require this option for JPEG files. Consult the documentation that came with your JPEG-supported applications to see if this option is required. This option is selected by default. Progressive This option allows you to save progressive JPEG files, which divide the file into a series of scans of the image that increase in quality.
Table 9-5 Additional Export Options Settings (Continued) File Type Dialog Box Option Description PNG Parameters Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image. Interlaced This option allows you to save the file for progressive display, similar to progressive JPEG files. As the file is transmitted, the recognizability of the image improves.
Table 9-5 Additional Export Options Settings (Continued) File Type Dialog Box Option Description Wavefront™ Parameters Format Type This option specifies one of two output file formats supported by Wavefront (either RLA or RLB). Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image.
For more information on rendering, see the effects guide for your Avid system. • If you want to archive the source sequence before making any alterations, duplicate the sequence, place the duplicate in another bin, and prepare the duplicate for export. The original sequence will be unaffected. • Consider rendering all effects in advance. Although any unrendered effects are rendered on export (except for an OMFI export), rendering effects in advance saves you time during the export process.
• • OMFI files with very complex sequences can fail during import into some applications due to memory limitations. Try one of the following solutions: - Break the sequence into smaller sequences and export the new sequences. - Add more physical memory. To export multiple clips in a single OMFI file, create a sequence from them. For example, you can select all the clips and Alt+drag them into the Record monitor to create an instant sequence, then export it.
2. Choose a video resolution for the mixdown from the Resolution pop-up menu. 3. Make sure the Video Track monitor is in the topmost track that you want to mix down. Video mixdown works from the monitored track down, regardless of track selection. 4. Mark an IN and OUT point around the area to be mixed down. 5. Choose Video Mixdown from the Special menu. The Video Mixdown dialog box appears.
6. Choose a target drive for storing the new master clip and click OK. A progress indicator appears, indicating the progress of the video mixdown. When the mixdown is completed, a new clip appears in the bin along with the sequence, and a new media file is created on the target drive. Exporting Frames, Clips, or Sequences For information on using the drag-anddrop method, see “Using the Drag-andDrop Method to Export Frames, Clips, and Sequences” on page 318. To export frames, clips, or sequences: 1.
n When you export to an OMFI 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. 2. Select a clip or sequence in one of two ways: • Click the monitor that displays the clip or sequence you want to export. • Click the clip or sequence in a bin. Ctrl+click to select multiple clips or sequences. 3. Choose Export from the File menu. The Export dialog box appears. 4.
The Export As dialog box appears with a default file name in the File name text box, based on the file type. 6. (Option) Change the file name. In most cases, keep the default file name extension. 7. Select the destination folder for the file, and click Save. The file is exported and appears at the chosen destination. c c The Avid system allows a maximum exported file size of 2 GB. If you exceed this limit, the file is unusable and an error message is displayed.
Using the Drag-and-Drop Method to Export Frames, Clips, and Sequences To export a frame, clip, or sequence by using the drag-and-drop method: 1. Select the material you want to export in one of the following ways: n n • To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure the Use Enabled Tracks option is checked in the Export Options dialog box. See step 2.
double-click the setting. For information on modifying options, see “Creating and Using Export Settings” on page 290. 3. Export the frame, clip, or sequence in one of the following ways: • Drag either the Create Subclip icon or Create Subsequence icon, located above the Source and Record monitors, to the location (folder or drive) where you want to store the exported file.
c To avoid errors and incompatibilities when importing and exporting OMFI files, observe the recommendations in Appendix A. Choosing an OMFI Transfer Method OMF Interchange, as implemented in the Avid system, provides two basic methods for exporting files: • Method 1: OMFI compositions only The Avid system can export an OMFI file that contains only the editing information about a selected master clip or sequence.
Using OMM to Export Clips For more information about OMM and asset managers, see “Using Open Media Management (OMM)” on page 227. Exporting through Open Media Management (OMM) allows you to copy or “check in” clips from a Media Composer or Film Composer bin to an asset manager application. At this time, you can import only a master clip. You cannot import an entire sequence.
Using OMM and the Menu-Command Method to Export a Clip Using the Media Composer or Film Composer File menu to export a clip gives you the opportunity of changing your Export setting. To export a clip by using OMM and the Export command from the File menu: 1. In the Settings scroll list of the Project window, click to select an OMM setting and an export setting (see “Setting Up to Use OMM” on page 227). c When you select an OMM setting, the Avid system uses this location for all OMM imports and exports.
8. Select Use Video Media, Use Audio Media, or both options if you want to transfer media along with the media information. 9. Name your setting in the text box at the top of the dialog box. 10. Click OK. 11. If the setting you want is shown in the Export dialog box, click OK. The exported clip appears in the asset manager database.
About the Avid QuickTime and AVI Codecs You can speed the process of importing and exporting AVI or QuickTime files by using the Avid AVI or Avid QuickTime codec. You can use these codecs when exporting into a third-party application or before reimporting AVI or QuickTime files into your Avid system. The following sections describe the codec and procedures for using it: • Using the Avid QuickTime Codec • Using the Avid AVI Codec To review file specifications for AVI or QuickTime export, see Appendix A.
QuickTime codec to export a high-resolution QuickTime file for further processing. • The Avid QuickTime codec supports a compressed alpha channel only when importing files created in other applications. For example, you can create a title in Adobe After Effects®, export both RGB and alpha channels by using the Avid QuickTime codec, and then import both channels into Media Composer or Film Composer.
