Avid® Media Composer® and Film Composer® Editing Guide
Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software.
The following disclaimer is required by the Independent JPEG Group: Portions of this software are based on work of the Independent JPEG Group. The following disclaimer is required by Paradigm Matrix: Portions of this software licensed from Paradigm Matrix. The following disclaimer is required by Ray Sauers Associates, Inc.: “Install-It” is licensed from Ray Sauers Associates, Inc.
iNEWS and Media Browse are trademarks of iNews, LLC. Aaton is a registered trademark of Aaton S.A. Adobe and Acrobat are registered trademarks of Adobe Systems Incorporated. Arboretum is a registered trademark of Arboretum Systems, Inc. Arri is a registered trademark of Arri Group. DUY is a registered trademark of DUY, S. A. FaderMaster Professional is a trademark of JL Cooper, a division of Sound Technology. Focusrite is a registered trademark of Focusrite Audio Engineering LTD.
Contents Using This Guide Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Related Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Understanding the Avid Media Composer and Film Composer Folders (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Managing the Avid Projects and Avid Users Folders (Windows) . . 55 Exploring the Avid Projects and Avid Users Folders (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Changing Project and User Names (Windows) . . . . . . . . . . . . . . 57 Deleting Projects and User Profiles (Windows) . . . . . . . . . . . . . .
Opening a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Closing a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 Backing Up Your Project Information . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Saving Your Project Information (Windows) . . . . . . . . . . . . . . . . . 83 Saving Your Project Information (Macintosh) . . . . . . . . . . . . . . . . 84 Restoring from a Backup (Windows) . . . . . . . . . . .
Opening Bins from Other Projects . . . . . . . . . . . . . . . . . . . . . 104 Closing a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Deleting a Bin or Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Emptying the Trash in the Bins List . . . . . . . . . . . . . . . . . . . . . . . 106 Managing Folders and Bins . . . . . . . . . . . . . . . . . . . .
Displaying Usage Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 Statistics File Structure and Layout . . . . . . . . . . . . . . . . . . . . . . . . 139 Importing the Statistics File into a Spreadsheet . . . . . . . . . . . . . . 142 Displaying Disk Space Statistics. . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Customizing the Avid User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Changing Interface Component Colors . . . . . . . . . . . . .
Chapter 6 Using Basic Tools Exploring Dialog Boxes and Menus. . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Using Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 Opening Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Customizing Toolsets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Linking Toolsets to Other Settings . . . . . . . . . . . . . . . . . . . . . . . .
Understanding Bin Display Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Brief View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Frame View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Deleting a Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 Duplicating a Column . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 Adding Customized Columns to a Bin . . . . . . . . . . . . . . . . . 233 Changing a Custom Column Heading . . . . . . . . . . . . . . . . . 233 Managing Clip Information in Text View . . . . . . . . . . . . . . . . . . 234 Moving Within Column Cells. . . . . . . . . . . . . . . . . . . . . . . . . 234 Modifying Clip Information .
Gathering Format Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Preparing Digital Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . 257 Importing Color Bars and Other Test Patterns . . . . . . . . . . . . . . 258 Creating Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 Creating Video Leader . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 Creating Audio Leader. . . . . . . . . . . . . . . . . .
Chapter 9 Using Script Integration Line Script Basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Explanation of Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 Lining in the Digital Realm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 Script Integration Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Using Script Integration in Video Projects. . . . . . . . . . . . . . . . . .
Showing One Take Per Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 Moving a Slate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Deleting a Slate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Manipulating Takes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 Selecting Takes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Displaying Tracking Information . . . . . . . . . . . . . . . . . . . . . . . . . 351 Tracking Format Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353 Displaying the Info Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356 Copying Text from the Info Window . . . . . . . . . . . . . . . . . . 359 Displaying Timecode in the Timecode Window. . . . . . . . . . . . . 359 Displaying Multiple Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Single-Field Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 Using the Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 J-K-L Keys (Three-Button Play). . . . . . . . . . . . . . . . . . . . . . . . 384 Home, End, and Arrow Keys . . . . . . . . . . . . . . . . . . . . . . . . . 386 Using the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386 Jogging with the Mouse . . . . . . . . . . . . . . .
Using Match Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409 Performing a Reverse Match Frame . . . . . . . . . . . . . . . . . . . . . . . 410 Selecting Tracks for Matching Frames . . . . . . . . . . . . . . . . . . . . . 411 Finding a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 Locating a Master Clip from a Subclip in a Sequence . . . . . . . . 413 Finding a Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Playing the New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 Starting a Playback Loop. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 Playback Performance Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 Playing a Limited Duration of a Sequence . . . . . . . . . . . . . . . . . . 443 Setting a Limited Play Length . . . . . . . . . . . . . . . . . . . . . . . . . 443 Playing a Sequence Using a Limited Play Length . . . . . .
Zooming In and Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 Focusing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 Using the Full-Screen Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 Displaying Source Material in the Timeline . . . . . . . . . . . . . . . . 472 Controlling Movement in the Timeline . . . . . . . . . . . . . . . . . . . . 473 IN to OUT Highlighting in the Timeline . . . . . . . . . . . . . . .
Monitoring Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496 Monitoring Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 Monitoring Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 497 Monitoring a Solo Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498 Patching Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499 Locking and Sync Locking Tracks . . . .
Setting Small Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529 Exiting Trim Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530 Using Basic Trim Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531 Selecting Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531 Selecting Video Tracks in Trim Mode. . . . . . . . . . . . . . . . . . . . . . 532 Audio Solo in Trim Mode. . . . . . . . . .
Performing Smooth Audio Scrub. . . . . . . . . . . . . . . . . . . . . . . . . . 559 Using the J-K-L Keys to Perform Smooth Scrub . . . . . . . . . . 559 Using the Mouse to Perform Smooth Scrub . . . . . . . . . . . . . 560 Using Digital Audio Scrub . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560 Adjusting Digital Scrub Parameters . . . . . . . . . . . . . . . . . . . . 561 Performing the Digital Scrub Procedure . . . . . . . . . . . . . . . . 563 Displaying Waveform Plots . . . . . .
Understanding the Automation Gain Tool . . . . . . . . . . . . . . . . . 587 Track Solo Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589 Position Indicator Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591 Selecting Tracks in the Automation Gain Tool . . . . . . . . . . 592 Automation Gain Tool Fast Menu . . . . . . . . . . . . . . . . . . . . . 592 Recording Automation Gain Information . . . . . . . . . . . . . . . . . .
Setting Playback Buffer Size (Macintosh Only) . . . . . . . . . . . . . . 620 Using Digidesign AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . 620 Applying an AudioSuite Plug-in to a Clip in the Timeline . . . . 621 Using a Plug-In Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623 AudioSuite Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 624 Rendering Plug-in Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
GPI Signal Sequence When Using the Audio Punch-In Tool with Preroll and Postroll. . . . . . . . . . . . . . . . . . . . . . . 648 Example of Linking GPI Actions to Trigger Signals . . . . . . 649 Connecting a V-LAN VLXi Controller and GPI . . . . . . . . . . . . . 649 Configuring a V-LAN VLXi Controller and GPI . . . . . . . . . . . . 650 Creating a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 651 Editing a GPI Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Sync Point Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 682 Ganging Footage in Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684 Match Framing Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 685 Chapter 16 MultiCamera Editing Understanding Grouping and Multigrouping Clips . . . . . . . . . . . . . 688 Creating Group Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Invert . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718 Duplicate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718 Normalize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 718 Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719 Reverse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Appendix B Using an External Fader Controller or Mixer Using the FaderMaster Pro and MCS-3000X . . . . . . . . . . . . . . . . . . . . 747 MCS-3000X Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 748 Using the Snap Mode Feature on the MCS-3000X. . . . . . . . . . . . 749 Ganging Faders on the FaderMaster Pro . . . . . . . . . . . . . . . . . . . 750 Using the Yamaha 01V . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Editing Footage with the MCS3 Controller. . . . . . . . . . . . . . . . . . . . . 770 Moving Through Footage in Jog Mode . . . . . . . . . . . . . . . . . . . . 770 Moving Through Footage in Shuttle Mode . . . . . . . . . . . . . . . . . 771 Using the MCS3 for Editing Footage . . . . . . . . . . . . . . . . . . . . . . 771 Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Figures Figure 5-1 Sample Statistics File . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Figure 5-2 Sample Spreadsheet Form. . . . . . . . . . . . . . . . . . . . . . . 143 Figure 10-1 Tracking Information Menu . . . . . . . . . . . . . . . . . . . . . 351 Figure 10-2 Keyboard Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 Figure 12-1 Timeline Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465 Figure 12-2 Track Selector Panel . . . . . .
Tables Table 4-1 Project Types for Systems That Support 24p and 25p Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77 Table 5-1 Settings Scroll List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112 Table 5-2 Film Settings Dialog Box Options . . . . . . . . . . . . . . . . .119 Table 5-3 Edit Play Rate Options . . . . . . . . . . . . . . . . . . . . . . . . . .120 Table 5-4 Bin Settings Dialog Box Options . . . . . . . . . . . . . . . . . .
Table 10-5 Miscellaneous Composer Settings Options — Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 Table 10-6 Fast Forward and Rewind Options — FF/REW Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366 Table 10-7 Shuttle Using J-K-L Keys . . . . . . . . . . . . . . . . . . . . . . . . 385 Table 12-1 Timeline Fast Menu Options. . . . . . . . . . . . . . . . . . . . . 451 Table 12-2 Timeline Settings Options — Display Tab . . . . . . . .
Using This Guide Congratulations on your purchase of Avid Media Composer or Avid Film Composer. You can use your system to create broadcast-quality output that incorporates production elements such as full-speed, high-resolution footage, multimedia artwork and animation, and computer-generated effects and titling. n The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in the documentation.
About This Guide This guide will be your primary learning tool for editing procedures as you progress through early projects, and will remain your principal source for procedures in the future. This self-training guide, in combination with the accompanying documentation, provides comprehensive task-oriented instructions for using the system. The Contents lists all topics included in the book.
Symbols and Conventions Unless noted otherwise, the material in this document applies to the Windows 2000 and Macintosh operating systems. When the text applies to a specific operating system, it is marked as follows: • (Windows) or (Windows only) means the information applies to the Windows 2000 operating system. • (Macintosh) or (Macintosh only) means the information applies to the Macintosh operating system.
Courier Bold font identifies text that you type. Look here in the margin for tips. In the margin, you will find tips that help you perform tasks more easily and efficiently. n A note provides important related information, reminders, recommendations, and strong suggestions. c A caution means that a specific action you take could cause harm to your computer or cause you to lose data. w A warning describes an action that could cause you physical harm.
Related Information The following documents provide more information about Avid’s Media Composer and Film Composer products: • Avid Media Composer and Film Composer Release Notes for the Windows 2000 Operating System • Avid Media Composer and Film Composer Release Notes for the Macintosh Operating System • Avid Symphony and Composer Products Site Preparation Guide for the Windows 2000 Professional Operating System • Avid Composer Products Site Preparation Guide for the Macintosh Operating System
• Avid Products Collaboration Guide This guide provides step-by-step instructions for transferring project files, audio files, and graphics and effects files between various Avid products. The most recent update of the Avid Products Collaboration Guide is provided online. Check the release notes supplied with your Avid application for information on accessing online documentation.
If You Have Documentation Comments Avid Technology continuously seeks to improve its documentation. We value your comments about this guide, the Help, the Online Publications CD-ROM, and other Avid-supplied documentation. Simply e-mail your documentation comments to Avid Technology at TechPubs@avid.com Please include the title of the document, its part number, revision, and the specific section you are commenting on in all correspondence.
Using This Guide
CHAPTER 1 Editing Overview This chapter provides an overview of the editing workflow. The editing process begins after you transfer your source material to the Avid system. For information about planning a project, digitizing your source material, and outputting your final sequence, see the input and output guide for your Avid system. For a complete overview of the capabilities of your Avid system, see the getting started guide for your Avid product.
Editing Workflow The editing workflow varies depending on your project. For example, you can log your clips before you digitize to eliminate creating and organizing bins during editing. The following procedure lists the basic steps to edit a sequence and refers you to other resources for more information: 1. Open a project containing the digitized material. 2. Set the appropriate project settings from the Settings scroll list. See “Using the Settings Scroll List” on page 111. 3.
Starting a Project 1. Turn on your equipment in a prescribed order and start the Avid application (Chapter 2 and Chapter 3). 1. Turn on and start your Avid system. 2. Select or create a project. 2. Select or create a new project: the job that will result in one or more finished sequences (Chapter 4). 3. Set the project settings. 3. Set the project settings from the Settings scroll list (Chapter 5). Settings scroll list 4. Create and organize bins. 4. Create and organize bins (Chapter 7). 5.
Preparing to Edit 1. Batch digitize, log and digitize, or digitize on-the-fly your source material into the Avid system. See the input and output guide for your Avid system. 1. Digitize footage, creating master clips and media files. 2. Sort and organize clips in the bins. 2. Use bins to organize the project items (Chapter 7). 3. Manage media files by using the Media tool (Chapter 8). 4. Use the bins to create storyboards (Chapter 7). Editing Overview 3.
Editing a Sequence 1. View your clips in advance and mark IN points and OUT points, or create subclips based on selected portions of your master clips (Chapter 10). 2. Build your sequence in Source/Record mode, which provides nonlinear editing controls with Source and Record monitors, and in the Timeline (Chapter 11). 1. Screen, mark, and subcatalog footage. Source monitor Record monitor Timeline 2. Edit in Source/Record mode and the Timeline. 3. Fine-tune edits and effects. 3.
Editing Overview
CHAPTER 2 Desktop Basics (Windows) Although the majority of your work is performed within the Avid application, you will need to use a few basic Windows desktop procedures. For example, you use the desktop to move projects and user profiles between systems. This chapter describes the location of the various project files. For information about moving a project from one system to another, see the input and output guide for your Avid system or in the Help.
Working with the Desktop (Windows) For information on the Windows operating system, such as the desktop and icons, see your Microsoft® Windows Help.
To use a shortcut menu: t Right-click a window to access a shortcut menu that shows the most frequently used commands for that window. You can also right-click a screen object to access What’s This? Help for the object. Working with Windows (Windows) Each window contains a title bar (horizontal bar at the top of the window) that contains the title of the window or dialog box. On many windows, the title bar also contains the application icon and the Minimize, Maximize, Restore, and Close buttons.
Using the Windows Taskbar (Windows) By default, the Windows taskbar always appears on the bottom of your screen, on top of your application. You can also select one of the following settings: You can also drag the taskbar to a different position, such as the left side of the Bin monitor.
n When working in the Avid application, you can minimize windows (such as the Project window and bins). The icons will appear in the monitor, not in the taskbar. Dragging Windows Without Showing the Contents (Windows) By default, Windows systems show the contents of windows when you drag them. Deselect this option to improve screen display and to avoid problems repainting the screen. To drag windows without showing the contents: 1.
To view or change the screen resolution: 1. Right-click an empty part of the Windows desktop, and choose Properties from the pop-up menu. The Display Properties dialog box appears. 2. Click the Settings tab. 3. Under Screen Area, drag the slider to the resolution you want. n Also in the Settings tab, choose True Color (32 bit) from the Colors pop-up menu. 4. Click OK. Setting the Avid Color Scheme (Windows) Avid recommends you use the Avid color scheme provided with your Avid application.
Understanding the Avid Media Composer and Film Composer Folders (Windows) The Avid Media Composer and Film Composer folders contain the following items: c The drive:\Program Files\Avid\Avid Media Composer folder and the drive:\Program Files\Avid\Avid Film Composer folder contain essential operational files and supporting files. You should use care when working with these folders. • Help folder: This folder contains the Help files. For information on using the Help, see “Using Help” on page 94.
drive partition other than the C drive. The location on your system of the Avid Projects, Avid Users, and Settings folders depends on your Avid software installation. Exploring the Avid Projects and Avid Users Folders (Windows) The Avid Projects and Avid Users folders allow you to move entire projects or selected project and user settings between Avid systems by copying and moving files on your desktop. When you copy or move a project, the bins for that project are also moved or copied.
Your settings are initially set to the default values. As you work, the files maintain current settings, while the project folder fills with bin files (.avb). n The location of the user folder and project folder depends on your Media Composer or Film Composer installation. Changing Project and User Names (Windows) You cannot change project or user names within the Avid application. You must change the names from your desktop before starting the Avid application.
6. Close the windows and restart the Avid application. The new project or user name appears in the Select User and Project dialog box. Deleting Projects and User Profiles (Windows) You cannot delete projects and user profiles from within the Avid application. You must make the change from your desktop before starting the application. For information about the location of the Avid files for the project and user names, see “Exploring the Avid Projects and Avid Users Folders (Windows)” on page 56.
4. Close the windows and restart the Avid application. The deleted project or user no longer appears in the Select User and Project dialog box. Retrieving Bin Files from the Attic Folder (Windows) The Attic folder contains backup files of each bin in a project. For information on setting automatic save features, see “Reviewing Basic Settings” on page 118.
To retrieve a file from the Attic folder: 1. Minimize the Avid application. 2. From the desktop, double-click the Attic folder located in one of the following folders, depending on your Avid application: - drive:\Program Files\Avid\Avid Media Composer - drive:\Program Files\Avid\Avid Film Composer The Attic folder opens and displays project folders that contain the backup files. 3. Double-click the project folder that contains the files you want to retrieve. 4.
11. Open the new bin and open the backup bin in the Other Bins folder. 12. Select the material you want to keep from the backup bin, and drag the files to the new bin. Repeat steps 9 through 12 for any other backup bin files you copied to the desktop. 13. Select and delete the backup bins in the Other Bins folder. 14. Drag the backup bin files on the desktop to the Recycle Bin. After you have moved the objects, modify their creation dates so they are considered newest by the system.
To start the Avid application: t n Click the Start button, point to Programs, point to Avid, and then select Avid Media Composer or Avid Film Composer. When you start the application, you might see a message box indicating there is no input or output signal. Check to ensure the Meridien™ I/O box is connected to the system with the cables secured, and that it is turned on.
CHAPTER 3 Desktop Basics (Macintosh) The Avid drive—the computer’s internal hard drive—contains a number of files and utilities you can use to organize and optimize your work. The desktop elements directly related to the Media Composer or Film Composer system (also called the Avid system) are stored in the Avid Projects, Avid Users, Utilities, and Media Composer or Film Composer folders. The System Folder also contains essential extensions and control panels.
Understanding the Avid Media Composer and Avid Film Composer Folders (Macintosh) The Avid Media Composer and Film Composer folders contain the following items: c Desktop Basics (Macintosh) The Media Composer and Film Composer folders contain essential operational files and supporting files. You should use care when working with these folders. • Help folder: This folder contains the Help files. For information on using Help, see “Using Help” on page 94.