4. Click the words Install Avid QuickTime Codec. 5. Follow the instructions on the screen. 6. Restart your system. For information on using the codec, see “Exporting from a ThirdParty QuickTime Application” on page 334. Exporting with the Avid QuickTime Codec To export with the Avid QuickTime codec: 1. Select the material you want to export in one of the following ways: You can use the dragand-drop method to export QuickTime files.
You can set these options in advance. See “Creating and Using Export Settings” on page 290. 3. Choose the Export settings by doing one of the following: • Choose a setting from the Export pop-up menu, if you have created a setting in advance, and go to step 7. • If you want to review or edit a setting, go to step 4. 4. Click Customize. The Export Settings dialog box appears. The following illustration shows QuickTime settings.
Current export options set in the Export Options dialog box 5. Select one of the following QuickTime options: • Video and Audio: Select this option if you are using an entire clip or sequence in a multimedia project. • Video Only: Select this option if you are adding effects in a third-party application. • Audio Only: Select this option if you are using or enhancing audio in a third-party application.
dialog box. These options vary depending on the current video compressor selected. The following is an example of a sequence selected for export as a QuickTime file: Current export options set in the Export Options dialog box 6. Select the Avid QuickTime codec, resolution, and other options for the export by doing the following: a. Click the Options button in the Export Settings dialog box. The Export Options dialog box appears, with the QuickTime options shown.
b. Select the options you want. n For information on QuickTime options, see “QuickTime Compression Options” on page 301. • If you want to use the resolution of the source file, select Use Source Compression (which uses the Avid QuickTime codec) and go to substep k. • If you want to use a different codec or a different resolution, deselect the Use Source Compression option. Additional options appear on the dialog box.
These options do not appear in 24p projects. Destination size text boxes Compression Settings button c. Change the additional options if appropriate and then click the Compression Settings button. The Compression Settings dialog box appears.
n For more information on other codecs and video compression options, see “Exporting with Other Supported QuickTime Codecs” on page 334. d. If you want to change the compression, drag the Quality slider to display the Avid QuickTime Codec Configuration dialog box or click OK. e. Select the appropriate format for the media you want to create: NTSC or PAL. f.
(25i and 30i resolutions), or Meridien Progressive (24p resolutions). g. Choose a resolution from the Resolution pop-up menu. The Resolution pop-up menu updates depending on the format and system type you choose. h. Click OK to close the dialog box and return to the Compression Settings dialog box. i. Click OK to close the dialog box and return to the Export Options dialog box. j. Click OK to close the Export Options dialog box and return to the Export Settings dialog box. k.
9. Select the destination folder for the file, and click Save. The file is exported and appears at the chosen destination. c c The Avid system allows a maximum exported file size of 2 GB. If you exceed this limit, the file is unusable and an error message is displayed. If a power failure or mishap occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.
the Media Composer or Film Composer system to approximately three to four times real time (video only). To export files from a QuickTime-compatible application on a Windows NT system for import (or reimport) into the Avid system: 1. Make sure the AvidQTCodec.qtx file is installed in the C:\Winnt\system32 folder. The exact name of the Winnt folder will vary, depending on how Windows NT was installed on the system.
conversion, which can take as long as 300 times real time or more with full-size, high-resolution clips. Consider the following: • Using the Avid AVI codec usually involves maintaining the ITU-R 601 (CCIR-601) standard video dimensions of the media (720 x 486 non-square pixels for NTSC, 720 x 576 for PAL) as well as large media file sizes. This codec might not be appropriate for some uses.
5. Follow the instructions on the screen. 6. Restart your system. For information on using the codec, see “Exporting from a ThirdParty AVI Application” on page 345. Exporting with the Avid AVI Codec To export with the Avid AVI codec: 1. Select the material you want to export in one of the following ways: • To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others.
You can use the dragand-drop method to export AVI files. See “Using the Drag-andDrop Method to Export Frames, Clips, and Sequences” on page 318. 2. Choose Export from the File menu. You can set these options in advance. See “Creating and Using Export Settings” on page 290. 3. Choose the Export settings by doing one of the following: The Export dialog box appears. • If you have created a setting in advance, choose a setting from the Export pop-up menu, and go to step 7.
Current export options set in the Export Options dialog box 339
5. Select one of the following AVI options: • Video and Audio: Select this option if you are using an entire clip or sequence in a multimedia project. • Video Only: Select this option if you are adding effects in a third-party application. • Audio Only: Select this option if you are using or enhancing audio in a third-party application. After you select export options, note that additional current options for the clip or sequence are listed in the bottom part of the dialog box.
b. Select the options you want. n For information on AVI options, see “Export Options Settings” on page 297. • If you want to use the resolution of the source file, select Use Source Compression (which uses the Avid AVI codec) and go to substep k. • If you want to use a different codec or a different resolution, deselect the Use Source Compression option. Additional options appear in the dialog box.