Managing the Avid Projects and Avid Users Folders (Macintosh) Managing projects, user profiles, and settings involves moving, copying, or deleting files and folders, and changing project or user names. Exploring the Avid Projects and Avid Users Folders (Macintosh) The Avid Projects and Avid Users folders allow you to move entire projects or selected project and user settings between Avid systems by copying and moving files on your desktop.
Your settings are initially set to the default values. As you work, the files maintain current settings, while the project folder fills with bin files. Changing Project and User Names (Macintosh) You cannot change project or user names within the Avid application. You must change the names from your desktop before starting the application. c When you change a user name or project name, make sure you change the name of the folder and all the files in the folder that have the old name.
Deleting Projects and User Profiles (Macintosh) You cannot delete projects and user profiles from within the Avid application. You must make the change from your desktop before starting the application. n Digitized media related to a deleted project is not eliminated with the project folder. For more information on deleting media files, see “Deleting Clips, Subclips, Sequences, and Media Files” on page 213 and “Deleting Media Files with the Media Tool” on page 272.
You can retrieve files from the Attic folder in the following circumstances: • You want to replace current changes to a sequence or clip with a previous version • The current bin file is corrupted The Attic folder contains a folder for each project. When a bin is saved, a copy of the bin file is stored in the project folder in the Attic folder. The system adds the file name extension .bak plus a version number to the bin name.
6. Click the Media Composer or Film Composer window to activate the Media Composer or Film Composer application. 7. Click the Project window to activate it, and click Bins to display the Bins list. 8. Choose Open Bin from the File menu. Select one of the backup bin files you copied to the desktop and click Open. When you open the backup bin, a link to the backup bin on the desktop is created in the Other Bins folder.
Starting the Avid Application (Macintosh) The Avid application icons are located in the Media Composer or Film Composer folder on the Avid drive. For most users, the desktop or the Apple menu is a more convenient location for starting the application. c For more information on making an alias and using the Apple menu, see your Macintosh documentation. n The application will not start properly if the application icon is moved from the Media Composer or Film Composer folder.
CHAPTER 4 Starting a Work Session Your work in Media Composer or Film Composer begins when you turn on the system, start the application, and open an existing project or create a new project that conforms to the specifications of your material. This chapter describes these and other procedures for starting a work session. You can use several techniques to safeguard and restore your work if necessary.
n (Windows only) This chapter refers to the default installation directory path for the various Avid folders. If you chose a different directory path during the installation, you must substitute that path when using this chapter. For information on the Microsoft Windows operating system and terminology, see the Microsoft Windows Help. For information on the Macintosh features, such as the desktop and icons, see your Macintosh documentation.
To establish your identity as a user, open a new or existing project, and close a project, use the following procedures: • Identifying a User • Selecting a Project • Opening a Project • Closing a Project You can also create additional folders to store projects, or you can quit the application from the Select User and Project dialog box. Identifying a User To identify a user for the project, you can either create and identify a new user or select one from a list of existing users.
n If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | when naming projects, bins, and users. 3. Click OK. The Select User and Project dialog box reappears with your user name highlighted in the Users scroll list. You are ready to select a project. See “Selecting a Project” on page 76.
To select a user name within a folder: 1. Double-click the folder to open it and display the user names. 2. Click the user name to select it. To change the location of user profiles outside the Avid Users folder, you must use the Windows operating system or Macintosh desktop. If the user profile you want is stored on your system outside the Avid Users folder (in another folder or on a network, for example), you can locate it by using the Select User and Project dialog box.
Selecting a Project You can either create and open a new project or open an existing project. Creating a New Project To create a new project: 1. Click New Project in the Select User and Project dialog box. The New Project dialog box appears. 2. Type the name of your new project in the text box. n If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | when naming projects, bins, and users. 3.
information, see “Film-to-Tape Transfer Methods” in the input and output guide for your Avid system. Table 4-1 lists the format options available with Avid systems that include support for 24p projects and 25p projects.
5. (Option) Click Matchback and choose a film tracking format from the Film Type pop-up menu. The Matchback item appears only if your Avid system includes the Matchback option. For more information about matchback, see “Using the Matchback Option” in the input and output guide for your Avid system. 6. Click OK. The system creates the new project files and folder, and then returns you to the Select User and Project dialog box. The project name is highlighted in the Projects scroll list.
Selecting an Existing Project Existing projects appear in the Projects scroll list in the Select User and Project dialog box. For information about the location for the project files, see “Exploring the Avid Projects and Avid Users Folders (Windows)” on page 56 or “Exploring the Avid Projects and Avid Users Folders (Macintosh)” on page 65. Projects scroll list Directory pop-up menu To select an existing project, do one of the following: t Click an existing project name to highlight it.
To open a project nested in a folder: 1. Double-click the folder name to open it and display the contents in the Projects scroll list. 2. Click the project name to select it. If the project is stored outside the Avid Projects folder (in another folder or on a network, for example), you can locate it by using the Directory pop-up menu. To locate a project in another folder: 1. Click the Directory pop-up menu and choose a drive from the Volumes submenu.
2. Type a name for the folder, and click OK. The folder name appears in the Projects scroll list with an asterisk (Windows) or a dot (Macintosh) preceding it. 3. Double-click the folder name to open the folder. Any new projects you create are displayed and stored in this folder. You can also nest projects by using the desktop to move existing projects into folders that appear in the Select User and Project dialog box.
The title bar of the Project window contains the project name and user name you selected in the Select User and Project dialog box. Project name User name Project window Closing a Project To close the current project and return to the Select User and Project dialog box, do one of the following: t Click the Close button (Windows) or the close box (Macintosh) in the Project window. t With the Project window active, choose Close from the File menu.
Backing Up Your Project Information Although the Avid system automatically saves your bins, projects, and settings, you should back up these items frequently to avoid losing any of your work in case your drive fails.
You can also drag folders and files, and drop them in the backup folder. b. Drag the second My Computer window away from the other window. c. Double-click the appropriate folder to open it. Folder Contains Avid Projects Project folders Avid Users User folders Settings Site settings file 3. Click a project folder, user folder, or settings file to highlight it. 4. Choose Copy from the Edit menu of the window containing the folder you want to save. 5.
2. Open a window containing the folder you want to save. a. Double-click the Avid drive to open it. b. Double-click the appropriate folder to open it: Folder Contains Avid Projects Project folders Avid Users User folders Media Composer:Settings Site Settings file Film Composer:Settings Site Settings file 3. Drag the project folder, user folder, or site settings file to the destination storage location. 4.
If you are restoring an individual bin or bins, you must relink them to the project from within the Project window. For more information, see “Opening Bins from Other Projects” on page 104. d. Choose Copy from the Edit menu. 2. Open a window containing the appropriate folder and paste the files. a. b. Double-click the appropriate folder in the drive:\Program Files\Avid\Avid Media Composer or drive:\Program Files\Avid\Avid Film Composer folder to open it.
2. Open a window containing the folder where you want to restore the files. a. Double-click the Avid drive to open it. b. Double-click the appropriate folder to open it. Project folders and settings files go in the Avid Projects folder. User folders and settings files go in the Avid Users folder. Site Settings files go in the Film Composer:Settings folder. Site Settings files go in the Media Composer:Settings folder. 3.
To view remaining storage on your media drives at any time: t Open the Hardware tool as described in “Using the Hardware Tool” on page 189. There are two ways to quit the Avid application, depending upon whether you have a project open or you are between projects: • If you are working on an open project and want to quit Media Composer or Film Composer quickly, choose Exit (Windows) or Quit (Macintosh) from the File menu. The project closes and the application quits.
b. Click Leave to quit the application. Click Cancel to return to the Select User and Project dialog box, and select another project. Turning Off Your Equipment (Windows) When you finish using your system and want to turn it off completely, follow these steps to avoid damaging your system or media storage drives. Quit the Avid application before turning off your equipment. To turn off your equipment: 1. Choose Shut Down from the Start menu. The Shut Down Windows dialog box appears. 2.
To turn off your equipment: 1. Choose Shut Down from the Special menu. This turns off your Macintosh system. The screens on the Bin and Edit monitors appear dimmed. 2. Turn off your speakers and monitors. 3. Turn off each external drive in the chassis, and then turn off the chassis itself. 4. Turn off all other hardware. c Never remove media drives from your Avid system when it is turned on. Shut down the computer and then remove the drives.
Ejecting Drives (Windows) You cannot physically add or remove drives by using this procedure. For information about adding and removing drives, see the setup guide for your Avid system. To eject a drive or make a drive unavailable to the Avid application: 1. With the Avid application running, choose Eject from the File menu. The Select a Disk or Drive to Eject dialog box appears. The scroll list displays all drives currently available. 2. Select a drive to remove. Ctrl+click to select multiple drives.
To mount all drives: t Choose Mount All from the File menu. All drives turned on and connected to the system become available to the Avid application. Mounting and Ejecting Media Drives (Macintosh) You can eject one or several drive volumes mounted on the desktop at any time from within the Avid application. You can also remount all the drives and return them to the desktop.
A dialog box appears. The scroll list displays all drives and partitions currently mounted. 2. Select one or more drives to eject. Shift+click additional drives. 3. Click Eject. The system removes the drives from the desktop and can no longer access them. Mounting All Drives (Macintosh) Because the system cannot interface with ejected drives individually, you cannot mount selected drives. You can mount all drives connected to the system, however, including those previously ejected.
Using Shortcut Menus (Windows) The Windows environment allows you to access frequently used commands by using the right mouse button (right-clicking). Your Avid system takes advantage of this feature. When working with your Avid application, right-click in a window to access a shortcut menu that shows the most frequently used commands for that window. You can also right-click a screen object to access What’s This? Help for the object.
To open Help from within the Avid application: t Choose Media Composer or Film Composer Help from the Help menu. Help opens in Microsoft Internet Explorer. To learn how to use Help: t Click the Using Help button in the Help system. Session Check List Turn on your equipment in the proper order: storage first, peripherals second, and system last. For more information, see the getting started guide for your system.
Starting a Work Session
CHAPTER 5 Working with the Project Window The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.
Exploring the Project Window The Project window provides controls (Bins, Info, and Usage) for structuring and viewing information about your current project. The Project window also provides access to the Settings scroll list for altering various User, Project, and Site settings. You can use the Project window to: • Create and open bins. • View and modify settings. • View information about the format of the project, system memory usage, and system hardware configuration.
Opening and Closing the Project Window The Project window opens automatically when you select a project in the Select User and Project dialog box. Project window (Windows) Close button Close box Project window (Macintosh) To close the Project window and return to the Select User and Project dialog box, do one of the following: t Click the Close button (Windows) or the close box (Macintosh) in the Project window. t With the Project window active, choose Close from the File menu.
The Project window remains open the entire time you are working in a project; however, it might be hidden from view by several open bins or tools. To locate and redisplay the Project window, do one of the following: t Choose Project from the Tools menu. t Click in an unobstructed area of the Project window to bring it forward. Using the Bins Display Bins contain the master clips that are created when you digitize source material. (The master clips are linked to the media files.
Displaying Folders of Bins in the Bins List You can add folders to the Bins list in the Project window to help organize your project. You can drag bins into folders, or drag folders into folders. See “Managing Folders and Bins” on page 107. Fast Menu button Triangular opener New folders Trash icon To display the folder’s contents in the Bins list of the Project window: t Click the triangular opener next to a folder icon. To close the display, click the triangular opener again.
To view a list of only the folder contents and not the folders: t Choose Flat View from the Fast menu. The Trash icon and its contents disappear until Flat View is deselected. Creating a Folder in a Project To create a folder in a project: 1. Click the Bins tab in the Project window. 2. Choose New Folder from the Fast menu. A new untitled folder appears. 3. Click the untitled folder name in the Bins list and rename it.
Renaming a Bin Each new bin that you create takes the name of the project that appears in the title bar of the Project window, and is numbered incrementally. To change the name of a bin: 1. Click the bin name in the Bins list of the Project window. 2. Type a new name. Project name Default bin name Opening and Closing a Bin To open a bin: 1. Click the Bins tab in the Project window. 2. Double-click the Bin icon next to the bin name. The bin opens in a separate window.
Opening Selected Bins To open several bins at once from the Project window: 1. Click a Bin icon in the Bins list. 2. Ctrl+click (Windows) or Shift+click (Macintosh) each additional bin you want to open. 3. Choose Open Selected Bins from the File menu. Opening Bins from Other Projects To open a bin from another project: 1. Choose Open Bin from the File menu. The Open dialog box appears. 2. Find and select the bin you want. (Windows only) Bins have the file name extension .avb.
Closing a Bin To close a bin, do one of the following: t Click the Close button (Windows) or the close box (Macintosh). t Choose Close Bin from the File menu. Deleting a Bin or Folder You can delete bins and folders along with their contents from the Bins list in the Project window. Deleted bins and folders are moved to a Trash folder in the Bins list until you empty the Trash. If you need a deleted bin or folder, you can retrieve it from the Trash.
To view items in the Trash: 1. Click the triangular opener next to the Trash icon in the Bins list to list the contents of the Trash. 2. Click the bins or folders you want to keep (or view) and drag them from the Trash to the Bins list in the Project window. 3. Double-click the bin or folder to view it. Emptying the Trash in the Bins List You can empty the contents of the Trash that is located in the Bins list. c n Emptying the trash permanently removes the bins or folders from the drive.
Managing Folders and Bins You can use the Project window to create hierarchies of folders and bins that reflect the specific workflow of the current project. This structure provides both simplicity and backup security. Although the specifics can vary depending on your production needs and habits, the basic principles of project management are as follows: • Limit the number of sequences you create in each project. For instance, consider creating one new project for each show, episode, spot, or scene.
n For information on creating Script windows using scripts for your projects, see Chapter 9. • (Option) Create additional folders at the desktop level for better organization. For example, you can create one folder for each digitizing bin and show cut bin, or a folder to contain all shot logs to be imported. • Save these files as a template for future productions of a similar nature.
Saving Bins Automatically The Avid system automatically saves changes to your work on a regular basis during each session. You can modify the frequency of the automatic backups by using the Bin settings in the Settings scroll list in the Project window. When you are working with bins, an asterisk (Windows) or a diamond (Macintosh) appears before the bin name in the bin’s title bar. The asterisk (Windows) or diamond (Macintosh) indicates that the changes to the bin have not been saved.
To adjust the frequency of automatic saves: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Double-click Bin in the Settings scroll list. The Bin Settings dialog box appears. 3. Type a number in the minutes text box for the Auto-save interval option. 4. Click OK. You can manually save bins for added security — for example, immediately after an important edit.
Using the Settings Scroll List From the Settings scroll list in the Project window, you can view, select, open, and alter various User, Project, and Site settings. To view the Settings scroll list: t Click the Settings tab in the Project window. Settings tab Settings type Settings scroll list Understanding Settings The three types of settings appear in the Settings scroll list, as indicated in the third column of information: User, Project, and Site.
Avid application. Individual User settings are stored in each user folder. • Project settings are directly related to individual projects. When you change a Project setting, it affects all editors working on the project. Specific Project settings are stored in each project folder. • Site settings establish default parameters for all new users and projects on a particular system.
Table 5-1 Settings Scroll List (Continued) For More Information Access to Dialog Box? Setting Name Description Bin Sets the auto-save interval, See “Bin Settings” on double-click preferences for bins, and page 120. edit clips from bins parameters. Yes Bin View Selects and formats the information displayed in bins. See “Bin Views” on page 207. Yes Composer Configures the display and behavior of buttons and information in the Playback, Source, and Record monitors.
Table 5-1 Settings Scroll List (Continued) For More Information Access to Dialog Box? Changes effect parameters by adjusting the appearance and operation of effects. See the effects guide for your Avid system. Yes Export Sets parameters for file export. See the input and Yes output guide for your Avid system. Film Sets parameters for edit play rate, ink See “Film Settings” on Yes number format, and transfer rate. page 118.
Table 5-1 Settings Scroll List (Continued) For More Information Access to Dialog Box? See the Avid Unity MediaManager Setup and User’s Guide. Yes Setting Name Description MM User Sets the preference for accessing the Avid Unity MediaManager. Marquee Title Allows you to select the Title tool for See the Avid Marquee creating titles and provides options for Title Tool User’s Guide. promoting titles.
Table 5-1 Settings Scroll List (Continued) For More Information Access to Dialog Box? See “Restoring the Default Timeline View” on page 461. Yes Setting Name Description Timeline Contains the latest Timeline settings. Timeline View If you save your Timeline settings, See “Understanding Timeline View appears in the Settings Timeline Views” on scroll list to facilitate copying settings. page 448.
Table 5-1 Settings Scroll List (Continued) Setting Name Description Workspace Enables you to associate settings and windows with a workspace. For More Information Access to Dialog Box? See “Linking User Settings and Workspaces” on page 160. Yes Defining Settings You can use the Settings scroll list to establish a hierarchy of settings that address the specific needs of each production phase.
Reviewing Basic Settings The following are basic system settings to review at the start of your project: • Film Settings • Bin Settings • General Settings • Interface Settings • Keyboard Settings To view the settings: t Double-click each setting in the Settings scroll list of the Project window.
Table 5-2 Film Settings Dialog Box Options Option Description Edit Play Rate Selects the play rate for Timeline play. See “Setting the Play Rate for Timeline Play” on page 119. Ink Number Format Selects one of these industry-standard ink number formats to meet your production lab standards and your film format. See the input and output guide for your Avid system. Ink Number displayed as Selects the format for the ink number display in bins and cut lists.
Table 5-3 describes the options available from the Edit Play Rate pop-up menu. Table 5-3 Edit Play Rate Options Project Type Options Description 24p PAL 24 fps Selects playback at 24 fps of all output except for digital cut 25 fps Selects playback at 25 fps of all output except for digital cut 23.976 fps Selects playback at 23.976 fps of all output except for digital cut 24.
Table 5-4 Bin Settings Dialog Box Options (Continued) Option Description Force auto-save at Specifies the maximum length of time between auto-saves. When the system reaches this time, it will auto-save the project files even if it must interrupt an edit to do so. The default is 15 minutes. Maximum files in attic Specifies the total number of files stored in the Attic folder. When a bin is saved, the Avid system copies the previous version of the bin to a special folder called the Attic.
General Settings Table 5-5 describes the General Settings options. Table 5-5 General Settings Dialog Box Options Option Description Project Format Displays the format currently selected for the project (NTSC or PAL). This option cannot be changed. Temporary File Directory Specifies the directory location where files are temporarily saved during an export. These temporary files can be large files.
Interface Settings The Interface settings determine the level of basic information displayed in the user interface and the appearance of the Avid user interface. Table 5-6 describes the Interface Settings options in the General tab. For information about the Appearance tab, see “Customizing the Avid User Interface” on page 144.
Table 5-6 Interface Settings Options — General Tab Option Description Windows® Standard Alt Key Behavior (Windows only) This option switches between standard Windows Alt key behavior and Avid system Alt key behavior. When you select this option, pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Windows actions (for example, opening menus).
Displaying Project Settings You can display the Settings scroll list of the Project window in different groups, depending on what you need to view. Table 5-7 describes the different settings display groups.
Changing the Settings Scroll List Display To change the Settings scroll list display of the Project window: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click the Fast Menu button and choose a settings display group from the Settings menu. Fast Menu button Settings menu The Settings menu displays the selected settings group and the Settings scroll list displays only the settings in that group.
Selecting Another User Because User settings are not project or site specific, you can display another set of User settings in the Project window. To select another user: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Choose another name from the User pop-up menu. User pop-up menu The previous user’s settings are saved, and the new user’s settings are loaded into the Avid system and the Project window.
To modify available settings: 1. Click the Settings tab in the Project window. The Settings scroll list appears. Settings scroll list 2. Double-click the name of a setting. A dialog box or window opens. 3. Type new values or select new options for the setting. 4. Click the OK, Apply, Cancel, or Close button (Windows) or the close box (Macintosh). The system saves changes in the appropriate User, Project, or Site settings file.
For example, you can have: • Two Bin settings: one that automatically saves more often when you are editing intensively, and one that automatically saves less often when you are doing organizational work in the bins • Multiple Digitize settings for digitizing various types of source material • Multiple Keyboard and Composer settings to use for various activities such as digitizing, offline editing, or online effects editing • Multiple Deck Preferences settings for various types of digitizing or
To enter a custom setting name: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click the Custom setting name column. Custom setting name column 3. Type a new name and press Enter (Windows) or Return (Macintosh). The new name appears in the list and is saved in the settings file. Selecting Among Multiple Settings With multiple settings, only one setting at a time is active. Settings that are currently active have a check mark to the left of the setting name.
Deleting Settings You can delete settings from the Settings scroll list in the Project window at any time. For example, you might choose to delete one or more versions of a particular setting, or you might want to delete all but a few settings for transfer into another Settings window. For information on transferring settings, see “Copying Settings Between Settings Files” on page 132. c You cannot undo a deletion.
A message box appears, asking whether you want to save the settings. 4. Click the Copy & Restore button to copy the current settings before restoring the default settings, or click the Restore button to discard the current settings. The system restores the default values for the selected settings. Copying Settings Between Settings Files You can copy selected settings: • Between existing settings files. • Into a new settings file for use in other projects.
t Open an existing settings file by choosing Open Settings File from the File menu. The Open dialog box appears. Locate and select a settings file, which has the file name extension .avs (Windows only), in the Avid Projects or Avid Users folder. Click Open. The settings file window opens. 2. Click the setting you want to copy in the Settings scroll list of the Project window. Ctrl+click (Windows) or Shift+click (Macintosh) any additional settings that you want to copy. 3.
4. You can also drag settings from the settings window into the Settings scroll list of the Project window. When you copy a setting into the Settings scroll list and the setting is active, a message box appears. 5. Do one of the following: t Click the Add button to add the new settings to the project without affecting the project’s current settings. t Click the Replace button to replace the current version of each setting with the new settings. Additional versions of each setting are not affected.
Adding settings to the site settings files is useful if you need to establish global settings for all new users and projects, such as switcher settings, a specific start timecode for all sequences, or various customized features of the interface. To load settings into the Site_Settings file: 1. Open a project with the settings you want to establish as site settings. If a project does not already exist with the settings you want, create a project and make adjustments to the default settings as needed.
Using the Info Display The Info display in the Project window allows you to view basic project information, such as the video format (NTSC, for example). The displayed information lists the options you selected in the New Project dialog box when you created the project. n For 24p PAL projects, the Info display shows the audio transfer rate you selected when you created the project.
Viewing Memory To display system memory information: 1. Click the Info tab in the Project window. 2. Click the Memory button. The Memory window opens. The Memory window displays the following information: • Objects: The total number of memory handles currently used by the Avid system. Objects include memory requirements of the application, such as windows, as well as clips, sequences, and other items associated with a project.
through the Windows Event Viewer. For information on these tools, see the Windows Help. n You can improve the performance of large projects by reducing the number of objects. To do this, you can: close unused bins, eject unneeded media drives, consolidate finished elements, eliminate old material from the project, or divide the project into separate projects. Then, quit and restart the Avid application. If performance is still slow, reboot your system.
To view and update statistics for an open project: t Click the Usage tab in the Project window. To print the statistics file: t Choose Print Usage from the File menu. Statistics File Structure and Layout A new statistics file is created each time you open the project. The files are stored in a Statistics folder inside each project folder. The file name has the following format: Statistics.yymmdd.
The statistics file is formatted as comma-separated ASCII text, so it can be accepted by a variety of software programs. Each line in the file is tagged with indicators for identifying content and data type to assist in programming custom applications. Figure 5-1 shows a sample statistics file.
Description of Statistics File Values The values in the first column indicate the content of the line: 01 title1 02 title2 03 heading 100 project info 101 Time Project open 102 Digitize tool open 104 Digitize tool active 105 Digitized Media bytes used 106 Rendered Effects bytes used 110 Effects rendering time 111 Title tool open 113 Title tool active 114 Title tool rendering 115 Digitize tool digitizing 116 Digitize tool logging 117 user comments The values in the secon
Importing the Statistics File into a Spreadsheet You can import the statistics file into a spreadsheet or other program as an ASCII file and use the application (for example, Microsoft Excel) to set up the proper format. To create a statistics file in Microsoft Excel: 1. Start Microsoft Excel. 2. Choose Open from the File menu and navigate to the statistics file you want to import. (Windows only) Make sure All files (*.*) is selected in the Files of Type pop-up menu. 3. Click Open.
Spreadsheet Form of Statistics Data File Figure 5-2 is the same sample file as it appears when you import it into a spreadsheet.
Displaying Disk Space Statistics To improve system performance, statistics for disk space (digitized media and rendered effects) are not calculated and are not displayed in the Usage window, unless you issue a Console command. To display disk space statistics in the Usage window: 1. Choose Console from the Tools menu. 2. In the command entry text box, type: toggleStatSpace 3. Press Enter (Windows) or Return (Macintosh). 4. Choose Load Media Database from the File menu.
The following illustration shows the Appearance tab of the Interface dialog box. Changing Interface Component Colors You can use a color selection grid to change the color of interface components. Table 5-8 describes the interface components that you can customize. n The Settings scroll list has several Interface templates with predefined color schemes. For information about using the Interface templates, see “Using Interface Appearance Templates” on page 154.
Table 5-8 Customizable Interface Components Component Description Background The color of toolbars and dialog boxes behind the text. The default is gray. n If you select a Background color but no Button color, buttons take on the Background color. Button The color of a button behind the button contents when the button is not selected. The default is gray. Button Contents The color of text or symbols, such as icons or check marks, in the buttons. The default is black.
To set the color of an interface component: 1. Double-click Interface in the Settings scroll list of the Project window. The Interface dialog box appears. Check box Color boxes Interface component list 2. Click the Appearance tab. 3. Click in the color box next to the interface component that you want to customize.
A color selection grid appears. Color selection grid 4. Move the pointer over the color selection grid and release the mouse button over the color to which you want to set your interface component. The color selection grid disappears. The color you selected appears in the color box. A check mark appears in the check box to show that you want your new color attribute for this component to take effect.
5. Do one of the following: t n Click Apply to apply the changes you selected. If you click Cancel after you click Apply, interface components retain the colors you applied. t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box. The changes you selected but did not apply do not take effect. Changing Shading Style Shading style controls the shading of the buttons and toolbars. To set the shading style: 1.
t Click Cancel to close the dialog box. The change you selected but did not apply does not take effect. The following examples show the shading styles. Convex Dim Radial Convex Radial Bright Radial Changing Shading Depth Shading depth controls the three-dimensional “rounding” of the buttons and toolbars. To set the shading depth: 1. Double-click Interface in the Settings scroll list of the Project window. The Interface dialog box appears. 2. Click the Shading Depth button in the Appearance tab.
t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box. The change you selected but did not apply does not take effect. The following examples show Shading Depth selections of 5% and 50%. Shading depth 5% Shading depth 50% Changing Button Separation Button separation controls the spacing between the Monitor buttons and between the Timeline buttons. To charge the separation of Monitor or Timeline buttons: 1.
2. Click the Monitor Button Separation button or the Timeline Button Separation button in the Appearance tab. The Button Separation pop-up menu appears. 3. Choose a separation setting. 4. Do one of the following: t n Click Apply to apply the change you selected. If you click Cancel after you click Apply, Button Separation retains the selection you applied. t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box.
Changing Button Style Button style controls the shape of buttons in the interface. To change the style of buttons: 1. Double-click Interface in the Settings scroll list of the Project window. The Interface dialog box appears. 2. Click the Button Style button in the Appearance tab. The Button Style pop-up menu appears. 3. Choose a button style. 4. Do one of the following: t n Click Apply to apply the change you selected.
The following examples show several buttons with each button style applied. Oval Square Octagonal Swoosh Rounded Antique Using Interface Appearance Templates There are several interface appearance templates available for the Avid user interface that have preset background and button colors. To use an interface appearance template: t Click to the left of one of the named Interface settings in the Settings scroll list of the Project window. The look of your Avid user interface changes.
Changing Font and Point Size You can change the default font and point sizes of the Project, Bin, Composer, Script, and Timeline windows. You can vary the fonts and point sizes across these windows. For example, you can set the Project window to Helvetica, 13 pt.; set one Bin window to Times Roman, 11 pt.; and set another Bin window to Arial, 12 pt. The following table describes the windows you can change, and where these changes are saved.
3. Choose a font from the Font pop-up menu. n Any font installed on the Avid system appears in the list. For information on adding fonts to your system, see your Windows documentation or your Macintosh documentation. 4. Type another point size for the font in the Size text box. 5. Click OK. The new font and point size appear in the active window. When you close the window, the last font and point size applied is saved with the window.
You can select your preference in the Workspace Settings dialog box. For more information, see “Creating a New Workspace Setting” on page 157. You can assign up to eight buttons that allow you to switch between user-customized workspaces. This is very useful if there is more than one user accessing the same Avid system. Each user can assign up to eight workspaces by using the workspace buttons.
5. Assign a custom name to the new workspace: a. In the column between Workspace and User, click until you see a text cursor and box. Make sure you click the Custom name column and not the Setting name. New workspace Custom name column b. Type a name for the new custom workspace; for example, Logging. c. Press Enter (Windows) or Return (Macintosh). 6. Open the windows that you want to associate the workspace with.
The Workspace Settings dialog box appears. 8. Select or deselect the following options, depending on your preference for the behavior of the workspace: • Activate Settings Linked By Name: This setting allows you to link other settings to the workspace. See “Linking User Settings and Workspaces” on page 160. • Continually Update This Workspace: This setting automatically preserves the workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved.
Linking User Settings and Workspaces User settings can be linked to a workspace. You can create a customized workspace and set up specific options in any Settings dialog box, and link them together by name. For example, you can create an Audio workspace that opens the Audio Mix tool and Audio tool. This workspace can also open a customized Timeline (with enlarged audio tracks and rubberbanding displays). You can also link this workspace to a Settings dialog box with customized options selected.
Linked setting Linked setting Linked workspace 7. Double-click the workspace you just created. The Workspace Settings dialog box appears. 8. Click Activate Settings Linked By Name. 9. Click OK. All the settings and the new workspace you created are activated. Switching Between Workspaces To switch from one workspace to another: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click to the left of the workspace setting you want to use.
Deleting a Workspace To delete a workspace: 1. Select the workspace you want to delete from the Settings scroll list in the Project window. The workspace is highlighted. n Make sure a check mark does not appear next to the workspace you want to delete. You cannot delete an active workspace. 2. Press the Delete key. The selected workspace is removed from the Settings scroll list. Assigning a Workspace Button To assign a workspace button: 1.
3. Click the More tab. 4. Select Button to Button Reassignment. 5. Click a workspace button (W1 – W8) and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard setting. The buttons are assigned to the workspaces in the Settings scroll list of the Project window in the order that they appear.
For example, an editor can create sequences in one bin while an assistant redigitizes media in another bin. At the same time, other users can add audio effects or titles to other bins in the project. Each user can perform tasks from his or her own computer. The Avid system provides a simple locking mechanism to help you keep track of who is currently working in a bin. The method allows one writer and multiple readers of a bin.
Shared Bins When you use the shared bins, you store the project on your local computer and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system uses the following methods to identify the shared bins: • Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder.
n Depending on the number of users sharing a workspace, you might want to increase the number of files that the Avid system stores in the Unity Attic folder (using the Bin Settings dialog box). The following illustration shows the Project window for a shared project. Bold bins are locked for editing but can be viewed. Computer that currently has the bin locked Project folders for each user The following illustration shows the contents of a shared workspace at the desktop level.
Opening a Shared Project To open an existing project on the shared volume: 1. Start your Media Composer or Film Composer application. 2. In the Select User and Project dialog box, navigate to the project on Avid Unity MediaNet. The following illustration shows an example. The Project window opens. For a description of the Avid Unity-specific elements of the Project window, see “Sharing Methods” on page 164. 3. Open one of the bins by double-clicking the Bin icon.
The following illustration shows locked and unlocked bins. Unlocked bin Locked bin When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Restrictions and Limitations for Locked Bins” on page 170. n The Bin Lock Status button does not appear if the bin is not on Avid Unity MediaNet. Working with Locks The Avid system uses a simple locking mechanism to help you keep track of who is currently working in a shared bin.
If one user has the lock and another user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to get the lock. You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin. To open a bin without taking the lock: t Alt+double-click (Windows) or Option+double-click (Macintosh) the bin in the Project window.
Restrictions and Limitations for Locked Bins The following restrictions apply to bins that are locked by another user: • You cannot select a locked bin for operations such as digitizing, title creation, and importing. This helps to minimize the problems of modifying a locked bin. • You cannot drag to a locked bin. • If you drag from a locked bin to a writable bin, the Avid system creates a duplicate (not a copy) of the selection in the writable bin.
CHAPTER 6 Using Basic Tools The Tools menu on the Avid application menu bar provides quick access to essential tools that you can use at any time in your projects.
Exploring Dialog Boxes and Menus You can use the keys shown in Table 6-1 to explore many dialog boxes and menus, and to select and deselect options.
The Toolset menu provides five environments that include the following: • Tools appropriate for the task • A screen optimized for the task, screen resolution, and number of monitors • A neatly organized workspace with nonoverlapping windows You can change the toolset workspace, restore it to the default arrangement, or link it to other settings. For example, you might want each toolset to appear with a different color scheme.
Customizing Toolsets To customize the toolset workspace: 1. Open tools with which you want to work and position them where you want them. 2. Choose Save Current from the Toolset menu. The next time you choose the customized toolset, it appears with your changes. To remove your customizations: t Choose Restore Current to Default from the Toolset menu. Linking Toolsets to Other Settings You can link the current toolset to custom settings or to unnamed settings. To link a toolset to another setting: 1.
To link a toolset to an unnamed setting: 1. Choose the toolset you want to link from the Toolset menu. 2. Choose “Link Current to” from the Toolset menu. The Link Toolset dialog box appears. 3. Choose Link to Unnamed Settings from the Links to Current Toolset pop-up menu. The active toolset is linked to all the unnamed settings in the Settings scroll list. Using the Tools Menu You can open any of the most frequently used system tools from the Tools menu located on the Avid application menu bar.
Using the Deck Controller The deck controller provides direct serial or VLXi® V-LAN® control of an Avid-compatible tape deck at any time during editing. This allows you to cue and screen footage from source tapes in various edit modes or when recording a digital cut, without entering Capture mode. To open a deck controller: t Choose New Deck Controller from the Tools menu. The Avid Deck Manager program is initialized, and a new Deck Controller window opens.
For more information on logging with the Digitize tool, see the input and output guide for your Avid system. - If you turn the deck power off with the deck controller already open, the indicator shows the message “Power Off.” - If you switch the deck control to Local on the VTR, the indicator shows the message “Local.” • The Timecode indicator flashes green during playback or digitizing to indicate that the system is receiving valid timecode from the source tape.
Using the Command Palette The Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use. User-selectable buttons allow you to perform a wide range of commands with a single click of the mouse. The Command palette organizes buttons by editing function. Tabs are displayed for each editing function and the buttons that perform those functions are displayed in each tab.
n For information about each button in the Command palette, right-click (Windows) or Ctrl+Shift+click (Macintosh) a button and choose What’s This? from the shortcut menu. Understanding Button Mapping Mapping user-selectable buttons allows you to reconfigure Tool palettes or the keyboard in various combinations to suit different editing needs. n When you map buttons to the keyboard, the mapping might be specific to the current editing mode.
• MultiCamera editing: You can map the Quad Split, Swap Cam Bank, and Gang buttons. Quad Split For more information on multiple settings, see “Working with Multiple Settings” on page 128. Swap Cam Bank Gang When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you can open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes.
Mapping User-Selectable Buttons To remap buttons or keys on the keyboard by using the Command palette: 1. Open a window that has a user-selectable button palette by doing one of the following: t Activate the Playback, Source, or Record monitor in the Composer window. t Tear off the Tool palette by clicking a Fast Menu button and dragging the palette. t Open a clip in a pop-up monitor. t Enter Trim mode in the Composer window.
Using the Blank Button The Blank button in the Other tab of the Command palette allows you to replace a defined button with an undefined button. If you do not need a specific button within the Source monitor, Record monitor, Playback monitor, a pop-up monitor, or the Tool palette, you can replace this button with a Blank button. To map the Blank button to a new location: t See “Mapping User-Selectable Buttons” on page 181.
n After you modify a key or button with a modifier key button, you can use the default function of the key or button by pressing and holding the appropriate modifier key while pressing the command key, or by pressing and holding the modifier key while clicking the button. Mapping Menu Commands You can map menu commands displayed in the pull-down menus on the Avid application menu bar directly onto buttons in any of the Command palettes or onto the keyboard.
t Enter Trim mode in the Composer window. t Open the Keyboard palette from the Settings scroll list in the Project window. 2. Choose Command Palette from the Tools menu. The Command palette opens. 3. Select Menu to Button Reassignment at the bottom of the Command palette. n When you are working with a 24p project, the Command palette displays the Step Forward 8 Frames button and Step Backward 8 Frames button. 4.
Activating Commands from the Command Palette You can perform a command function directly from the Command palette; for example, click the Play button in the Command palette to play the material in the Source window. To activate a command from the Command palette: 1. Choose Command Palette from the Tools menu. The Command palette opens. 2. Select Active Palette at the bottom of the Command palette. 3. Select the tab from which you want to choose a command function. 4.
To use the Avid Calculator: 1. Choose Calculator from the Tools menu. The Avid Calculator opens. Format pop-up menu 2. Choose a format from the Format pop-up menu. 3. Make calculations in one of the following ways: t Click numbers and functions in the Avid Calculator. t Enter numbers and functions using the numeric keypad. t Enter numbers and functions using the top row of numbers on the keyboard. You do not need to enter leading zeros, colons, or semicolons for timecode. 4.