These options do not appear in 24p projects. Color Levels pop-up menu FPS Rate pop-up menu Compression Settings button c. Change the additional options if appropriate and then click the Compression Settings button. The Video Compression dialog box appears. d. Choose Avid AVI Codec from the Compressor list.
n For more information on other codecs and video compression options, see “Exporting with Other Supported AVI Codecs” on page 345. e. Click the Configure button to select a video resolution. The Avid AVI Codec Configuration dialog box appears. f. Select the appropriate format for the media you want to create: NTSC or PAL. g. Click the appropriate resolution for the media: Interlaced (30i or 25i resolutions) or Progressive (24p resolutions). h.
i. Click Close to save the settings, to close the Avid AVI Codec Configuration dialog box, and to return to the Video Compression dialog box. j. Click OK to close the dialog box and return to the Export Options dialog box. k. Click OK to close the Export Options dialog box and to return to the Export Settings dialog box. l. Name the setting by typing a name of your choice in the text box at the top of the Export Settings dialog box and click OK to return to the Export dialog box. 7.
c c The Avid system allows a maximum exported file size of 2 GB. If you exceed this limit, the file is unusable and an error message is displayed. If a power failure or mishap occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.
To export files from an AVI-compatible application for import (or reimport) into the Avid system: 1. Make sure the AvidAVICodec.dll file is installed in the C:\Winnt\system32 folder. The exact name of the Winnt folder will vary, depending on how Windows NT was installed on the system. n For instructions on installing the Avid AVI codec, see “Installing the Avid AVI Codec on Other Systems” on page 336. 2. Conduct the export procedure according to the procedures used by the particular software. 3.
For information on redigitizing, see “Redigitizing Your Material” on page 185. • Moving project folders and settings between the systems, then redigitizing the media Methods for Transferring Files Between Media Composer or Film Composer (for Windows NT) Systems The type of transfer device you use depends on which method of transfer you choose. Moving project folders, settings, and media files requires large amounts of storage space because of the size of media files.
Compatibility Requirements for Transfer When you transfer a project between Media Composer or Film Composer (for Windows NT) systems, make sure: • Both systems have the same release or a compatible releases of the application. • The resolutions are compatible, if you are transferring media files. • The fonts used in the project are installed on both systems.
To transfer a work in progress and associated media files to another Media Composer or Film Composer (for Windows NT) system: 1. (Option) Consolidate the media for the project onto an appropriate drive for transfer to the other system. c • For more information on consolidating media, see the editing guide or Help for your Avid system. • For more information on transferring files by using removable storage devices, see the Avid Products Collaboration Guide.
n The Avid system will reconstruct the MediaFiles database the first time you start the application to incorporate the new media into the system’s internal directory. Transferring Projects, User Profiles, and Site Settings For information about these files and folders, see the editing guide or Help for your Avid system.
Table 9-7 n Default Source Location Folder or File Location User folder drive:\Avid\Media Composer\Avid Users drive:\Avid\Film Composer\Avid Users Site Settings file drive:\Avid\Media Composer\Settings drive:\Avid\Film Composer\Settings The exact location depends on how the Avid application was installed on your system. 2. Copy the files to a floppy disk or a location on a server. 3.
APPENDIX A File Format Specifications To be compatible with a variety of imaging standards, Media Composer or Film Composer accommodates many file types and formats. For import and export procedures, see Chapter 7 and Chapter 9. This appendix contains descriptions, specifications, and notes for importing and exporting specific file formats. To ensure usability and high quality, the files in some formats require preparation before being imported to the Avid application.
This list briefly describes the supported graphics (image) file formats: • Alias: Alias® PIX image format, developed by Alias Research, Inc. (now Alias|Wavefront, a division of Silicon Graphics Limited) for use with their animation and visualization software. • BMP: Developed by Microsoft Corporation as the standard image file format used by Microsoft Windows. • Chyron®: Developed by Chyron Corporation for use with video frame buffers of Chyron character-generator titles.
• Pixar®: Developed by Pixar for stored pictures. • PNG: Developed by the PNG Development Group originally as an alternative to the GIFSM image format. PNG is an acronym for Portable Network Graphics and is pronounced “ping.” • QRT: Developed on the Amiga personal computer to run on several operating systems. Used by many ray tracing programs, such as DKB Ray Trace and the QRT ray tracer. • Rendition: Developed by Numerical Design Ltd. • SGI: Developed by Silicon Graphics, Inc.
Preparing Graphics Files for Import Before you import a graphics file to Media Composer or Film Composer, you can use third-party image-editing software, such as Adobe Photoshop, to make adjustments such as the following: n • Convert the file to the appropriate size, resolution, and bit depth. • Crop or color-correct an image. • Eliminate jagged edges in an image by using the image-editing application’s anti-aliasing or high-quality option.
these dimensions might be distorted. An image resolution of 72 pixels per inch is recommended. • Bit depth: These numbers refer to color-depth resolution of the image based on the number of bits per pixel. For example, 2-bit images are displayed in black and white; 8-bit images are displayed in 256 colors; 16-bit images are displayed in thousands of colors; 24-bit images are displayed in millions of colors; and 32-bit images are displayed in millions of colors with an alpha channel.
Table A-1 Graphics File Import Specifications (Continued) Format Default Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) Alpha Notes Channel Support Framestore .fs No 720 x 486 NTSC 24-bit 720 x 576 PAL Pixel aspect information is saved with image data. When importing files generated from Video Toaster, choose the option Force to Fit Screen. IFF .
Table A-1 Graphics File Import Specifications (Continued) Format Default Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) Alpha Notes Channel Support PICT .pic Yes 720 x 486 NTSC 2-, 4-, 8-, 16-, and 720 x 576 PAL 32-bit Dots-per-inch (dpi) information is preserved. If no dpi is specified, 72 dpi is used. Pixar .pxr 720 x 486 NTSC 24-bit, 36-bit 720 x 576 PAL Yes PNG .png 720 x 486 NTSC 1-bit to 32-bit 720 x 576 PAL Yes QRT .