Using the Console The Console window provides a number of features, including: c • Current system information, including your system ID number • A log of error messages • Detailed information about sequence segments in the Timeline or about objects in a bin • Information after you digitize or import Do not use the programming features of the Console without guidance from Avid professionals. Contact your local Avid Reseller (in North America, you can contact Avid Customer Support).
Getting Information with the Console This function provides quick access to bin information such as total duration of selected clips, or total items in a bin including hidden items. You can also use this procedure to display information about a clip, segment, or sequence in the Timeline. To get information with the Console window: 1. Choose Console from the Tools menu. 2.
Using the Hardware Tool The Hardware tool provides the following information about the system’s hardware configuration: • The Drives tab lists each online drive. The shaded portion of the bar next to each drive shows the total size of the drive and the amount of storage space currently filled. • The System tab lists the operating system, its version and build, and the physical memory.
shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive. • (Windows) The name of the operating system, version number, service pack, and build number appear in the System tab. The total physical memory is also listed in the same location. • (Macintosh) The name of the operating system and version number appear in the System tab. The total physical memory is also listed in the same location.
Using the Serial (COM) Ports Tool The Serial (COM) Ports tool allows you to view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without closing the Avid application or shutting down the computer. The Serial (COM) Ports tool enables you to view and assign serial ports for the following peripheral devices: n • VTR Emulation: Choose a port for an edit controller that uses the Sony® serial control protocol.
To access the Serial (COM) Ports tool: 1. Choose Serial (COM) Ports from the Tools menu. The Serial (COM) Ports tool opens. 2. Assign ports for deck control and other devices, as necessary, by choosing a port or no port from any of the pop-up menus. 3. Close the Serial (COM) Ports tool. Configuring a Controller Adding a controller to your Avid system provides an alternative to using the keyboard and mouse for editing footage.
To configure a controller: 1. Double-click Controller Settings in the Settings scroll list of the Project window. The Controller Settings dialog box appears. 2. Choose the appropriate port from the Port pop-up menu: - (Windows) COM1 or COM2 - (Macintosh) Port #1, #2, #3, or #4 3. Choose the appropriate controller from the Controller pop-up menu: - JL Cooper MCS3 Controller - Avid Controller The following figure shows the settings for a JL Cooper MCS3 controller connected to the COM1 port.
4. (Option) Click the Edit Settings button. If you have selected a port and controller, the appropriate Controller Settings dialog box appears. 5. Customize the controller buttons. To map Command palette functions to JL Cooper MCS3 controller buttons, see Appendix D. To map Command palette functions to the Avid controller buttons, see the documentation for the Avid controller. 6. Click OK. The Controller Settings dialog box appears. 7. Click OK.
CHAPTER 7 Organizing with Bins The Avid system provides powerful database tools for organizing and managing your digitized material. You can view bins in four different display views. You can rename, sort, sift, duplicate, and delete clips and sequences. You can also print single-clip frames or whole bins. A worksheet at the end of this chapter provides guidelines for using these techniques to create and print storyboards for your project.
Preparing to Work with Bins There are several procedures you might want to perform before organizing your project because they affect the display of information in bins or the way the clips play back during screening: Organizing with Bins • If you want to center the pan between the left and right speakers for some or all of the clips in a bin, see “Adjusting Audio Pan Defaults” on page 197.
Adjusting Audio Pan Defaults The way your footage was recorded in the field and digitized in the Avid system will affect the way sound pans between the speakers. By default, the system pans audio tracks 1 and 3 to the left speaker output and pans tracks 2 and 4 to the right speaker output. For information on using the Audio Mix tool to adjust pan for individual clips in a sequence, see “Using the Audio Mix Tool” on page 568.
Using the Center Pan Command You can use the Center Pan command on source material in bins. Use it prior to editing or at any time during the editing process. Instead of adjusting pan on individual clips by using the Audio Mix tool, Center Pan allows you to create a standard distribution of audio between left and right speakers. You can adjust the pan on selected clips or all clips with a single command.
To use timecode on an audio track: 1. In the bin, select the appropriate clips, and then choose Read Audio Timecode from the Special menu. The Read Audio Timecode dialog box appears. 2. To read timecode stored in the user bits of the LTC, select User Bit Timecode. If this option is not selected, the system reads the LTC timecode. c Information contained in the user bits of the LTC must be timecode only. Other data stored in the user bits will not appear in the Avid application. 3.
n Do not select this option if you do not want to fill timecode breaks. 6. Click OK to complete the procedure. The timecode appears in the bin in the auxiliary timecode column that you chose. Film Scene Workflow During the organizing phase, common practice on film productions is to organize the digitized clips according to scene. This helps to simplify the work environment for the editor, and keeps crowded bins to a minimum.
Setting the Bin Display By default, your bins display all existing media objects except source clips and rendered effects. To reduce crowding in the bin and to display only those objects that you need to organize your project, you can display selected media objects. You can use the Set Bin Display option to display clips referenced by a sequence, even if the clips were not previously in the bin. Place a sequence in a new bin and follow this procedure. To set the bin display: 1. Click a bin. 2.
Table 7-1 describes the object icons listed in the Set Bin Display dialog box. 3. Select the object types that you want to see: master clips, subclips, sequences, and so on. 4. The option “Show clips created by user” is selected by default. Deselect this option only if you want to hide all objects except those created by the system. 5.
Table 7-1 Object Icon Object Icon Descriptions (Continued) Object Description Groups (For MultiCamera editing) Clips containing two or more grouped clips, strung together sequentially according to common timecodes. ITV Enhancement Clips representing Interactive TV (ITV) enhancements that conform to SMPTE standard 363M. For more information, see the Avid MetaSync Setup and User’s Guide. Opaque Enhancement Clips representing enhancements that do not conform to SMPTE standard 363M.
n A different set of column headings appears for film projects. Text View For information on Text view features, see “Using Text View” on page 228. In Text view, clips are displayed in a database text format, using columns and rows, with icons representing the various objects. You can save various arrangements of columns, text, and objects as customized views. See “Customizing Bin Views in Text View” on page 207. To enter Text view: t Click the Text tab in the bin.
Frame View For information on Frame view features, see “Using Frame View” on page 251. In Frame view, each clip is represented by a single picture frame and the name of the clip. You can play back the footage in each frame, and change the size of frames. You can also rearrange the frames in any order within the bin. To enter Frame view: 1. Click the Frame tab in the bin.
Script View For information on Script view features, see “Using Script View” on page 254. In Script view, the system combines the features of Text view with Frame view, and adds space for typing notes or script. The frames are displayed vertically on the left side of your screen with a script text box to the right of each clip. Clip information is displayed above the text box. To enter Script view: 1. Click the Script tab in the bin.
Bin Views To the right of the Fast Menu button is the Bin View pop-up menu (Text view only) for selecting different bin views. Bins have three default views that are automatically installed: For more information on film and statistical column headings, see “Bin Column Headings” on page 247. • Custom view: Allows you to create and save customized views. The only required column heading is the Name heading, which is displayed by default.
There are several ways to customize views of the bin: • Alter the arrangement of existing columns in the standard Statistics view or Film view to suit your needs, without adding or hiding columns. These arrangements will be recalled each time you choose Statistics view or Film view. • Add or hide columns of information to create customized Statistics or Film views. They will be saved as additional view settings in numerical order: for example, Statistics.1, Statistics.
The View Name dialog box appears. 4. Type a name for the custom view, and click OK. Bin Fast Menu All Bin menu commands are also available in the Bin Fast menu located in the lower left corner of every bin. The Bin Fast menu is especially convenient when you are working with several open bins and need to access Bin menu commands quickly. To open the Bin Fast menu: t Click the Fast Menu button in any of the four bin display views.
When you are working with bins, an asterisk (Windows) or a diamond (Macintosh) appears before the bin name in the bin’s title bar. The asterisk (Windows) or diamond (Macintosh) indicates that the changes to the bin have not been saved. Once you save the bin, the asterisk (Windows) or diamond (Macintosh) is removed. n To view a complete list of the bins in your project, see “Using the Bins Display” on page 100.
Duplicating Clips and Sequences When you duplicate a clip or sequence, the system creates a separate clip linked to the same media files. You can move, rename, and manipulate this clip without affecting the original clip. To duplicate clips or sequences: 1. Select the clip or sequence that you want to duplicate, or select multiple clips or sequences. 2. Choose Duplicate from the Edit menu.
n If the destination bin’s display has been set to show reference clips, the referenced object types do not appear until you save the bin. For more information on setting the bin display, see “Setting the Bin Display” on page 201. Copying Clips When you copy clips, you are essentially cloning the same clip in another bin. Any change you make to the copy will affect the original as well. The system does not add the .Copy.n file name extension to the clip as it does when duplicating.
Deleting Clips, Subclips, Sequences, and Media Files You can delete subclips and sequences from a bin. To delete media files associated with subclips and sequences, see “Finding a Related Media File” on page 292.
The Delete dialog box appears, displaying information about the selected items. This example shows that one sequence and three master clips were selected before Delete was invoked. 3. Click the check boxes for the items you want to delete. You can: t Select both clips and the associated media files for deletion. t Select only the media files for deletion if you want to retain the clips for redigitizing later. t Select only the clips for deletion if the media file is referenced by another clip.
Assigning Colors to Bin Objects You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects. Colors assigned to bin objects are referred to as source colors. You can display source colors in bins and in the Timeline. For information on displaying source colors in the Timeline, see “Displaying Local and Source Colors in the Timeline” on page 456.
Assigning a Source Color To assign a color to a clip, subclip, sequence, or effect clip in a bin: 1. With a bin in Text view, select the bin objects that you want to assign a color to. 2. Choose Set Clip Color from the Edit menu, and choose a color from the submenu. The color appears in the Color column and on the clip icon. n You can also assign a color by clicking in the Color column and choosing a color from the pop-up menu.
3. Select a color from the Windows Color dialog box or the Macintosh Color Picker, and click OK. The custom color appears in the Color column and on the clip icon. n After you assign a custom color, the color appears as Other in the Set Clip Color submenu. Limiting Color Choices When assigning colors to bin objects, you can limit the color choices to only the colors currently used in the bin. To limit the colors available when assigning colors to bin objects: 1.
Sifting Clips and Sequences When you sift clips and sequences, the bin displays only those clips and sequences that meet a specific set of criteria. For example, you can do a custom sift to display only those clips containing the word “close-up” in the heading column. The Custom Sift dialog box provides six levels of criteria. To sift clips or sequences: 1. Choose Custom Sift from the Bin menu. The Custom Sift dialog box appears.
3. Click the first Text to Find text box, and type the text that you want to use as a sift criterion. When sifting by color, type the exact name of the color (using uppercase and lowercase letters) in the text box. 4. Click the Column or Range to Search pop-up menu, and choose a column heading to which you want to apply the criterion. 5. Type additional sift criteria, and make additional column selections as necessary. 6. Click OK.
Sifting Timecodes or Keycode Ranges You can sift on a timecode (or keycode) number within a specific range. For example, you can sift for all the clips that start before and end after a particular timecode. Before custom sift Type 01:08:32:00 in the Text to Find text box in the Custom Sift dialog box, and choose Start to End Range from the Column or Range to Search pop-up menu.
Some column pairs explicitly define a range; for example, Start and End or Mark IN and Mark OUT. Other columns define the beginning of a range, and the end of the range is determined by the Duration column. For example, Auxiliary TC1 implies a range that begins at the value in the Auxiliary TC1 column, and ends at that value plus the value in the Duration column.
Table 7-2 lists all columns associated with explicit ranges and their corresponding menu choices: Table 7-2 Range Menu Items for Explicit Ranges Bin Column (Explicit Ranges) Column or Range to Search Pop-up Menu Item Start, End Start to End Range Mark In, Mark Out Mark In to Out Range KN Start, KN End KN Start to End Range KN Mark In, KN Mark Out KN Mark In to Out Range Table 7-3 lists all columns associated with implicit ranges and their corresponding menu choices.
Table 7-3 Range Menu Items for Implicit Ranges (Continued) Bin Column (Implicit Ranges) Column or Range to Search Pop-up Menu Item Auxiliary TC5 Auxiliary TC5 Range Ink Number Ink Number Range Auxiliary Ink Auxiliary Ink Range Sifting Within a Range To sift for a timecode or keycode number within a specific range: 1. Choose Custom Sift from the Bin menu. The Custom Sift dialog box appears.
2. Type the timecode (or keycode) number for which you want to sift in a range. 3. Choose a range from the Column or Range to Search pop-up menu; for example, Start to End Range or Mark In to Out Range. The criterion “contain” is displayed in the Criterion pop-up menu. If you try to change this criterion, a blank will be displayed in the Column or Range to Search pop-up menu. 4. Click OK. The bin will display those clips that encompass the timecode (or keycode) number that you entered.
A Lock icon appears for each locked clip in the Lock column of the bin in Text view. Lock icon To unlock previously locked items: 1. Select the items in the bin. 2. Choose Unlock Bin Selection from the Clip menu. n You can use the clip-locking feature along with archiving software to automatically archive all locked media files. For more information on archiving locked files, see your archiving software’s documentation.
Selecting Offline Items in a Bin Offline items are clips, subclips, or sequences that are missing some or all of their original media files or have never been digitized. To identify offline items: t Choose Select Offline Items from the Bin menu. The bin highlights all items that are missing media files. n To identify offline items in the Timeline, see “Highlighting Offline Media Clips” on page 457.
The system highlights all related objects in all open bins. Selecting Sources Used by an Object Use the Select Sources command to identify all of the sources used by a particular object. For example, if you select a sequence as the object, use the Select Sources command to identify every master clip, subclip, tape, and media file that is a source for that sequence. To identify sources for a clip or sequence: 1. Select one or more objects in a bin. 2. Choose Select Sources from the Bin menu.
Selecting Unreferenced Clips When you choose Select Unreferenced Clips, the system highlights all clips not currently referenced by clips or sequences that are in the open bins. Any master clips, subclips, or effect clips you edited into sequences in the bins are not highlighted. This command is essentially the opposite of the Select Media Relatives command. n The Select Unreferenced Clips command is useful for finding unused footage or media. To identify unreferenced clips: 1.
Arranging Bin Columns This section provides procedures for moving, aligning, hiding, deleting, duplicating, adding, and changing columns in a bin. Moving and Rearranging Columns To move a text column in a bin: 1. Click the heading of the column that you want to move. The entire column is selected. 2. Drag the column to the position you want and release the mouse button. The column appears in the new position, and columns to the right are moved to make room.
To choose column headings: 1. With a bin in Text view, choose Headings from the Bin menu. The Bin Column Selection dialog box appears. 2. Select the headings you want to add to the bin: t Click the name of a heading to select it. t Click a selected heading to deselect it. t Click All/None to select or deselect all the headings. 3. Click OK. Only the headings selected in the Bin Column Selection dialog box appear in the bin or bin view.
Deleting a Column Deleting a statistical column is the same as hiding the column; you can restore the column at any time by using the Bin Column Selection dialog box, as described in “Showing and Hiding Columns” on page 229. When you delete a custom column, however, you must re-create the column. To delete a column: 1. Click the column heading in a bin. 2. Choose Delete from the Edit menu or press the Delete key. The column disappears from the view, and surrounding columns fill the empty space.
The Select dialog box appears. In the example, “Copy ‘Start’ column to:” appears at the top of the dialog box because the user selected the Start column for duplication. 3. Select a column name from the list. The column must contain the same type of data for the copy to occur. For example, you can copy start timecodes to the Auxiliary TC column, but you cannot copy timecodes to the Pullin column. 4. Click OK. The column of information appears in the column you designated.
Adding Customized Columns to a Bin In addition to the standard statistical or film column headings, you can add your own column headings to describe information about clips and sequences. For example, you might want to add a column heading to describe what kind of shot (close-up, wide shot, master shot, extreme close-up, and so on) is used in a clip. To add a new custom column: 1. Click an empty area to the right of the current headings in the headings box. 2.
Managing Clip Information in Text View For additional bin shortcuts, see the quick reference guide for your Avid system. There are several ways to manage clip information in bin columns. These methods include copying information between cells, moving information between whole columns, sorting clip information, and modifying clip data, as described in this section.
• (Macintosh) Shift+Return: Move the pointer up to the cell in the previous row. You can continue to press the Shift+Return keys until the cell in the top row is highlighted. The next time you press the Shift+Return keys, the cell in the last row is highlighted. Modifying Clip Information You can change or modify the information in certain columns for your master clips, subclips, tapes, and other objects stored in the bin.
Modifying Data Directly When you modify information in a bin directly, you click a cell and type the new information. For example, you can type a new name for a clip, or correct the start and end timecodes. You can directly modify any data in the bin while logging and prior to digitizing. After the footage is digitized, however, you can directly modify information only in selected headings, with restrictions, as shown in Table 7-4.
Table 7-4 Modifiable Bin Headings (Continued) Heading Restrictions Pullin Only for 24p projects and matchback projects. Pullin data imported from a telecine-generated list can be altered directly only before digitizing or after unlinking. See the input and output guide for your Avid system. (NTSC only) You can directly modify the pullin for sequence, see the input and output guide for your Avid system. Pullout Automatically calculated. This field can not be modified.
4. Type the new information, and press Enter (Windows) or Return (Macintosh). Modifying Data by Using the Modify Command The Modify command gives you specialized control over groups of clip information. For example, you can use the Modify command to change the name of source tapes, or to increment or decrement the start and end timecodes by a specified length of time for one or several clips at once.
Table 7-5 Modify Command Options (Continued) Type of Modification Options Description Decrement Timecode Start or End Changes either the start or end timecode. Decrementing the start timecode automatically modifies the end timecode by the same amount. Only start timecode can be decremented after digitizing. Timecode text box Allows you to enter custom decremental timecode. Set Key Number Generic (Prefix) Key Number text box Allows you to enter a custom generic key number.
3. Choose Modify from the Clip menu. The Modify dialog box appears. Modify Options pop-up menu 4. Choose an option, such as Set Timecode By Field, from the Modify Options pop-up menu. 5. Select an option or type information into the text boxes (timecode values, for example) when they appear. 6. Click OK. The modification takes effect.
Copying Information Between Columns The following procedure describes how to copy all the information in one column to another column. The procedure uses an example of copying timecode information in one column to a new column. To copy column information to another column: 1. Select the timecode column that you want to copy. 2. Choose Duplicate from the Edit menu. The Select dialog box appears, prompting you to target a timecode column for the data. 3.
If you want to sort clips in a customized order in Text view, you must first rearrange the clips in Script view, and then return to Text view. For information about Script view, see “Rearranging Clips in Script View” on page 255. Sorting Clips in Ascending Order To sort clips in ascending order: 1. With a bin in Text view, click the heading of the column that you want to use as the criterion. The column is highlighted. 2. Choose Sort from the Bin menu.