Table A-1 Format Graphics File Import Specifications (Continued) Default Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) SOFTIMAGE .pic 720 x 486 NTSC 24-bit plus 720 x 576 PAL 8-bit alpha Alpha Notes Channel Support Yes Pixel aspect information is saved with the image. Double-clicking a SOFTIMAGE file will start the application associated with PICT files because they use the same extension. Avoid double-clicking SOFTIMAGE files to view them. Sun Raster .
Table A-1 Graphics File Import Specifications (Continued) Format Default Recommended Bit Depth Exten- Full-Screen Support sion Size (Pixels) Alpha Notes Channel Support YUV .yuv No 720 x 486 NTSC 24-bit 720 x 576 PAL Pixel aspect information (based on the video format) is saved with image data. When importing, choose the option Force to Fit Screen. Animation Files Media Composer or Film Composer supports the following animation file formats: • ERIMovie: Developed by Elastic Reality, Inc.
Table A-2 Animation File Import Specifications Format Default Bit Depth Alpha Notes Exten- Support Channel sion Support ERIMovie .mov or 24-bit Yes .eri packed and 32-bit raw movie files QuickTime for Windows also uses the .mov file name extension. However, QuickTime does not support ERIMovie, and double-clicking an ERIMovie file will cause an error. is no player for ERIMovie on Macintosh or n There Windows platforms; the mview program supports ERIMovie on Silicon Graphics systems. PICS Animation .
Table A-3 QuickTime Import and Export Specifications QuickTime File Notes Import Specifications QuickTime files QuickTime import and export requires QuickTime software, version 4.0. QuickTime software is installed when you install your Avid application. Avid QuickTime files The Avid QuickTime codec enables you to import and export QuickTime files at a rate of three to four times real time.
Table A-4 AVI Import and Export Specifications AVI File Import and Export Specifications Notes Avid AVI codec You can import and export Avid AVI files by using standard AVI conversion or by using the Avid AVI codec. The Avid AVI codec enables you to import and export AVI files at a rate of approximately four times real time or better (depending on resolution) — far faster than the system’s standard AVI conversion. Files created by the codec are readable within applications also equipped with the codec.
Audio File Formats This list briefly describes the supported audio file formats: n • Audio Interchange File Format (AIFF-C): Format for audio files developed by Apple Computer, Inc. • Wave Format (WAVE): Format for audio files developed jointly by Microsoft and IBM. WAVE files are playable by nearly all Windows applications that support sound. You can digitize, render, and edit audio in AIFF-C or WAVE file formats. OMF Files OMF was developed by Avid Technology, Inc.
. Table A-5 OMF File Import Specifications OMF File Notes Import Specifications Resolution For optimum import speed and quality, export or render the file from the source application at the resolution you want, and then import the file into the Avid application at that resolution. To do this, click the Options button in the Import File(s) into Bin dialog box, and then select the “Use Source” option from the OMFI Resolution area of the Import Settings dialog box.
Table A-5 OMF File Import Specifications (Continued) OMF File Notes Import Specifications OMFI version Media Composer or Film Composer recognizes and supports OMF 1.0 composition and media files and OMF 2.0 composition files. The following OMF 2.0 effects are supported generally: • Video effects: dissolves, wipes, freeze frame, film pulldown, slow motion, fade to black • Audio effects: pan and volume, audio dissolves Other effects can be imported from other Avid applications.
Two-Field Media Files and Field Dominance Media with two fields can be even-field dominance or odd-field dominance. The first line of the image determines the dominance of the media. If the first line of the image belongs to the first field, then the media is odd-field dominant. If the first line of the image belongs to the second field, then the media is even-field dominant. The Avid system includes options to specify the field dominance in both the Import Settings and Export Options dialog boxes.
Table A-6 Recommended Field Dominance Settings for Two-Field Import/Export Format Visible Frame Size Recommended Field Dominance Setting AVR NTSC 720 x 243 x 2 Odd Field AVR PAL 720 x 288 x 2 Odd Field Meridien NTSC 720 x 243 x 2 Even Field Meridien PAL 720 x 288 x 2 Odd Field 368
APPENDIX B Resolutions and Storage Requirements When the Avid system digitizes and stores video, it employs compression techniques that affect the size of the resulting files and the resolution of the images they contain. The less the data is compressed, the higher the image resolution, and the more drive space the file requires. Large media files at high resolutions can use very large amounts of drive space.
This appendix describes the different resolutions and lists their specifications. It also explains how to estimate the drive space you will require to store your digitized media. This appendix includes the following sections: n • Screen Resolution • Compression and Resolutions • Storage Requirements • Maximizing Drive Space The resolutions available on your Avid system depend on its model and options.
A lower compression ratio (a lower number to the left of the colon) results in better image quality but requires more drive space to store the digitized media. A lower compression ratio might also require drive striping to keep up with the high volume of data. Mixing Resolutions In a single sequence, you can mix resolutions within a group, but you cannot mix resolutions from different groups. Table B-1 lists the five groups of resolutions.
Mixing resolutions in a sequence saves time and effort in a variety of circumstances: • You can do most of your work at a resolution that can play back real-time effects, digitizing only the most complex shots and graphics at a high-quality, single-stream resolution. • For storage and playback efficiency, you can digitize complex footage at the draft-quality online resolution and edit it along with other online resolutions.