Multilevel Sorting with Columns You can select multiple columns in a bin and perform a multilevel sort by using the information in the columns. To perform a multilevel sort by using the information in the bins: 1. With a bin in Text view, arrange the columns in the bin to establish the primary column. The column that appears farthest to the left in Text view becomes the primary criterion for the sorting operation. 2. Select the columns that you want to sort. The columns are highlighted. 3.
Displaying Timecodes in a 24p or 25p Project When you are working with 24p and 25p projects, you can add timecode columns to bins or the Media tool to enter and display starting timecodes in several timecode formats for master clips, subclips, and sequences. n For information on displaying timecodes in the Timeline and the Tracking Information display, see “Displaying Timecode Tracks in the Timeline” on page 454 and “Displaying Tracking Information” on page 351.
n The TC1 track in the Timeline represents the timecode of the project in which you are working. For example, when you are working in a 24p NTSC project, the TC1 track displays the same timecode as the TC 30 track. Frame Counting for Timecodes Table 7-7 shows the frame count for each of the timecodes. The timecodes are listed as 24 for 24 fps, 25 for 25 fps, 25P for 25 (PAL with pulldown), and 30 for 30 fps (the count skips six frames to fit 30 frames into 24 fps).
Adding Timecode Values to the Timecode Columns To add timecode values to the timecode columns: 1. Open a bin or the Media tool. 2. Add the Start column and the timecode column with the format you want to use. 3. Select the Start column. 4. Choose Duplicate from the Edit menu. The Select dialog box appears. 5. Select the timecode heading from the list. 6. Click OK.
Bin Column Headings You can select individual or multiple headings to be displayed or hidden in a bin. Table 7-8 describes the Bin Column Selection headings. For a procedure on how to select column headings, see “Showing and Hiding Columns” on page 229. Table 7-8 Bin Column Selection Heading Description Name This heading does not appear as a column selection, but it always appears in the bin.
Table 7-8 Bin Column Selection (Continued) Heading Description Creation Date The date and time the clip was logged or digitized. Disk The last known drive on which the media for that master clip existed. Duration The length of the clip. End The timecode of the clip’s tail frame. FPS The play rate: the number of frames to be displayed each second. The default is 30 for NTSC and 25 for PAL for video. Film TC The timecode used on film. Used for 24p and 25p projects only.
Table 7-8 Bin Column Selection (Continued) Heading Description KN Start The starting key number for the clip. Used for 24p projects, 25p projects, and matchback projects only. Labroll The labroll containing the clip. Lock Specifies whether the clip is locked against deletion. Mark IN The timecode for the IN point, if you set one for the clip. Mark OUT The timecode for the OUT point, if you set one for the clip. Modified Date The date and time a sequence was last edited or changed.
Table 7-8 Bin Column Selection (Continued) Heading Description Soundroll The sound roll this clip came from. Used for 24p projects, 25p projects, and matchback projects only. Start The timecode of the clip’s head frame. TC 24 The 24-fps timecode. Used for 24p and 25p projects only. TC 25 The 25-fps timecode, no pulldown. Used for 24p and 25p projects only. TC 25P The 25-fps timecode with PAL pulldown. Used for 24p and 25p projects only. TC 30 The 30-fps timecode with 2:3 pulldown.
Using Frame View In Frame view, each clip is represented by a single frame, with the name of the clip displayed below the frame. The system uses the head frame as the default, but you can play back the footage within any clip and select any frame to represent the footage. You can make the pictures larger to see more detail, or smaller to see more clips in the window. You can also rearrange the frames in any order. You can also mark IN points and OUT points in Frame view.
Enlarging or Reducing Frame Sizes You can enlarge and reduce the sizes of the frames appearing on the screen to seven available sizes. You must enlarge or reduce all frames together. You cannot change the sizes of individual frames. To enlarge the frame size: t Choose Enlarge Frame from the Edit menu. The display size increases each time you choose this option, up to seven times. To reduce the frame size: t Choose Reduce Frame from the Edit menu.
Changing the Frame Identifying the Clip By default, Frame view displays the first frame of each clip in the bin. You can, however, choose a different frame. There are several ways to change the represented frame: • Use the J-K-L keys. • Press the Home key or End key on the keyboard. • Step or shuttle by using the mouse. For more information about playing footage, see “Controlling Playback” on page 378.
To align all frames to an invisible grid: t Choose Align to Grid from the Bin menu. To align selected frames to an invisible grid: t Choose Align Selected to Grid from the Bin menu. To space the frames evenly to fill the Bin window: t Choose Fill Window from the Bin menu. To arrange frames in the order in which they are sorted in Text view: t Choose Fill Sorted from the Bin menu.
You can use basic word processing procedures to highlight, delete, cut, copy, and paste text between script boxes. If the notes or script you type extend beyond the size of the script box, you can use the Page Up or Page Down keys on the keyboard to scroll through the text. Playing Clips in Script View Each clip is represented by a single frame in Script view. The head frame is the default, but you can play back the footage within any clip and select any frame to represent the footage.
Printing Bins The Avid application allows you to print entire bins or individual frames in hardcopy form. To print entire bins in Brief, Text, Script, or Frame view: 1. Make sure your printer is correctly set up. See the Windows Help or your system administrator. n To print a frame in Script or Frame view, you must use a printer capable of printing graphics. 2.
3. Choose Print Frame from the File menu. The Print dialog box appears. 4. Select the Print options. 5. Click OK (Windows) or click Print (Macintosh). The system prints the frame currently displayed in the active monitor. Gathering Format Elements While organizing your project, you can gather various format elements into a single bin that you can open and use later during editing.
bars. You can add the clip to the front of the sequence, or you can output the clip separately as an assemble or insert edit onto tape during recording of a digital cut. There are several ways to acquire a clip of bars, each with different advantages: • Digitize bars and tone from a house generator. This method requires the least effort with good results because you capture high-quality bars and tone simultaneously, with a minimum of calibration. Not all facilities, however, have a house generator.
3. Choose Import from the File menu. The Select Files to Import dialog box appears. Look In pop-up menu File browser File to import Options button 4. Choose one of the following items: - (Windows) Graphic from the Files of Type pop-up menu - (Macintosh) Graphic/Audio from the Show pop-up menu 5. Click the Options button to adjust the Import settings. The Import Settings dialog box appears.
6. Click the Image tab and select the following options: a. Select 601, non-square from the Aspect Ratio, Pixel Aspect area. b. Select 601 from the Color Levels area. c. Click OK to save the settings and close the dialog box. 7. Use the Look In pop-up menu (Windows) or the Directory pop-up menu (Macintosh) to navigate to the folder containing the test pattern file. Test pattern files are located in the folder: Organizing with Bins - (Windows) drive:\Program Files\Avid\Avid Media Composer\Suppo
n (Windows only) The location of the Avid folders is determined during the installation of Media Composer and Film Composer. These are the default folder locations. - (Macintosh) Media Composer:SupportingFiles:Test_Patterns folder on the Avid drive - (Macintosh) Film Composer:SupportingFiles:Test_Patterns folder on the Avid drive 8. Select a test pattern file for importing: t (Windows) Select a test pattern from the File browser. The file name appears in the File Name text box.
12. Select the new subclip, Ctrl+click (Windows) or Shift+click (Macintosh) the audio clip containing the tone, and choose AutoSync from the Bin menu. A new subclip containing bars and tone appears in the bin. 13. Rename the clip as necessary. Creating Leader Film editors traditionally use standard head and tail leaders for cueing and syncing material.
Once the leader is prepared, you can splice the leader during editing onto the tracks that you want to keep in sync. You can use the sync points for visually aligning tracks. Creating Audio Leader To create tail leader for audio tracks: 1. Load a clip that includes a section of digitized tone into the Source monitor. 2. Create a subclip according to your chosen specifications. 3. Name this new subclip Head Leader or Tail Leader. 4. Load this subclip into the Source monitor. 5.
Storyboard Worksheet Make preliminary preparations such as synchronizing picture and sound, converting audio timecode, and modifying clip data. Set the bin display to show only the media objects you will use for your storyboard. Narrow down the clip selection by deleting, moving, copying, sorting, and sifting clips. Select either Script view or Frame view to display your storyboard in the bin with or without a script box. Enter information into the script box, if necessary.
CHAPTER 8 Managing Media Files When you digitize footage, the system creates digital media files for the video and audio tracks on the media drives attached to your system. Bin tools allow you to organize the clips that reference the media files. In addition, your Avid system provides tools and features for directly managing media files for storage and playback efficiency, for backup, and for transfer between systems.
Avid recommends that you save media digitized from different releases of the Avid Composer Products software in different workspaces. For example, do not save Media Composer Release 7.2 media files in the same workspace as Media Composer Release 8.0 or later media files. Media from Media Composer Release 7.2 is not compatible with media from Release 8.0 or later.
Configuring Avid Editing Systems to Work with MediaManager You need to configure your Avid system before you can interact with MediaManager. You must specify the MediaManager location to let your Avid editing system know where to look for it on the network. After you specify these settings, you can check in clips to and check out clips from MediaManager. For more information, see the Avid Unity MediaManager Setup and User’s Guide.
When you use your Avid editing application with the LANserver, set up the client so that it recognizes LANshare workspaces when you start the Avid editing application. To allow the client to recognize workspaces when you start the Avid editing application: 1. Open a bin. 2. Double-click PortServer in the Settings scroll list of the Project window. The Port Server Settings dialog box appears. 3. Click Auto-connect at Launch. 4. Click Connect, and then click OK.
n • You can use the same Script view options described in “Using Script View” on page 254. • You can use Text View headings and options for columns of clip and media file data. You can also use procedures such as customizing the display of columns, moving within columns, and sorting information, as described in “Using Text View” on page 228. • The Media Tool Fast menu gives you quick access to the same commands available in the Bin menu.
• Unlike a bin, the Media tool does not display sequences and subclips. Only master clips, precompute (rendered effect) clips, and associated media files are available for display. • The following menu commands do not apply to the Media tool: Batch Digitize, Batch Import, Relink, Modify, AutoSync, and AutoSequence. You must perform these functions from a bin. Opening the Media Tool To open the Media tool: 1. Choose Media Tool from the Tools menu. The Media Tool Display dialog box appears.
2. Select the display options as follows: • n The Media tool loads the media database only for the drives you select. The more drives you select, the more memory is required for the Media tool to open. • n You can select individual media drives or all drives. You can display files for the current project, for selected projects, or for all projects. Only projects with associated online media and the current project appear in the Project(s) list in the Media Tool Display dialog box.
Deleting Media Files with the Media Tool You can use the Media tool to delete selected media files without harming the related master clips, subclips, and sequences. c If you use the Media tool to delete selected media files, you will no longer have access to visuals of the deleted material. If you load a clip for which a media file has been deleted, a black screen appears with the words “Media Offline.” If you need to use those clips again, you must redigitize from tape or reimport graphics.
4. Select the media objects that you want to delete: - Audio media file (A1, A2, A3, A4, A5, A6, A7, A8). The master clip linked to that file is silent. Subclips and sequences created from the master clip are affected in the same way. - Video media file (V). The master clip linked to that file is black, with the message “Media Offline” displayed. Related subclips and sequences are affected in the same way. - Precompute media file (V, A).
Freeing Storage Space To quickly view remaining storage on your media drives at any time, open the Hardware tool as described in “Using the Hardware Tool” on page 189. Unlike the bin files stored in project folders, media files require considerable storage space. When you finish either a rough cut or a final version of a sequence, you can quickly free storage space by deleting the media and clips that are not referenced by the sequence. This procedure is performed on clips selected in bins only.
Consolidating Media When you consolidate media files, the system finds the media files or portions of media files associated with selected clips, subclips, or sequences. It then makes copies of them, and saves the copies on a target drive that you specify. n Because the Media tool displays only master clips, you cannot consolidate subclips or sequences with the Media tool. You can consolidate master clips, subclips, and sequences in the bin.
The new master clips are also numbered incrementally beginning with .01. Consolidating master clips does not save storage space because the system copies the same amount of media for each clip. Consolidating a Master Clip Managing Media Files Original media files Link the master clip to new or old files. Master Clip.old.01 Master Clip Copy of media files Master Clip.new.
• Subclips: When you consolidate a subclip or group of subclips, the system copies only the portion of the media files represented in the subclip, and creates a new master clip that is the duration of the subclip and a new subclip. The file name extension .new is attached, along with incremental numbering beginning with .01. Consolidating a Subclip Original media files Master Clip • Subclipped copy of media files Subclip Master Clip.new.01 Subclip.new.
Consolidate finished sequences to: n - Create backup files - Preserve only the digitized media required for playback, and delete the rest to use less storage space - Gather dispersed media onto one drive for storage or transfer to another system Because a consolidated sequence is linked to the new files by default, consider duplicating the sequence each time you consolidate if you need to maintain links to the original files.
Using the Consolidate Command To consolidate master clips, subclips, or sequences: For more information on rendering effects, see the effects guide for your Avid system. 1. If you are consolidating a sequence, duplicate the sequence to maintain links to the original files, if necessary, and render any unrendered effects. 2. With the bin open, select the clips or sequence to consolidate. 3. Choose Consolidate from the Clip menu. The Consolidate dialog box appears. 4.
allows you to select separate drives for the audio and video media files. - “Delete original media files when done” to delete original media files automatically. - “Skip media files already on the target drive” if some related media files are already located on the target drive. - “Relink selected clips to target drive before skipping” to ensure that all selected clips are linked to media on the target drive. This option appears when you select “Skip media files already on the target drive.” 5.
10. Link the original master clips to the new or old media files, according to preference. 11. Click OK. Another way to back up media files is to copy them directly onto another hard drive by using the Windows desktop or the Macintosh desktop. You cannot, however, take advantage of the storage-saving features of the Consolidate command, and it is more difficult to identify particular media files when searching directly through folders.
application, and open the sequences bin only — the sequences might appear to be offline. • Consolidating: When you consolidate the master clips and relink them to the consolidated media while the sequences bin is closed, quit the Avid application, restart the application, and open the sequences bin only — the sequences might appear to be offline. To update the offline sequences with the new media files: t n c Choose Load Media Database from the File menu.
Backing Up Media Files The OMFI MediaFiles folders on your external media drives contain the individual media files created when you digitized source material. Unlike the smaller Avid Projects and Avid Users folders, these folders are too large to back up onto floppy disks. The options for backing up media files include: For information on archiving procedures, see your Windows documentation or Macintosh documentation.
You can use the archiving process to: • Archive completed projects that you can restore at a later date if you need to reedit the project. • Provide more space on the media drives for a new project. • Create backups of your project files. • Move a project to another workstation. When you archive a project, the source media files are archived to videotape, and then you save the project files. For information about saving the project files, see “Backing Up Your Project Information” on page 83.
Archiving Media Files Before archiving your media files to videotape, you must stripe the record tapes (record black and timecode for approximately 15 seconds after the bars and tone on the tape). For information about preparing record tapes, see the input and output guide for your Avid system. To archive a video project’s media files: 1. Set the Digital Cut tool as follows: a. Choose Digital Cut from the Output menu. The Digital Cut tool opens.
b. n Choose a deck from the Deck Selection pop-up menu. If the Select Tape dialog box appears, click Cancel to leave Tape Name unspecified. c. (Option) Select the Custom Preroll option and choose the number of seconds from the pop-up menu to indicate how many seconds the tape will roll before the archiving process starts. This option overrides the Preroll setting in the Deck Settings dialog box. d. (Option) Choose an aspect ratio for titles from the DSK Title Format pop-up menu. 2.
The Archive to Videotape dialog box appears. 7. Select the appropriate options in the Archive to Videotape dialog box. Table 8-1 describes the options listed in the Archive to Videotape dialog box. n If the clips or sequences that you want to archive are not highlighted in the active bin, Archive to Videotape appears dimmed in the Clip menu. 8. Click OK.
The Tape Lengths dialog box appears. The Archive Length area displays the calculated length of time required for archiving the media files. The archiving process might require more time than indicated because individual clips are not divided between tapes. 9. In the “Enter the quantity of tapes available for the archive” area, do one of the following: t Type the number of blank videotapes needed for the archive next to the length of time of your blank tapes.
n The archiving process uses the tapes in the order listed in the Tape Lengths dialog box. For example, if you type 10 in the 120 Minutes text box and 5 in the 60 Minutes text box, when you start the archive the Avid system will prompt you for each of the ten 120-minute tapes before using the five 60-minute tapes. 10. Click OK. The Digital Cut tool opens and becomes the active window. 11. Follow the instructions displayed in the message boxes to complete the archiving process.
Table 8-1 Archive to Videotape Options Option Description Archive Name Type a name for the archive in the Archive Name text box. ProjectArchive is the default name. The archive name is numbered incrementally beginning with 001 to indicate the order of the tapes. Start Timecode Type a value in the Start Timecode text box to set the starting timecode of the archive on the videotape. By default, the start timecode is set to 01:00:00:00.
After restoring an archive, any links to the original master clips are broken, and only the sequence and its new master clips are linked to the newly digitized media files. To restore an archive from videotape: 1. Copy the project files to the Avid Project folder. 2. Open the project in your Avid application. 3. Open the archived bin. 4. Choose Digitize from the Tools menu and set the following options on the Digitize tool: a. n Choose a deck from the Deck Selection pop-up menu.
The Restore from Videotape dialog box appears. 7. (Option) Select “Restore only those items for which media is currently unavailable” if you are repeating the restore process. Otherwise, deselect this option. 8. Click OK. The Digitize tool becomes the active window. 9. Follow the instructions displayed in the message boxes to complete the restore process. The Avid system redigitizes the archived sequences and clips, and relinks the selected clips and sequences to the new master clips. 10.
To find a related media file: 1. Select the clip in a bin for which you want to find the media file. The clip is highlighted. 2. Choose Reveal File from the File menu. The system searches all available drives, opens the Windows Explorer or the folder (Macintosh), and highlights related media files. Related media files (Windows only) If more than one file is related to the clip, a message asks if you want to see the next file.
Relinking Clips to Media Files or Bin Items You can relink clips and sequences to the original media files. You can also relink clips, subclips, and sequences to selected items in a bin. After you consolidate or move material between systems, the clips or sequences might lose their links to the original media files. When a clip becomes unlinked, it displays the message “Media Offline.” If the appropriate media exist online, you can use the Relink command to reestablish the link.
When you are finishing a sequence using a film-tape-film-tape workflow, use the Relink command. For more information, see the input and output guide for your Avid system. To relink clips, subclips, or sequences: 1. Select the unlinked object or objects in the bin. 2. Choose Relink from the Clip menu. The Relink dialog box appears. 3. Choose an option from the “Relink by” pop-up menu: t Choose “Key Number (KN Start) - picture only” to relink by using the key numbers.
t Choose “Source Timecode and Tape” to relink by using source timecode and tape name. 4. Select one of the following options: t Select “Relink offline non-master clips to any online items” to relink only offline clips and sequences to the master clips that contain the same material. t Select “Relink all non-master clips to selected online items” to relink related subclips and sequences (online and offline) to the highlighted online clip in the bin.
n To maintain the original capture settings for a subclip or sequence, use the Batch Digitize command; do not use the Relink command. Make sure you select the following options, located on the Batch tab of the Digitize Settings dialog box: “Digitize the tracks logged for each clip,” “Use the audio sample rate logged for each clip,” and “Use the video compression logged for each clip.” For information on batch digitizing, see the input and output guide for your Avid system.
7. Choose an option from the “Relink to media on volume” pop-up menu: n t Choose All Available Drives to search across all media drives that are online. t Choose a specific drive volume if you know the location of the media or if you want to relink to media on a specific media drive. When you select “Allow relinking to offline items,” all available drives are searched. 8. (Option) Select “Relink only to media from the current project.” 9. (Option) Select “Match case when comparing tape names.
For information on unlinking, see “Unlinking Clips from Media Files” on page 300. 2. Choose Relink from the Clip menu. The Relink dialog box appears. 3. Choose an option from the “Relink by” pop-up menu: t Choose “Source Timecode and Tape” to relink by using source timecode and tape name. t Choose “Key Number (KN Start) - picture only” to relink by using the key numbers. 4.
Unlinking Clips from Media Files You can use the Ctrl and Shift keys to modify the Relink command for unlinking clips from their media files. To unlink master clips from their current links: 1. Select the master clips to unlink. 2. Press Ctrl+Shift, and choose Unlink from the Clip menu. The clips are unlinked and display the message “Media Offline.” n Because subclips and sequences do not point directly to the media files, you can perform this procedure only by using the source master clips.
CHAPTER 9 Using Script Integration The lined script is traditionally used as a tool for managing scene and take information during postproduction on a dramatic feature film or television production. With the Avid system, script integration allows you to adapt the lined script to the digital realm for use in any type of production, from drama to documentary to spot advertising.
Line Script Basics The conventional lined script — which evolved during decades of trial and error in Hollywood — provides assistant editors and chief editors with a road map that helps them find the coverage they need to edit scenes in a film or television show. Traditionally, the continuity person creates the lined script on the set at the time of shooting. All notes are handwritten.
Explanation of Symbols Each vertical line drawn through the scene represents a single take from the moment the director says “Action” to the moment the director says “Cut.” Each scene might require several camera angles and positions, with one or more takes, all of which are lined and identified alphanumerically.
Lining in the Digital Realm Script integration in the Avid application provides a number of enhancements to this traditional system. These enhancements allow you to shorten dramatically the distance between the concepts captured on the page and the source materials used to assemble a finished program. Unlike the traditional lining of a script, digital script integration is usually performed after the shoot — by the assistant editor, for example — using the notes of the continuity person.
In addition to the standard lining conventions, script integration includes the following enhancements: • Slates: Takes are organized into slates that display a representative frame and clip name for the take that is currently selected. • Takes: The Takes tabs and lines extending from the bottom of each slate indicate the number of takes for that scene. Click a Takes tab to select the take.
3. The assistant editor uses the lined script from the shoot, a text file of the script itself, and methods described throughout this chapter to import and line the script, link clips to the script, place script marks, and customize the display of takes prior to editing. 4. The editor uses the fully prepared Script window to edit the program.
Narration track is synced to the script. All possible B-roll shots are ready to be loaded and cued. Color indicates preferred shots. Music cuts are linked to appropriate sections of the script. Script Window Basics This section describes basic procedures for creating and manipulating Script windows, including importing script text; navigating through the script; displaying clip information; opening, closing, and saving windows; and adjusting margins.
Script Settings Options You can modify Script settings in the Script Settings dialog box. To open the Script Settings dialog box: t Double-click Script in the Settings scroll list of the Project window. Table 9-1 describes the Script Settings options. Table 9-1 Using Script Integration Script Settings Options Option Description Font This option selects the font for imported scripts. Size This option selects the font size. The default is 12 points.
Importing a Script The first step in script integration is to import a script in the correct format. c The imported script must be in ASCII text format. To maintain the original formatting, however, export the script from your word processor by using the “Text Only with Line Breaks” option. If you export the script as “text” only, the formatting will be lost. To import a new script: 1.
4. Locate the file and double-click it, or select the file and click Open. - A script bin appears in the Bins list of the Project window. - The script, with its original layout, appears in the Script window. 5. Change the name of the script bin by clicking the title in the Bins list of the Project window, and typing a new name.
• Script window files are saved in the folder for the project along with bins, and backup copies are automatically stored in the Attic folder. • You can save a copy of the Script window by choosing Save a Script Copy As from the File menu. • You can use the Open command in the File menu to open additional Script windows and add them to the Bins list of the Project window. • You can use the Close command in the File menu to close Script windows.
n • Press the Home or End key to move to the beginning or end of the script. • Press the Up Arrow or Down Arrow key to move your line selection up or down by one line. You can also use several search features, as described in “Searching Through Script” on page 316. Adjusting the Script Margins You can resize a Script window at any time to show more script or to enlarge the right margin by dragging the size box in the lower right corner.
Changing the Font of the Script The default font and font size used in the script are established on import, based on the current Script settings. You can override the settings and change the font and size after importing the script. To change the font and size of imported script: 1. Choose Set Font from the Edit menu. The Set Font dialog box appears. 2. Choose a new font from the Font pop-up menu. The menu includes all fonts currently installed in the system. 3.
Selected lines are highlighted. To select several lines of script, use one of the following methods: t Lasso a portion of script to select it. Using Script Integration Lasso the first line of the selection and drag through the text. As you drag, a box outlines your selection.
Release the mouse button when you finish lassoing the chosen lines. The text is highlighted. t n Click the first line of the selection, and then Shift+click the last line. The entire block of text is highlighted. You can also extend a selection by pressing the Shift key and clicking a line of text preceding or following the current selection. Cutting, Copying, and Pasting Script You can cut, copy, and paste text in the script just as you would in a normal word processor.
5. Make a choice based on your needs: t Click Replace to overwrite the selected line. t Click Insert Before to insert the text above the selected line. t Click Insert After to insert the text below the selected line. The text is pasted into the script. Removing Script Text You cannot delete lines of text from the Script window by using the Delete key as you would in a normal word processor. Use the Cut command to remove the text. To remove lines of script: 1.
Using Page and Scene Numbers When you add page and scene numbers to the Script window, you gain the ability to search for them during preparation of the script and during editing. You can customize page and scene numbering by adding, changing, and moving the numbers as necessary. Adding a Page or Scene Number To add a page or scene number: 1. Select the line of the script at the beginning of the scene or page. 2.
Scene and page numbers both appear in the status bar at the bottom of the Script window, and reflect your current position within the script. Each scene or page number will continue throughout the script until you mark another line as the beginning of a new scene or page. Changing a Page or Scene Number You can change a scene or page number to correct any errors that occur when adding numbers, and to reposition scene and page numbering to match script changes during postproduction.
3. Select the options for Delete scene or Delete page break(s) as appropriate, and click OK. The numbering is deleted from the Script window. Searching for a Page or Scene Number Once you have added scene and page numbers, you can search for them quickly during editing. To search for a page or scene number: 1. Choose Go To Page or Go To Scene from the Script menu. n You can also click on the page or scene display in the status bar at the bottom of the Script window.
4. Click OK. The first occurrence of the text is highlighted in the Script window. 5. Choose Find Again from the Edit menu to search for the next occurrence of the text. Linking Clips to the Script To link clips to the script: 1. Open the script bin by double-clicking the script bin icon. 2. Open the source bin for the clips that you want to link to the script. 3.
Drag a clip or several clips to the highlighted text. A slate frame appears above the text, with one or more of the takes covering the scene as lines. The slate appears. 6. Continue to apply clips to additional portions of the script until you have finished creating all your slates. Alternatively, you can create slates one at a time, place script marks, and fine-tune the lining of each scene before proceeding to the next portion of the script.
Interpolating Position for Script Integration Interpolate Position matches a clip to a take and allows you to see where a particular line in the script would appear in the clip footage. When you turn on Interpolate Position, the length of the take in the script is matched to the length of the clip in the Source monitor. The position indicator in the Source monitor corresponds to wherever you click in the take.
Selecting Slates To select slates, do one of the following: n t Click a slate to select it. t Shift+click additional slates to select all the active takes. t Drag a lasso through a region of the script containing slates. All slates and takes within the lasso are selected. Selecting multiple slates is especially useful when you are adding or deleting color or off-screen dialog indicators across takes, as described in “Manipulating Takes” on page 328.
Holding Slates On Screen in the Script Window When you are working with slates in the Script window, you can choose to hold slates on screen. As you scroll a script in the Script window, each slate will remain on screen as long as the take lines to which it is linked remain on screen. You can activate this feature when the Script window is open. You can also modify the Script settings so that slates always hold on screen in the Script window.
Hiding Slate Frames By default, the system displays a representative frame for each take in the slates. You can hide this frame display and show only the clip name to simplify the interface or speed up scrolling and movement in a complex Script window. To hide the slate frames: t Choose Show Frames from the Script menu. The Script window shows only the clip names for the takes. To restore the frames: t Choose Show Frames again.
Showing One Take Per Slate You can display only one representative take per slate to minimize clutter on the screen. To show one take per slate: t Choose Show All Takes from the Script menu. The Script window shows only the first take in each slate. A single take is shown. To display all the takes: t Using Script Integration Choose Show All Takes again.
Moving a Slate You can adjust the position of slates to make room for more slates, to avoid blocking words, or to display takes over specific lines. To move a slate, use one of the following methods: n t To move a slate horizontally, click the slate and drag it to the left or the right. (If necessary, resize the Script window by dragging the size box.) t To move a slate vertically without moving the position of the take lines in the script, click the slate and drag it up or down.
To delete a slate: 1. Select all the takes in the slate by pressing the Shift key and clicking the tab for each take. 2. Press the Delete key. The Delete dialog box appears. 3. Click the Delete Takes check box, and click OK. The slate and all its takes are deleted from the script. Manipulating Takes Script integration provides a number of tools and techniques for manipulating the relationship between lined takes in the Script window and their source clips, as described in this section.
Adding Takes To add another take to an existing slate: 1. Select the region of the script that the take covers. 2. Open the bin where the clip for the take is located. 3. Drag the clip to the slate. The new take appears in the slate and is applied to the selected region of the script. n You need to manually adjust the take lines if the new take covers a different region than the existing slate. See “Adjusting Take Lines” on page 331.
Displaying Take Numbers To display the take numbers in the tab of each take: t Type the numbers in the Take column of the source bin for the clips. Numbers in the Take column appear in the tabs for each take. Changing the Representative Frame for a Take To change the representative frame that appears in the slate for a take: 1. Select the Takes tab in the Script window. 2.
Loading Takes To load individual takes into the Source monitor: t Double-click any Takes tab. To load multiple takes into the Source monitor: t Select multiple takes, and then double-click any take you selected. Playing Takes To play back a take, do one of the following: t Double-click a take to load it into the Source monitor, and then click the Play button or press the Play key. The clip plays back and stops when it reaches the end.
To change the length of a take line: 1. Press the Ctrl key (Windows) or the k key (Macintosh). Notice the movement icon that appears when you place the pointer at either end of the take. 2. Click the end mark or beginning mark of a take and drag it until you reach the correct line in the script. 3. Press the Ctrl key (Windows) or the k key (Macintosh) and drag the opposite end of the take to a new location, if necessary. 4. Repeat the procedure for other takes in the slate as necessary.
Using Color Indicators You can use color to indicate several pieces of information, including: • Preferred takes or takes used in the current active sequence • Picture versus audio track used in the current active sequence • Line changes in dialog • Use of multiple cameras To apply color to takes: 1. Choose a color from the Color submenu of the Script menu. 2. Select the region of the script that covers the range within the take or takes that you want to highlight with color. 3.
Using Script Marks Script marks allow you to synchronize individual lines of script with matching points in digitized clips. When you place a mark in the script, an IN point also appears in the clip when you load it into a monitor for editing. This provides line-by-line control over alternative takes that the editor can instantly load and edit into the sequence. You can place script marks one take at a time, or you can automate the process of screening and marking selected takes in a playback loop.
The take is selected in the slate, the chosen line of the dialog is highlighted, and the clip loads into the Source monitor. 3. Click the Play button or press the Play key. The take plays in the monitor. Alternatively, you can step (jog) or shuttle through the footage, place the position indicator on the exact frame, or scrub the audio to find the exact line of dialog. The clip does not have to be playing. 4.
To use automated screening and marking: 1. Select one or more takes. 2. Click the Record button in the Script window toolbar. The first selected take changes to green in the Script window, the system automatically loads the clip into the Source monitor, and the clip begins to play. Several takes are selected for automated playback. Current playback is highlighted in green. 3. As you hear a line of dialog (or see a particular clip) that you want to mark, click the matching line in the Script window.
t Use variable-speed play controls (J-K-L keys on the keyboard) to shuttle, step, or pause during playback. t Press the Tab or Shift+Tab keys on the keyboard to begin playback of the next or the previous take. As each take reaches its end, the system automatically loads and plays the next take. 5. Continue to place marks until all takes have been screened. 6. To stop the playback loop, press the space bar.
Moving a Script Mark When you move a script mark up or down, the mark in the source clip remains at the same frame, but is resynced to a new line in the script. To move a script mark: 1. Press the Ctrl key (Windows) or the k key (Macintosh). Notice the movement indicator that appears when you move the pointer to a mark in the script. 2. Click the mark and drag it to the new position.
Finding Clips and Script After you have placed script marks, which synchronize lines in the Script window to frames in the source clips, you can use the Find Bin or Find Script buttons to search back and forth between the two items. Finding Script The Find Script button allows you to quickly match back from currently loaded clips to portions of script in the Script window to which the clip has been linked. To find the script linked to a loaded clip: 1.
To find source clips and bins: 1. Select the takes that you want to find. 2. Click the Find Bin button in the Script window toolbar. The system searches through bins linked to the project, opens the bin containing the linked clips, and highlights them in the bin. Editing with the Script Window Using the Script window in combination with the Single Mark Editing feature, you can edit in a highly streamlined manner.
Assembling a Rough Cut To quickly assemble a rough cut from the Script window: 1. Open the Script window for the current cut. 2. Double-click the first preferred take and load it into the Source monitor. The IN point is already marked and cued. 3. Play the take until the appropriate OUT point is reached, and stop play. 4. Click the Splice-in or Overwrite button to make the first edit. 5. Prepare the sequence for the next edit: a. Create new tracks, if necessary. b.
with accuracy, you should carefully mark the ranges of script during the screening and marking phase. To splice a range: 1. Mark an IN point or place the position indicator at the location in the sequence where you want to splice in the segment. 2. Press the Ctrl key and Alt key (Windows) or the Ctrl key (Macintosh). Notice that the Splice-in arrow appears when you point to a take. 3. Double-click the preferred take within the range of dialog that has been marked.
Sequences cannot be loaded into the Script window. Instead, you can perform a video mixdown and load the resulting master clips. For more information, see the input and output guide for your Avid system. • Match back and cue source material to compare alternative takes. • Quickly find and open bins for retrieval of additional material not included in the Script window. • Enlarge script font and slate frames for better viewing by your audience.
Using Script Integration
CHAPTER 10 Viewing and Marking Footage Before making your first edit, you can review your footage, add locators and comments to clips, mark IN to OUT points, and create subclips. By viewing and marking your material in advance, you can concentrate on editing and refining your sequence at a later time without having to pause and set marks each time you load a new clip.
Customizing the Composer Window The Composer window is central to the editing process, providing all the essential controls for viewing, tracking, marking, and editing source and record footage. In Source/Record mode, the Composer window includes the Source and Record monitors. The upper region of the screen constitutes Source/Record mode. You can also display a single Playback monitor in the Composer window.
Composer window Playback monitor Timeline window Source/Record Mode button Customizing the Composer Window
Source/Record mode Composer window Source and Record monitors Timeline window Use the Composer Settings dialog box and various menus within the Composer window to configure displays and functions in the Source monitor, Record monitor, and Playback monitor. You can learn about Composer settings as follows: • For information on Composer settings, see “Understanding Composer Settings” on page 362.
- Phantom Marks option (see “Using Phantom Marks” on page 433) - Options for creating tracks in the Timeline (see “Adding a Track” on page 502) In addition, you can: • Map various buttons onto command palettes or the keyboard, as described in “Understanding Button Mapping” on page 179. • Display or hide labels on buttons by using Interface settings, as described in “Reviewing Basic Settings” on page 118.
To enable the 16:9 display: 1. Double-click Composer in the Settings scroll list of the Project window. The Composer Settings dialog box appears. 16:9 Monitors option 2. Click the 16:9 Monitors check box in the Window tab. 3. Click OK. n To view the footage on a full-screen monitor, you need a 16:9 compatible full-screen NTSC or PAL monitor.
The picture will be larger. Any masked letterbox area at the top and bottom of the footage will be smaller or might not be visible once it is set to 16:9. Displaying Tracking Information Tracking information consists of any type of format used to identify clips, audio and video tracks, individual frames, or footage durations while you work. The Avid interface displays this information above the monitors in the Composer window. See Figure 10-1.
By default, the tracking information area displays no information until you select a tracking format. In addition, there is no display of tracking data when there is no material loaded in the monitor. If you load a clip and no information is currently displayed, you can still open the menu by clicking in the area above a monitor. To choose a tracking information format: 1. Load a clip or sequence into the monitor. 2.
Tracking Format Options The Tracking Information menu contains options for information to be displayed above the monitors. Table 10-1 describes the tracking format options. Table 10-1 Tracking Format Options Option Description Mas Displays master timecode at present location. Dur Displays total duration of the sequence. I/O Displays duration between IN and OUT points. Abs Displays absolute time duration at present position. Rem Displays time remaining at present position.
The option you select from pane 1, pane 2, or pane 3 is displayed above the monitor. The following is a summary of the contents of the menu: Tracking Information menu Pane 1 Pane 2 Pane 3 Pane 4 • Pane 1 lists options for summary information, such as master timecode (Mas), duration of the entire clip (Dur), IN to OUT duration (I/O), absolute timecode (Abs), and time remaining (Rem). The format type that you select from pane 4 determines the tracking format to be displayed.
• n Pane 2 lists the tracks with the type of information you selected from the pane 3. This list contains only information for the tracks existing in the currently loaded clip or sequence. For example, a clip with only one audio track does not show an option for A2. The item you select in pane 2 is displayed above the monitor. The items listed in pane 2 and pane 3 of the Tracking Information menu vary depending on the display information you select.