For example, there is a 2:1 resolution for both single-field and two-field resolutions. In both cases, the image data is compressed to one-half of its original size. However, the image quality of these two resolutions is different. The single-field 2:1 resolution has lower image quality because it processes only one-quarter of the original image data used by the two-field 2:1 resolution.
Table B-2 Resolution Specifications: Interlaced Resolution Field Size (Pixels) 15:1s 352 x 248 (NTSC) 1 352 x 296 (PAL) Offline 352 x 248 (NTSC) 1 352 x 296 (PAL) Offline 352 x 248 (NTSC) 1 352 x 296 (PAL) Online 720 x 248 (NTSC) 2 720 x 296 (PAL) Offline 720 x 248 (NTSC) 2 720 x 296 (PAL) Offline/online 720 x 248 (NTSC) 2 720 x 296 (PAL) Online 4:1s 2:1s 20:1 10:1 3:1 374 Fields per Frame Quality Maximum storage with enough image detail to make basic editing decisions (you can chec
Table B-2 Resolution Specifications: Interlaced (Continued) Resolution Field Size (Pixels) 2:1 720 x 248 (NTSC) 2 720 x 296 (PAL) Online 720 x 248 (NTSC) 2 720 x 296 (PAL) Online 1:1 (Uncompressed) Table B-3 28:1 14:1 3:1 Quality Provides the highest image quality of any compressed resolution and sustains two-stream playback on 4-way striped drives Provides the highest image quality possible Resolution Specifications: Progressive Resolution Frame Size (Pixels) 35:1 Fields per Frame Quali
Table B-3 Resolution Specifications: Progressive (Continued) Resolution Frame Size (Pixels) 2:1 1:1 (Uncompressed) Quality 720 x 496 (NTSC) 720 x 592 (PAL) Online 720 x 496 (NTSC) 720 x 592 (PAL) Online Provides the highest image quality of any compressed resolution and sustains two-stream playback on 4-way striped drives Provides the highest image quality possible Storage Requirements You should plan the use of drive volumes in advance, especially when you digitize numerous reels.
To estimate media drive space requirements: 1. Use Table B-2 or Table B-3 and the information in your media drive documentation to select a resolution that is compatible with the drive and striping capacity on your system. 2. Open the Digitize tool, choose a resolution and target drive or drives, and note the time remaining on the chosen drives (see “Interpreting the Time-Remaining Display” on page 122. 3. Get a total duration for all the clips to be digitized.
Consider the following when you interpret this information: • For 30-fps media (NTSC) and 25-fps media (PAL), the minutes per gigabyte are approximately the same because PAL video contains approximately 17 percent fewer frames per second, but each frame contains approximately 16 percent more pixels. For 24p media, which uses the same frame rate for both NTSC and PAL, 24p footage from a PAL transfer requires more storage space.
Table B-4 Estimated Storage Requirements: Interlaced Resolution Audio Tracks Minutes per Gigabyte Drive Space Needed for 1 Minute of Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 15:1s 0 48.5 20.6 MB 206 MB 618 MB 1 38.6 25.9 MB 259 MB 777 MB 2 32.1 31.2 MB 312 MB 936 MB 3 28.2 35.5 MB 355 MB 1.07 GB 4 24.5 40.8 MB 408 MB 1.22 GB 8 16.1 62.0 MB 620 MB 1.86 GB 0 11.6 85.8 MB 858 MB 2.57 GB 1 11.0 91.1 MB 911 MB 2.
Table B-4 Resolution 20:1 10:1 3:1 Estimated Storage Requirements: Interlaced (Continued) Audio Tracks Minutes per Gigabyte Drive Space Needed for 1 Minute of Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 8 4.7 214 MB 2.14 GB 6.42 GB 0 16.6 60.1 MB 601 MB 1.80 GB 1 15.3 65.4 MB 654 MB 1.96 GB 2 14.1 70.7 MB 707 MB 2.12 GB 3 13.2 76.0 MB 760 MB 2.28 GB 4 12.3 81.3 MB 813 MB 2.44 GB 8 9.8 103 MB 1.03 GB 3.09 GB 0 8.
Table B-4 Resolution 2:1 1:1 (Uncompressed) Estimated Storage Requirements: Interlaced (Continued) Audio Tracks Minutes per Gigabyte Drive Space Needed for 1 Minute of Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 4 2.7 365 MB 3.65 GB 10.95 GB 8 2.6 386 MB 3.86 GB 11.58 GB 0 1.9 516 MB 5.16 GB 15.48 GB 1 1.9 521 MB 5.21 GB 15.63 GB 2 1.9 526 MB 5.26 GB 15.78 GB 3 1.9 531 MB 5.31 GB 15.94 GB 4 1.9 537 MB 5.37 GB 16.
Table B-5 Estimated Storage Requirements: Progressive Resolution Audio Tracks Minutes per Drive Space Gigabyte Needed for 1 Minute of Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 35:1 0 36.4 (NTSC) 30.3 (PAL) 27.5 MB 33.0 MB 275 MB 330 MB 824 MB 990 MB 1 30.5 (NTSC) 26.1 (PAL) 32.8 MB 38.3 MB 328 MB 383 MB 983 MB 1.14 GB 2 26.3 (NTSC) 22.9 (PAL) 38.1 MB 43.6 MB 381 MB 436 MB 1.14 GB 1.30 GB 3 23.1 (NTSC) 20.4 (PAL) 43.4 MB 48.
Table B-5 Resolution 14:1 3:1 Estimated Storage Requirements: Progressive (Continued) Audio Tracks Minutes per Drive Space Gigabyte Needed for 1 Minute of Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 8 13.0 (NTSC) 12.0 (PAL) 76.8 MB 83.6 MB 768 MB 836 MB 2.30 GB 2.51 GB 0 14.6 (NTSC) 12.1 (PAL) 68.5 MB 82.6 MB 685 MB 826 MB 2.05 GB 2.48 GB 1 13.6 (NTSC) 11.4 (PAL) 73.8 MB 87.9 MB 738 MB 879 MB 2.21 GB 2.64 GB 2 12.6 (NTSC) 10.
Table B-5 Resolution 2:1 1:1 (Uncompressed) Estimated Storage Requirements: Progressive (Continued) Audio Tracks Minutes per Drive Space Gigabyte Needed for 1 Minute of Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 8 3.1 (NTSC) 2.7 (PAL) 320 MB 376 MB 3.20 GB 3.76 GB 9.61 GB 11.3 GB 0 2.4 (NTSC) 2.0 (PAL) 417 MB 500 MB 4.17 GB 5.00 GB 12.5 GB 15.0 GB 1 2.4 (NTSC) 2.0 (PAL) 422 MB 505 MB 4.22 GB 5.05 GB 12.7 GB 15.2 GB 2 2.3 (NTSC) 2.
Table B-5 Resolution Estimated Storage Requirements: Progressive (Continued) Audio Tracks Minutes per Drive Space Gigabyte Needed for 1 Minute of Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 4 1.0 (NTSC) 0.9 (PAL) 1.02 GB 11.7 GB 10.2 GB 11.7 GB 30.6 GB 35.1 GB 8 1.0 (NTSC) 0.8 (PAL) 1.04 GB 1.19 GB 10.4 GB 11.9 GB 31.3 GB 35.
Managing Storage to Improve Playback Performance The way you set up the media drives and target them when you digitize can affect playback performance. Here are some suggestions for working with complex video images at high resolution, multiple video layers, or multicamera material: • For more effective playback of multiple streams of video at higher resolutions, stripe the media drives.
APPENDIX C Avid Log Specifications This section explains the Avid log file format. The Avid application can import logs that meet Avid log specifications. These logs must follow the formatting requirements. Table C-1 lists the log formats that can be imported directly into the Avid application. You can use a text editor to adapt other log formats so that they meet Avid log specifications.
Table C-1 Compatible Log Formats Log Requirements File Name Extension AatonBase Conversion required .ATN or .ATL Avid Logs Create with text editor and import directly .ALE CMX EDL Conversion required .CMX Evertz Import directly (conversion optional) .FTL Excalibur Conversion required .ALE or .FLX FLEx Conversion required .FLX Keyscope Import directly .KSL Log Producer Conversion required .LLP Log right Import directly .ALE OSC/R Conversion required .
the correct timecode, in the format 08:19:10:00 (or 08;19;10;00, for drop-frame timecode). • [Tab] and [Enter] keys are surrounded by standard brackets. • The fifth column contains the word “Required” if the heading must be included in the log. • The final column contains notes about the heading or values. The following is a sample heading from the format table: FPS [Tab] <25> <29.97> [Enter] Required Capture rate is 25 fps for PAL and 29.97 fps for NTSC video.
The tables in this section adhere to this order. When you create an Avid log, you must follow the order precisely. You can choose not to display a defined heading (including a required heading), except for Name. Name must always be displayed. The maximum number of combined global, standard, and custom headings in a log file is 64. Global Headings The global headings must come first in an Avid log file, and you must enter one value for each heading.
Table C-2 Avid Log Global Headings GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown. Include all required headings. Other headings are optional but might be necessary for your project. The maximum number of combined global, standard, and custom headings in a log file is 64. Heading FIELD_DELIM [Tab] VIDEO_FORMAT [Tab] AUDIO_FORMAT [Tab] [Enter] Required This marks the start of the global headings.
Column Headings The standard column headings appear after the global headings in the Avid log file. Note that you do not enter the data for a column heading along with the heading. You will enter the data later, in a separate data section. You must include the five required standard column headings; they are listed first in Table C-3. You can create your own custom column headings. Enter them after the standard headings (see the last heading in this table).
Table C-3 Avid Log Column Headings (Continued) Auxiliary TC1 [Tab] Heading for auxiliary timecode. Auxiliary TC2 [Tab] Heading for auxiliary timecode. Auxiliary TC3 [Tab] Heading for auxiliary timecode. Auxiliary TC4 [Tab] Heading for auxiliary timecode. Auxiliary TC5 [Tab] Heading for auxiliary timecode. CFPS [Tab] Heading for video capture rate for digitizing the individual clip. If omitted, the global entry applies.
Table C-3 Avid Log Column Headings (Continued) Labroll [Tab] Heading for lab roll ID for clip. Lab rolls are a combination of several camera rolls. Camroll [Tab] Heading for camera roll ID for clip. Sound TC [Tab] Heading for Nagra time code, Aaton code, Arri code, and so on, at the sync point. Syncs with the Start timecode. Required if tracking the sync sound. Capture rate can be 25 or 30 fps. Soundroll [Tab] Heading for sound roll ID for clip. Scene [Tab] Heading for scene ID for clip.