• Pane 4 lists tracking formats, such as timecode in hours, minutes, seconds, and frames (Timecode), feet and frames for 24p and 25p projects (Footage), a sum total of frames for either film or video (Frames), or None, which leaves the display area blank. Selecting an option in pane 4 affects the items in pane 1. When you are working with a 24p or 25p project, the Timecode submenu allows you to choose an output timecode format, and the Footage submenu allows you to choose a supported film type.
Only fields with data will be displayed. 3. Drag the window to a new location to leave the window open. The Info window opens. As you move the position indicator through the sequence in the Playback monitor, the information in the Info window is updated. To display information about a sequence in the Record monitor: 1. Place the pointer in the gray area above the Overwrite button. 2. Press and hold the mouse button to open a pop-up window with sequence information.
3. Drag the window to a new location to leave the window open. The Info window opens. As you move the position indicator through the sequence in the Record monitor, the information in the Info window is updated. To display information about a clip or sequence in the Source monitor: 1. Place the pointer in the gray area above the Splice-in button. 2. Press and hold the mouse button to open a pop-up window with clip or sequence information. 3.
For information on changing the sequence name or starting timecode, see “Changing the Sequence Name and Timecode” on page 419. Copying Text from the Info Window You can cut, copy, and paste information from the Info window anytime, but you cannot edit or change any information within the window. To copy text from the Info window: 1. Click the pointer and drag it over the information you want to copy. 2. Press Ctrl+C (Windows) or k+C (Macintosh) to copy the information. 3.
When displaying TC 30 source or M 30 timecodes, the pulldown phase for NTSC reference is displayed. To set a timecode display in the Timecode window: 1. Choose Timecode Window from the Tools menu. The Timecode window opens. Close button Resize display 2. (Option) Drag the lower right corner of the Timecode window to adjust the display size. 3. Click anywhere in the Timecode window to display the Timecode pop-up menu. 4. Choose a display option from the Timecode pop-up menu.
Table 10-2 Timecode Display Options Option Description Mas Displays master timecode at present location. Dur Displays total duration of the sequence. I/O Displays duration between IN and OUT points. Abs Displays absolute time duration at present position. Rem Displays time remaining at present position. TC, TC 24, TC 25, TC 25P, TC 30 For 24p and 25p projects only. Includes a submenu listing the source tracks of a specific track (V1, A1, A2, and so forth).
Displaying Multiple Timecodes To display multiple timecodes in the Timecode window: 1. Choose Timecode Window from the Tools menu. The Timecode window opens. 2. Click anywhere in the Timecode window to display the Timecode pop-up menu. 3. Choose Add Display from the pop-up menu. A new line appears in the window. 4. Click the new line to display the Timecode pop-up menu. 5. Choose an option from the Timecode pop-up menu. For a description of these options, see Table 10-2.
Table 10-3 Composer Settings Options — Window Tab Option Description First (lower) Row of Info When this option is selected, the system displays one row of tracking, duration, and clip or sequence title information above the Source and Record monitors. Second Row of Info When this option is selected, the system displays a second row of information above the first row. The second row includes Fast Menu icons, duration information, and when applicable, ganging and multicamera icons.
Color Framing Options (Edit Tab) Use the Color Framing options in the Edit tab of the Composer Settings dialog box if you are going to do online editing using 1-inch, reel-to-reel sources. The options enable the system to check each edit in a sequence as you edit, ensuring that transitions do not cut between the four fields (two frames) required to create a complete NTSC color-sync signal phase (or the eight fields — four frames — required for PAL). Table 10-4 describes the Color Framing options.
Miscellaneous Composer Options (Edit Tab) Table 10-5 describes the miscellaneous Composer settings options in the Edit tab of the Composer Settings dialog box. Table 10-5 Miscellaneous Composer Settings Options — Edit Tab Option Description Sync Point Editing (Overwrites) When this option is selected, the system overwrites material onto your sequence so that a particular point in the source material is in sync with a particular point in the sequence.
Fast Forward and Rewind Options (FF/REW Tab) Table 10-6 describes the Fast Forward and Rewind options in the FF/REW tab of the Composer Settings dialog box. n The Fast Forward and Rewind buttons in the Avid system monitors behave differently from the equivalent buttons on a tape deck. When you have a sequence loaded in a monitor, the Fast Forward or Rewind button causes a jump (forward or backward) to the next edit that is common to all selected tracks in the Timeline.
Using the Tool Palette The Tool palette provides additional buttons for editing and navigating with your Avid system. The Tool palette buttons can appear with or without labels and you can “tear off” the Tool palette to display it in another screen location. You can also map other functions and buttons to the Tool palette for easy access. See “Using the Command Palette” on page 178. To access a button in the Tool palette: 1. Click the Fast Menu button in the Composer window or on a pop-up monitor.
To display labels on the Tool palette buttons: 1. Double-click Interface in the Settings scroll list of the Project window. The Interface dialog box appears. 2. Select Show Labels in Tool palette. 3. Click OK. Labels appear on the buttons under the icons. Viewing Methods You can work with clips and sequences in several ways, depending on your needs and preferences.
Source monitor with clip loaded • Record monitor with sequence loaded Viewing in pop-up monitors: You can load several clips into pop-up monitors to view and mark clips in smaller, movable windows. See “Loading and Clearing Footage” on page 371.
• Viewing in the Timeline: Use the Timeline to view individual tracks for either a sequence or a source clip. Click the Toggle Source/Record in Timeline button to switch between displaying the sequence tracks and the source tracks.
Playing Selected Clips in a Loop You can view several clips one after another in a continuous loop by choosing Loop Selected Clips from the Bin Fast menu. This feature is useful if you want to view several versions of the same scene. While playing the loop, you can jump to the next clip by pressing the Tab key or jump to the previous clip by pressing Shift+Tab. To play several clips in a continuous loop: 1. Select the clips in the bin that you want to play in a loop. 2.
Loading Footage into the Playback and Pop-up Monitors To load a sequence into the Playback monitor or pop-up monitor: 1. Alt+click the Source/Record Mode button to display the Playback monitor. 2. Open a bin and locate the sequence. Press and hold the Alt key, and then double-click the sequence to reverse the outcome. 3.
• New Pop-up monitor: The clip or sequence loads into a pop-up monitor. You can also load a sequence into the Source monitor (for editing into another sequence, for instance) by dragging the sequence from the bin to the monitor. You can load a single clip into the Record monitor by pressing the Alt key (Windows) or Option key (Macintosh) and dragging a single clip into the Record monitor. The clip will appear at the position of the position indicator in the Record monitor.
You can also load a series of clips into the Record monitor to create an instant sequence (rough cut) by pressing and holding the Alt key (Windows) or Option key (Macintosh) while dragging the clips from the bin to the Record monitor. For more information, see “Creating an Instant Rough Cut” on page 426. Using the Clip Name Menus When you have clips loaded into a monitor, you use the Clip Name menu located above each monitor to switch between various loaded clips, or to clear clips from monitors.
To switch between clips: 1. Click the name of the current clip displayed above the monitor to reveal the Clip Name menu. The list in the lower portion of the menu contains a list of all the clips or sequences currently loaded in the monitor. The lower portion of the Clip Name menu contains a list of loaded clips. 2. Choose a different clip name from the menu. The selected clip will replace the current clip in the monitor display.
To clear the monitor or the clip names from the menu: 1. Click the monitor to select it. 2. Click the name of the clip currently displayed above the monitor to reveal the Clip Name menu. 3. Choose one of the following commands: - Clear Monitor removes the displayed clip from the screen, leaving black. The clips are still loaded. - Clear Menu deletes the list of all loaded clip names and leaves only the clip currently displayed.
To hide the video in a monitor: 1. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the monitor. 2. Choose Hide Video from the shortcut menu. The video disappears. Only the position bars, the editing buttons, and the information portion above the monitors are displayed. To redisplay the video in the monitor: 1. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the monitor. 2. Choose Hide Video again.
Customizing the Playback Monitor Size You can switch between the full-size Playback monitor and a smaller custom size. To change the size of the Playback monitor: 1. Click the Playback monitor to make it active. 2. Drag the lower right corner of the window to the new, smaller size that you want. The monitor is displayed with the new size. To switch back to the full-size Playback monitor: 1. Right-click the Playback monitor. 2. Choose Full Size Video from the shortcut menu.
Using Position Bars and Position Indicators You can quickly access frames within a clip that has been loaded into a monitor or move through the footage by using the position indicators that appear in the position bars under the monitors, and in the Timeline when you are viewing a sequence. • You can move the position indicator within the position bar by clicking anywhere in the position bar or by dragging the position indicator to the left or right.
• You can go directly to the beginning or end of a clip or sequence by clicking at the far left or far right of the position bar or the Timeline, if the entire sequence is shown in the Timeline. Using Buttons You can use the user-selectable buttons that appear below the Source and Record monitors and in the pop-up monitors to play and step through your footage. You can also use the keyboard to manipulate footage.
You can map the Play Reverse, Stop, and Pause buttons from the Play tab of the Command palette. All of these buttons are mapped to the keyboard. For more information, see “Using the Keyboard” on page 383. n During playback, the Play button also acts as a Stop button. When viewing sequences in the Source monitor, Record monitor, or Playback monitor, you can play only video and audio tracks that are currently monitored in the Track Selector panel.
Step Buttons You can also use the Step buttons under the monitors to play the clip backward or forward in 1-frame to 10-frame (NTSC and PAL) or 1-frame to 8-frame (24p) increments. When you have a single row of buttons displayed under your monitors, the Step Forward and Step Backward buttons appear.
n You can map the Step Forward One Field and Step Backward One Field buttons to any monitor Command palette, Tool palette, or the keyboard. For information on mapping buttons, see “Using the Command Palette” on page 178. To use single-field step: Step Forward One Field Step Backward One Field 1. Click the Step Forward One Field or Step Backward One Field button, which are available in the Move tab of the Command palette and can be mapped to any Tool palette.
To view your keyboard settings: t n Choose Keyboard from the Settings scroll list of the Project window. The keyboard settings vary depending on the type of keyboard attached to your Avid system. Figure 10-2 shows the keyboard settings for a keyboard used in the United States. If an Avid-supported European keyboard is attached to your Avid system, then the keyboard settings will match that keyboard.
To shuttle through the footage using the J-K-L keys on the keyboard: 1. Do one of the following: t Load a clip or sequence into the Source or Record monitor. t Open a pop-up monitor. t Select a clip in a bin in Frame view. 2. Use the following keys to shuttle at varying speeds: t Press the L key to move forward through the footage at normal speed. Table 10-7 shows how you can increase the speed.
Home, End, and Arrow Keys You can also use the Home, End, and arrow keys (located to the left of the numeric keypad) to move through footage when a clip or sequence is loaded in a monitor. • The Home key takes you to the beginning of a clip or sequence. • The End key takes you to the end of a clip or sequence. • The Left Arrow key moves the footage one frame backward. • The Right Arrow key moves the footage one frame forward.
Shuttling with the Mouse To shuttle using the mouse: 1. Do one of the following: t Load a clip or sequence into the Source or Record monitor. t Open a pop-up monitor. t Select a clip in a bin in Frame view. 2. Do one of the following: t Press the semicolon (;) key to activate mouse control for shuttling. t Click the Mouse Shuttle button, which is available in the Play tab of the Command palette and can be mapped to an editing button under the Record monitor. 3.
Marking and Subcataloging Footage You can speed the editing process by marking clips with IN and OUT points, by subcataloging using locators, and by creating subclips. When subcataloging, you might want to create or open additional bins for storing and isolating specific subclips, marked clips, or sequences, as described in “Using the Bins Display” on page 100.
t Press the Mark IN key when marking a clip in a bin. (The Mark IN key does not stop playback.) In the Source or Record monitor, the Sawtooth icon indicates the mark IN frame. Marked IN point 4. Continue playing, stepping, or shuttling through the material. 5. Mark an OUT point by doing one of the following: t Click the Mark OUT button under the monitor to mark an OUT point and stop playback. t Press the Mark OUT key when marking a clip in a bin.
Moving IN to OUT Points You can move IN, OUT, Mark IN, Mark OUT, Audio Mark IN, or Audio Mark OUT points in the position bar of any monitor to a new location. To move a mark icon: 1. Alt+click (Windows) or Option+click (Macintosh) the mark icon. The pointer changes to the hand pointer. 2. Drag the mark icon to a new location, and release the mouse button. Marking an Entire Clip or Segment Use the Mark Clip button to select an entire clip or an entire segment from a sequence.
Creating Subclips When you mark footage with IN and OUT points, you can either save the entire clip along with the new marks, or you can create subclips based on the marks you set to break up longer master clips into smaller segments of selected footage. This procedure is similar to creating a pull reel of the selects or circle takes of your best footage before editing. Unlike outtakes, however, subclips do not directly reference the original media.
the Make Subclip button, a dialog box allows you to select the destination bin for the subclip. The new subclip will be listed in the bin, preceded by a subclip icon and identified with a numbered .Sub file name extension, as shown in the following illustration. A new subclip as referenced in Text view For more information on trimming, see Chapter 13. Subclips do not limit your access to the original, digitized master clip material when trimming.
work the subclip into an edit. For more information about adjusting audio sync, see Chapter 15. Marking Audio Clips You can mark audio and video separately for an edit by using the Audio Mark buttons. This feature is useful for creating an overlap edit for an audio clip. To mark IN and OUT points on audio tracks: 1. Load a clip or sequence into a monitor. 2. Select the tracks corresponding to the cuts you want to mark. 3. Place the position indicator where you want to mark the audio clip.
You can map Add Locator buttons, as described in “Understanding Button Mapping” on page 179. There are eight Add Locator buttons in the More tab of the Command palette. Each Add Locator button is a different color, which allows you to group locators by color. For example, you can use the red Add Locator button to identify color correction frames and use the blue Add Locator button to identify cutaway shots. Ways to Use Locators There are many possible uses for locators and the Locators window.
• Viewing reviewer comments: Use the Locators window to view reviewer comments and the specific frame. See “Understanding the Locators Window” on page 399. • Print a list of reviewer comments: Use the Locators window to print a list of changes or comments that you can distribute to other people in the production. See “Understanding the Locators Window” on page 399. When you insert a locator, it appears as an oval in the Timeline, in the position bar, and at the bottom of the frame in the monitor.
3. Cue to the frame and click an Add Locator button. The Add Locator buttons are in the More tab of the Command palette. The locator oval appears in the Timeline, in the position bar, and at the bottom of the frame in the monitor. 4. Double-click the locator in the position bar under the monitor or click the large oval on the frame in the monitor. The Locators window opens. Locator information area Comment entry area 5.
8. To go quickly to a frame with a locator while editing, use the Find command in the Edit menu to search for a particular comment. If you select the “Copy Source Locators” option in the Edit tab of the Composer Settings dialog box, locators are copied from the Source monitor to the Record monitor when you edit clips and sequences. Copying Locators from Source Clips You can copy all locators currently placed in source clips directly into the sequence as you edit.
Moving to the Previous or Next Locator You can move to a frame marked by a locator by using the Go to Previous Locator button or the Go to Next Locator button. To move to the previous locator: t Click the Go to Previous Locator button in the Move tab of the Command palette. To move to the next locator: t Click the Go to Next Locator button in the Move tab of the Command palette. Deleting Locators You can delete locators in the Timeline or position bar, or by using the Locators window.
Understanding the Locators Window The Locators window allows you to quickly add comments, go to locator marks, delete locators, and print a list of locators in the currently loaded clip or sequence. Many features of the Locators window are similar to those of the Bin window. You can use the Locators window to: • Find information about each locator. • Access the Locators Fast menu, which allows you to: • - Modify and sort the display. - Display frames for easy visual reference.
The following illustration shows a Locators window with three locators. Locator information area Comment entry area Fast menu To view locators in the Locators window: 1. Load the sequence containing the locators. 2. Choose Locators from the Tools menu. To explore the Locators window: • Press the Tab key to switch between the locator information area and the comment entry area. • Press the Up Arrow and Down Arrow keys to select locators in the locator information area.
Sorting Information in the Locators Window You can sort or reverse-sort the locators by using the locator information area in the Locators window. To sort the locators in ascending order: 1. Select the column that you want to sort. The column is highlighted. 2. Choose Sort from the Locators Fast menu. The locators are sorted. To sort the locators in descending order: 1. Select the column that you want to sort. The column is highlighted. 2.
To change the color of the locator icon: 1. Select a locator in the locator information area of the Locators window. 2. Choose a color from the Locators Fast menu. The icon color of the selected locator changes to the new color. Accessing a Locator in a Clip or Sequence From the Locators window, you can go to the frame in the clip or sequence that is marked by the locator. To go to a locator in a clip or sequence: t Double-click a locator in the locator information area of the Locators window.
4. Select the Page Setup options. 5. Click OK. 6. Choose Print from the File menu. The Print dialog box appears, reflecting the specific options for your printer. 7. Select the Print options. 8. Click OK. The system prints the current view of locator information. To print the complete contents of the Locators window: 1. Make sure your printer is correctly set up. 2. Click the Locators window to make it active. 3.
Deleting Locators Using the Locators Window You can use the Locators window to delete a single locator or multiple locators. To delete locators by using the Locators window: 1. Select the locators in the locator information area of the Locators window by doing one of the following: t Click a single locator. t Ctrl+click (Windows) or Shift+click (Macintosh) multiple locators. 2. Press the Delete key. The selected locators are removed.
Using Timecode to Find a Frame You can cue a loaded clip or sequence to a specific frame by typing timecode values into the numeric keypad on the right side of the keyboard. In addition, you can cue backward or forward from the current location in the clip or sequence by a specified number of minutes and seconds, or feet plus frames, by using positive or negative frame-offset values.
In this example, the interface displays master timecode. Use one of the following formats: Master track Type a master timecode to find a frame in the sequence. t SMPTE timecode — Use two digits each for the hours, minutes, seconds, and frames. For example, type 01230200 to enter 01:23:02:00. t Current timecode — To find a timecode that starts at the same hour, minute, or second as the current timecode, type only the last digits.
3. Type a number for the frame offset, and then press Enter on the numeric keypad. Use the following formats: n - One or two digits — Type 1 through 99 to specify a number of frames forward or backward. For example, type –42 to move backward 42 frames. - Three digits — Type 100 or greater to move forward or backward a specified number of seconds and frames.
The Find Text dialog box appears. 3. Enter part or all of the text for which you are searching. If the exact text is unknown, enter only a known word or portion of a word. 4. Select one or more options: - Locators causes the system to search for matching text entered into Locator comments only. - Clip Names causes the system to search for matching text in Clip names only. - Timeline Text causes the system to search for matching text in any clip text displayed in the Timeline. 5. Click OK.
Using Match Frame The Match Frame feature allows you to locate the source clip (a master clip or subclip) for the frame currently displayed in either the Record monitor or the Source monitor. This feature is useful when you want to relocate and reedit source material, such as subclips and master clips. Match framing loads the source clip into the Source monitor for the frame currently displayed in the active monitor (Record monitor or Source monitor).