Data Headings Some data, such as Creation Date, is gathered by the system. Table C-4 does not include entries for such data. The data headings come after the Custom column headings. Table C-4 shows the format for entering data. Enter a line of data in this format for every clip. Be sure to start the data section for each clip with the word Data [Enter]. You must enter data so that it aligns with its column heading. For example, the data that goes with the ninth column heading must be the ninth data entry.
Table C-4 Avid Log Data Headings DATA HEADINGS: The word Data marks the start of the data for each clip. Data [Enter] Required Enter the word Data to mark the start of the logged clip entries. DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so that it aligns with its column heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to enter data for all the required values.
Table C-4 Avid Log Data Headings (Continued) [Tab] Under Tape heading. Enter the source videotape ID for this clip only. <29.97> [Tab] Under FPS heading. Enter the video capture rate for this clip only. If omitted, global entry applies. Use 25 fps for PAL video or 29.97 fps for NTSC video.
Table C-4 Avid Log Data Headings (Continued) [Tab] Under COMMENTS heading. Comment on the clip. [Tab] Press the Tab key between each heading. Do not press the Tab key after last heading. Under the headings you created yourself, type the appropriate information. [Enter] Press Enter (not Tab) after the last entry for the clip. Enter an additional line of data for each remaining clip. Sample Avid Log This section contains a sample Avid log for an NTSC video project.
Index ABCDEFGHIJKLMNOPQRSTUVWXY Numerics A 16:9 format 52, 94 2:3 pulldown transferring film to video with 40 24-fps film transferring to NTSC video 39 to 45 transferring to PAL video 45 to 48 24p media described 17 digitizing without pulldown 179 stored and displayed 48 24p projects output formats 274 planning 22 starting 18 25i projects starting 18 30i projects starting 18 3-perf support 282 4-perf support 282 8 x 8 audio interface See Audio I/O device 8-channel audio I/O device adjusting output on 256
setup, in the Audio tool 135 storage requirements 378 timecode for shoots 35 workflows 29 Audio Engineering Society/European Broadcast Union (AES/EBU) See AES/ EBU Audio File format selecting 129 Audio File Format pop-up menu 97 Audio file types importing 221 Audio files formats for 364 Audio I/O device adjusting output on 256 calibrating 142 Audio input preparing for 129 Audio input levels adjusting 140 calibrating for audio I/O device 143 Audio output calibrating 253 to 259 preparing for 253 Audio peak le
Avid logs See also Shot log files audio format heading in 392 clip data in 395 creating 62, 389 custom headings in 392 data headings in 395 Evertz format 388 formatting guidelines 388 fps (frames per second) heading in 393 global headings in 390 importing 387 importing ASCII file format 63 keyscope format 388 log right format 388 sample created with text editor 398 specifications 388 standard headings in 392 timecode headings in 393 Avid MCXpress for Windows NT importing files from 366 Avid QuickTime codec
adjusting for video output 248 See also Autodigitizing, Digitizing, Redigitizing from logged clips 179 options 184 preparing for 179 procedure 183 Batch Import command (Clip menu) 232 Batch importing See Reimporting files Best-light transfers defined 51 Bins checking for multicamera 209 displaying film columns in 77 logging directly into 68 to 76 modifying clip information in 85 preparing for digitizing 162 targeting for digitizing 120 transferring with MediaLog 64 Bit depth defined 356 Black level adjusti
Compression defined 369 in relation to drive space 369 in relation to image quality 369 Compression command (Tools menu) 110 Compression options AVI 306 QuickTime 301 Compression ratios See also Video resolutions defined 370 mixing 371 Compression tool 108 Compressor options AVI codecs 306 QuickTime codecs 301 Configuring decks 100 Console checking peak audio levels with 145 logging digitizing errors to 163 Console command (Tools menu) 146 Consumer-grade video deck digitizing from 153 Control track breaks,
selecting 123 Cut lists using FilmScribe to create 284 using when redigitizing 188 using while reimporting files 236 Default pulldown frame changing the 280 Deinterlacing 48 Deleting deck configurations 106 Destination bins choosing 120 Destination drives selecting 121 Destination Size options (Export settings) 298 Device Code option (VTR Emulation settings) D D1 VTR calibrating input from 147 recording to 245 Dailies viewing 35 DAT See Digital audiotape Data headings in Avid log file 395 Deck Configurati
Digitize command (Tools menu) 70 Digitize settings Batch Digitize options 182 General Digitize options 95 Digitize tool logging with 70 resizing 180 resolution, choosing 120 setting up 113 subclip status in 164 Digitizing 161 to 196 See also Autodigitizing, Batch digitizing, Redigitizing across control track breaks 181 across timecode breaks 127 adding clip names during 166 adding comments (annotating) during 166 adding locators during 165 and logging at the same time 167 to 174 audio 118 creating subclips
Dominance options 298 how to use 297 ITU-R 601 video levels 299 options 291 to 300 options for specific file types 307 RGB graphics levels 299 Video Compression options 301 Export Settings dialog box adjusting parameters in 291 options 291 to 294 Exporting clips with OMM drag-and-drop method for 321 menu-command method for 322 Exporting files See also Avid Products Collaboration Guide overview 289 preparing for 311 preparing for OMF export 311 procedure for 315 reasons for 289 using drag-and-drop method for
Film dailies method defined 35 illustrated 36 Film settings 98 Film speed slowing to 23.
dialog box) 95 General settings (General Settings dialog box) Image quality for interlaced compression ratios 374 for progressive compression ratios 375 Image sizes NTSC and PAL compared 22 Import command (File menu) 66 Import files into bin dialog box 66 Import settings Alpha Channel options 219 Aspect Ratio options 216 creating 214 Dominance options 218 ITU-R 601 video levels 219 OMFI Resolutions options 221 options 216 RGB graphics levels 218 Shot Log options 220 Importing clips with OMM 230 Importing f
Logging 53 to 92 and digitizing at the same time 167 to 174 automatic 52 bypassing by autodigitizing 173 directly into a bin with a non-Avid-controlled deck 74 with an Avid-controlled deck 70 errors during digitizing 163 film information 77 guidelines for 68 multicamera material 206 preroll 68 timecode 68 tips for multicamera material 207 Logs See Shot log files Longitudinal timecode (LTC) output 243 LTC (longitudinal timecode) output 243 Luminance settings adjusting for video input 154 adjusting for video
transferring project files between 350 transferring projects and media files between 349 Media drive targeting 121 Media files moving between systems 348 multiple, digitizing to 124 Media Illusion importing materials finished with 231 MediaLog transferring bins with 64 Memory marks adding 74 Menu commands Adjust Deck (Deck Selection pop-up menu) VTR Emulation (Special menu) 286 Menu-command method for exporting clips with OMM 322 Meters See Volume meters Microsoft Video 1 306 MII component video standard u
Non-Avid-controlled deck digitizing from 175 logging with a 74 NTSC (National Television Systems Committee) video digitizing audio from 118 image size compared to PAL 22 logging and digitizing 168 luminance values 247 PICT resolution 267 transferring 24-fps film to 39 transfers creating Avid log files for 63 waveform values 155 NTSC frame resolution for imported files 356 NTSC Has Setup option 97, 243 NTSC-EIAJ format 243 setting 97 waveform values 155 See also Digital cuts, EDL, FilmScribe application aud
Peak Hold option (Audio tool) 139 Peak Hold pop-up menu (Audio tool) defined 136 Phase control adjusting for video output 251 Photo JPEG codec (QuickTime) 304 Photoshop file format additional Export options 309 brief description of 353 import specifications for 357 PICT file format additional export options for 309 brief description of 353 import specifications for 358 PICT files importing for custom countdown 267 importing for test pattern 250 PICT sequence import specifications 361 Picture quality calibra
to the Timeline 177 Redigitizing See also Autodigitizing, Batch digitizing, Digitizing master clips and subclips 186 sequences procedure 187 using Decompose 188 using Decompose during 188 Reference level (Audio tool) adjusting 137 Reimporting files 231 to 240 matte-key effects 240 procedure for 237 using Decompose 236 Relinking clips by key number 192 Removing deck configuration elements 106 Rendition file format brief description of 354 import specifications for 358 Replacing deck configuration elements 10
S Serial digital input calibrating 147 Serial digital output calibrating 245 Set Calibration Tone command (Peak Hold pop-up menu) 254 Set Reference Level command (Peak Hold pop-up menu) 137 Settings audio 132 deck configuration 100 export 290 film 98 import 214 in Video Input tool 156 moving between systems 350 selecting before digitizing 95 Settings scroll list Export 297 Setup Control button (Audio tool) defined 136 SGI file format additional export options for 310 brief description of 354 import specifi
Slowing film speed 42 SMPTE bars 247 SMPTE/EBU component standard support 148 Softimage file format brief description of 354 import specifications for 359 Sony/Philips Digital Interface Format (S/PDIF) defined 134 Sound roll cues for shoots 35 entering data for 84 Source tapes selecting for digitizing 115 Source tracks selecting for digitizing 117 Specific File Type options (Export settings) 307 Specifications animation file import 361 AVI import and export 363 Avid log 388 for film shoots 34 graphics file
Tone media creating 141 recording to tape 259 Tools Audio 135 Compression 108 Digitize 113 Video Input 147 Video Output 244 Total Conform 16 Tracks selecting for digitizing 117 Transfer methods for film to tape 38 Transferring bins with MediaLog 64 Transferring files methods for 347 Transferring film to tape 38 to 52 aids to 52 in NTSC format 39 to 45 in PAL format 45 to 48 quality options 51 without sound (PAL) 47 Transferring projects compatability requirements for 348 with associated folders and site set
U Video levels adjusting without color bars 158 Video mixdown 313 Video output advanced calibration 249, 249 basic calibration 244 calibrating for 243 calibrating for NTSC-EIAJ 243 Video Output tool advanced calibration controls 249 options display 244 using preset buttons in 244 Video Output Tool command (Tools menu) 244 Video project planning 19 Video resolutions choosing in the Compression tool 110 choosing in the Digitize tool 120 drive striping requirements 373 guidelines for use 369 in mixed-resoluti
PAL Method 2 33 Working with multiple formats 16 VITC (Vertical Interval Timecode) NTSC 370 PAL 370 V-LAN/VLXi 101 Volume meters in the Audio tool, defined 136 Volume unit scale (Audio tool) defined 136 VTR Emulation command (Special menu) 286 VTR Emulation settings Device Code option 285 Inhibit Preloading option 286 Runup option 285 VTR play emulation 285 setting ports for 286 VTR See Decks X XWindows file format brief description of 354 import specifications for 359 Y YUV file format additional Export