To locate the source clip for a selected frame or motion effect: 1. Load a sequence into the Record monitor or a subclip into the Source monitor. 2. Move the position indicator to the frame or motion effect that you want to match. 3. In the Track Selector panel, select the track for the frame that you want to match. For more information about track selection when matching frames, see “Selecting Tracks for Matching Frames” on page 411. 4. Do one of the following: t Click the Match Frame button.
3. Select the appropriate tracks in the Timeline. For more information about track selection when matching frames, see “Selecting Tracks for Matching Frames” on page 411. 4. Click the Reverse Match Frame button in the Other tab of the Command palette. n For easier access, you can map the Reverse Match Frame button to a tool palette or the Keyboard palette. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 181.
Finding a Bin With a clip or sequence loaded into a monitor, you can quickly find the original bin in which it is stored by using the Find Bin button. Clicking this button finds the bin, opens it, and highlights the clip or sequence within the bin. This works for sequences, subclips or clips within sequences, or clips in the Source monitor. To find the bin in which a specific clip is located: 1. Load a clip into the Source monitor. 2. Click the Source monitor to activate it. 3.
Locating a Master Clip from a Subclip in a Sequence To find the original clip in the bin for a subclip that has been edited into a sequence, you can use the Match Frame and Find Bin buttons together. n For this operation, you must have the Match Frame button mapped below both the Source and Record monitors. To locate a master clip from a subclip: 1. Cue to the subclip in the sequence. 2. Click the Match Frame button to load the subclip into the Source monitor. 3.
To find a frame: 1. Make sure the source deck is properly connected to the system, and load the clip or sequence. 2. In the Timeline or position bar, place the position indicator on the frame you want to find. 3. Click the Find Frame button in the Other tab of the Command palette. If the tape is not in the deck (for example, you do not know which tape the footage is on), a dialog box prompts you to insert the appropriate tape. 4. Insert the tape.
CHAPTER 11 Editing in Source/Record Mode In addition to finishing projects created on offline systems, your Avid system provides tools designed to help you create new sequences. After you have viewed and marked your clips or created subclips, you are ready to create a sequence.
n Illustrations of the Composer window show two button rows, two information rows, and the Center Duration display. For more information, see “Customizing the Composer Window” on page 346. Entering Source/Record Mode Source/Record mode is the default editing mode. It is composed of the screens and controls shown when the Source monitor and Record monitor are displayed in the Composer window. Use Source/Record mode to create new sequences from source clips.
Source monitor Composer window Record monitor Source/Record Mode button Setting Up a New Sequence To establish a new sequence, do one of the following: t If you have specific parameters for the project that you want to establish first, you can create and name a sequence, set the start timecode, and determine the numbers and kinds of tracks to use before you make the first edit, as described in this section.
t If you want to begin editing right away and build the sequence as you go without setting parameters ahead of time, proceed to “Making an Edit” on page 425. To set up a sequence with the New Sequence command: 1. Choose New Sequence from the Clip menu. One of the following occurs: Editing in Source/Record Mode - If just one bin is open, or one of several bins is selected and you have clicked a specific bin to activate it, the new sequence appears in that bin.
Select the bin in which to store the new sequence, or click the New Bin button to create and open a new bin, and click OK. An untitled sequence appears in the bin, in the Record monitor, and in the Timeline. New sequence 2. To rename the new sequence, type a new name while the Name field is active in the bin. n If you click anywhere in the interface after creating the new sequence, you deactivate the Name field. Click the sequence name again to rename the sequence.
You can change the default start timecodes for all new sequences by using General settings. For more information in the General settings, see “General Settings” on page 122. To rename a new sequence and set a start timecode: 1. With your sequence loaded and the Record monitor active (click the Record monitor to make it active), choose Get Clip Info from the File menu. The Clip Info dialog box appears. Start timecode Start key number (Only available with 24p or 25p projects) 2.
Setting Up Tracks for the New Sequence When you create a new sequence by using the New Sequence command and no material is loaded into the Source monitor, the Timeline displays only the TC1 (master timecode) track. For 24p and 25p projects, the output timecode format tracks and EC (edgecode) track are also displayed.
The following illustration shows the Timeline after one video and two audio tracks have been added, with no material loaded in the Source monitor. You can add a Meta track for MetaSync™ editing. For information about MetaSync, see the Avid MetaSync Setup and User’s Guide. User Preferences for Creating Tracks Your Avid system provides two options in the Edit tab of the Composer Settings dialog box that help automate the way tracks are created and enabled as you edit.
Alternatively, you can do the following: • Deselect the Auto-create New Tracks option to have the existing tracks in the sequence remain the same when you edit in new source material. This allows you to create new tracks selectively as you edit, which is often preferable at the more advanced stages of a project. • Deselect the Auto-enable Source Tracks option to leave the tracks of newly loaded material in whatever state they were in when they were last loaded.
To set a default duration for the filler when you use the Add Filler at Start command: 1. Double-click Timeline in the Settings scroll list of the Project window. 2. Click the Edit tab. 3. In the Start Filler Duration text box, type the duration of the filler that you want added to the start of a sequence when using the Add Filler at Start command. 4. Click OK. To add filler anywhere in a sequence: 1. Click above the Source monitor and choose Load Filler from the Clip Name menu.
Making an Edit This section explains one method of editing with your Avid system. As you learn how to use the various editing tools, you can develop an editing method that works best for you. Whether you establish a new sequence in advance or do not prepare a sequence and want to begin editing right away, start with the following procedure. To begin editing: 1. Load the first clip into the Source monitor.
Screen display of the first edit in a sequence Source clip Splice-in button Sequence The end of the last frame of the first new edit Timeline generated by the edit Creating an Instant Rough Cut For additional information on editing directly from the bin into the Timeline, see “Bin Editing into the Timeline” on page 487.
To create a rough cut from a bin: 1. To create a more accurate rough cut, screen and mark clips in the bin in advance, as described in “Marking IN to OUT Points” on page 388. 2. In the bin, sort the clips in the order in which you want them to appear in the sequence: - In Text view, alphabetic or numeric sorting of clips might not provide you with the clip ordering that you want.
Undoing or Redoing Edits You can undo or redo up to 32 previous actions listed in the Edit menu. You can quickly undo or redo a just completed command, or you can search through a submenu to undo or redo all commands leading back to a particular command. Undo/Redo commands for previous edit Prior Redo commands appear in the upper portion of the Undo/Redo List submenu. Prior Undo commands appear in the lower portion of the submenu.
To undo only the previous edit or function: t Choose Undo from the Edit menu. To redo only the previous edit or function: t Choose Redo from the Edit menu. To undo or redo every edit and function back to a particular command: t Choose Undo/Redo List from the Edit menu, and then choose a command from the submenu. All of the previous commands, including the command chosen from the submenu, are undone or redone as appropriate.
Editing Additional Clips into the Sequence The three primary edit functions for adding material to your sequence are the splice-in, overwrite, and replace edit commands. In most cases, you perform three-point edits in which you set three marks — two in the source material and one in the sequence, or the reverse. The fourth mark is determined automatically. The way you set marks depends on the type of edit you perform, as described in this section.
3. Mark an IN point in the sequence as follows: n Splice-in button a. Move the position indicator in either the Timeline or the position bar of the Record monitor to the point where you want to splice the clip into the sequence. b. Click the Mark IN button or press the Mark IN key. If you do not mark an IN point, the system splices the new clip into the sequence at the current location of the position indicator. 4. Click the Splice-in button (yellow) to complete the edit.
Performing a Replace Edit For information about mapping buttons, see “Understanding Button Mapping” on page 179. You use the Replace Edit button (blue) to replace a clip in the sequence (video, audio, or both) with new material from the Source monitor, while maintaining the original IN and OUT points of the previous edit. The Replace Edit button must be mapped to a button under the Record monitor before you begin to edit. To perform a replace edit: 1.
Single-Mark Editing Single-mark editing (also called mark-and-park editing) allows you to establish a single mark, and then use the location of the position indicator to determine the second mark when making the edit. You can use this procedure in several ways to save steps: • You can mark an IN point in the Source monitor and then perform a splice-in, overwrite, or replace edit without marking an OUT point.
To enable phantom marks: 1. Double-click Composer in the Settings scroll list of the Project window. The Composer Settings dialog box appears. 2. Select the Phantom Marks option in the Edit tab. 3. Click OK. When you enable phantom marks, the system displays blue mark IN or mark OUT icons in the position bars below both the Source monitor and the Record monitor. These phantom marks can indicate one, two, or sometimes three edit points calculated by the system to complete an edit.
Adding a Second Mark If you decide that a mark OUT is required — to shorten the source clip, for example — then the system recalculates and displays new phantom marks. Additional mark OUT New phantom marks Phantom marks can help you see the results of marks you set before you complete the edit, and are especially useful when doing Sync Point Editing or other complicated replace edits in which two or more marks are calculated automatically.
Lifting Material The Lift function removes selected material from a track in the sequence and leaves black filler or silence to fill the gap. You can later move or fill this gap with other footage. When you lift material, the overall duration of the track (or sequence) remains the same. Material is placed in the Clipboard. Lifted Clip X Clip W Black Filler Clip Y Clip Z To lift material: 1. Mark IN and OUT points at the start and end of the material in the sequence that you want to lift. 2.
To extract material: 1. Mark IN and OUT points at the start and end of the material in the sequence that you want to extract. 2. Select the tracks containing the material. The system performs the function on selected tracks only. Extract button 3. Click the Extract button in the Edit tab of the Command palette to complete the edit. Copying Material For more information on using the Clipboard, see “Using the Clipboard” on page 437.
The Copy to Clipboard function is useful for moving or repeating material in a sequence without moving multiple segments in Segment mode, or for rebuilding the section at another location. For example, you can: • Copy a portion of a sequence for pasting into another sequence. • Isolate and copy a portion of an audio track for looping music or repeating a sound effect. • Copy graphic elements for repeating at other locations in a format cut.
Recovering Material from the Clipboard The Clipboard allows you to restore lifted or extracted segments quickly. This is especially useful if you have performed one or more edits since removing the material. In contrast, if you restore the material by using the Undo function, the system also undoes all edits performed in the meantime. The Clipboard provides the benefit of restoring the material while maintaining subsequent edits. To restore material from the Clipboard: 1.
2. Click the Mark Clip button to mark the entire segment. (Option) You can view the sequence segment as a source Timeline by clicking the Toggle Source/Record in Timeline button in the Timeline toolbar to mark and select specific tracks. Toggle Source/Record in Timeline button 3. Locate the IN point in the sequence from which the segment was removed. Place the position indicator here, or mark an IN point. 4. Splice or overwrite the material into the sequence.
Playing the New Sequence After completing a rough cut, you can play the new sequence to see the results of your editing. You can view the sequence in the Record monitor or in the Client monitor.
To start a playback loop: 1. Mark IN and OUT points in the sequence. To play back the entire sequence, mark the IN point at the beginning and the OUT point at the end. Play IN to OUT button 2. Press and hold the Alt key (Windows) or Ctrl key (Macintosh) while pressing the Play IN to OUT key, or click the Play IN to OUT button in the Play tab of the Command palette. The playback loop begins and continues until you press the space bar or click anywhere with the mouse.
Playing a Limited Duration of a Sequence Play Length Toggle button Long sequences with many effects can be time-consuming to work with in the Timeline. Working with a shorter sequence can save time. The Play Length Toggle feature allows you to switch between playing the entire sequence and playing a limited duration centered around the current position of the sequence. When you use the Play Length Toggle feature, the Play button and Play Length Toggle button change to white.
n The n variable must be a whole number, 1 or higher. The default value is 1 minute. 3. Press Enter (Windows) or Return (Macintosh). The Console window displays the value for play length. For example, if you set play length to 2, the Console window will display “Play Length interval = 2 minutes forward or backward”. Playing a Sequence Using a Limited Play Length To play a limited duration of a sequence: 1. Map the Play Length Toggle button to a Monitor Command palette. 2. Set the play length.
Fine-Tuning the Sequence If you have finished a rough cut and are ready to fine-tune the sequence, proceed with the following: • To learn about the Timeline and Segment mode editing techniques, see Chapter 12. • To make frame-accurate adjustments to your edits by using Trim mode, see Chapter 13. • To edit with audio or mix audio tracks in preparation for playback or output, see Chapter 14. • To edit with synced tracks, see Chapter 15. • To edit with multicamera material, see Chapter 16.
Editing in Source/Record Mode
CHAPTER 12 Using the Timeline Your Avid system represents each edit and effect in a graphical timeline structure to help you track and manipulate the elements of your sequence. The Timeline continuously updates as you work, displaying an extensive array of icons and information that you can customize in various ways. In addition, the Timeline has its own set of editing tools that you can use to create and revise edits and transitions across multiple tracks.
Understanding Timeline Views There are also a number of on-the-fly procedures for changing your view of the Timeline (such as the Zoom and Focus functions) that are not saved as part of a Timeline view. Using the Timeline You can customize your view of the Timeline to display a variety of information about your sequence as well as the clips and transitions it contains. You use the Timeline Fast menu to change the display.
• Film and animation editing: If you are working on a film or animation project, you can display the film track, show several frames in the sequence, and display sync breaks where they occur. • Editing for online: If you are editing offline with plans to generate an EDL and finish the sequence in an online videotape suite, you can track detailed clip and dupe-reel information by displaying clip text and enabling Dupe Detection.
Using the Timeline Fast Menu To create a custom Timeline view, you choose various options from the Timeline Fast menu. The Timeline Fast Menu button appears in the lower left corner of the Timeline toolbar. To use the Timeline Fast menu: t Click the Fast Menu button and scroll through the menu to choose or deselect an option. Selected options have check marks next to them. You can choose some options only from submenus.
Table 12-1 Timeline Fast Menu Options Option Description Default Setup Returns Timeline display settings to the system default settings View Type Displays a submenu for selecting different segment display formats Wrap Around Allows the Timeline to wrap around in the Timeline window Track Panel Displays or hides the Track Selector panel Effect Icons Switches the display of effect icons Render Ranges Indicates unrendered or partially rendered effects; see the effects guide for your Avid sy
Table 12-1 Timeline Fast Menu Options (Continued) Option Description Show Track Displays a submenu for displaying tracks More Detail Expands the Timeline horizontally around the position indicator Less Detail Shrinks the Timeline horizontally around the position indicator Show Every Frame Displays every frame in the Timeline if you chose Film from the Show Track menu Show Entire Sequence Shows the entire sequence within the Timeline Zoom Back Restores the Timeline to the previous view be
Pointer t Press and hold the Ctrl key (Windows) or Option key (Macintosh) and move the pointer to the bottom edge of the track selector until it appears as a bar intersected by double-headed arrow. Drag the edge up or down to make the track narrower or wider. This method applies to only one track selection at a time.
Displaying the Timeline Top Toolbar You can display a top toolbar in the Timeline for easy access to editing buttons. You can also map additional buttons to the Timeline top toolbar. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 181. You can choose to show or hide the Timeline top toolbar. To show the Timeline top toolbar: 1. Double-click Timeline in the Settings scroll list of the Project window. The Timeline Settings dialog box appears. 2.
To customize the tracks to be displayed in the Timeline: t n Choose Show Track from the Timeline Fast menu, and then choose the tracks from the submenu. The TC1 track represents the timecode of the project in which you are working. For example, when you are working in a 24p NTSC project, the TC1 track displays the same timecode as the TC30 track. Assigning Local Colors to Clips in the Timeline You can assign local colors to clips in the Timeline to indicate clips that should be grouped together.
3. Choose Set Local Clip Color from the Edit menu, and then choose a color for the clip from the submenu. 4. Click the Segment button. The assigned local color appears in the clip in the Timeline. Displaying Local and Source Colors in the Timeline You can display source colors and local colors for clips in the Timeline. Source colors are assigned to clips in bins and local colors are assigned to clips in the Timeline. By default, the Timeline is set to display no colors.
n Clip colors assigned to sequences, groups, motion effects, and title clips do not appear as source colors in the Timeline. Displaying Local Colors To display local colors in the Timeline: t Choose Clip Color from the Timeline Fast menu, and then choose Local from the submenu. The local colors assigned to clips appear in the Timeline. n If both Source and Local are selected in the Clip Color submenu, the local color overrides the source color.
Changing the Timeline Background Color To change the background color of the Timeline: 1. Deselect all the tracks in the Timeline. 2. Choose Background Color from the Timeline Fast menu, and then choose a color for the Timeline from the pop-up palette. n The Background Color command appears only when all tracks are deselected. Changing the Timeline Track Color To change the color of the selected tracks in the Timeline: 1. Click in the Timeline to activate it. 2.
n Show Locators affects only how the locator icons are displayed in the Timeline. The locators are not affected. To change the display of locators in the Timeline: 1. Load a sequence into the Record monitor that contains locators. 2. Choose Show Locators from the Timeline Fast menu, and then choose the color of the locators you want to display in the Timeline. The Timeline displays only those locators with the color you chose.
bottom Timeline toolbar. The Timeline view is labeled Untitled until you name and save a customized Timeline view. To name a Timeline view or to change a view’s name: 1. Choose Save As from the View pop-up menu in the Timeline. View pop-up menu The View Name dialog box appears. 2. Type a name for the view, and click OK. Replacing a Timeline View If there are views you no longer use and would like to replace, use the following procedure. To replace a Timeline view: 1.
Restoring the Default Timeline View To restore the default view in the Timeline: t Choose Default Setup from the Timeline Fast menu. Setting the Scroll Option for the Timeline You can have the Timeline scroll over the position indicator while you play a sequence. To set the scroll option: 1. Double-click Timeline in the Settings scroll list of the Project window. The Timeline Settings dialog box appears, displaying a list of your current Timeline settings.
Timeline Settings Options In addition to the Timeline options available from the Timeline Fast menu, there are several options available from the Timeline Settings dialog box. To open the Timeline Settings dialog box: t Double-click Timeline in the Settings scroll list of the Project window. The Timeline Settings dialog box appears.
Table 12-2 describes the Timeline Settings options in the Display tab. Table 12-2 Timeline Settings Options — Display Tab Option Description Show Toolbar When this option is selected, a toolbar with editing buttons is displayed at the top of the Timeline. Show Marked Region When this option is selected, the system highlights the region from the IN to OUT points.
Table 12-3 describes the Timeline Settings options in the Edit tab. Table 12-3 Timeline Settings Options — Edit Tab Option Description Start Filler Duration Type a default duration for the filler added at the start of a sequence. For more information, see “Adding Filler” on page 423. Find Flash Frames Shorter Than Type the maximum number of frames you want to detect when using the Find Flash Frames command from the Clip menu. For more information, see “Finding Flash Frames” on page 516.
Exploring the Timeline The Timeline window provides various controls for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing. You can use the position indicator, the Timeline scroll bar/position bar, the scale bar, the Zoom In and Zoom Back commands, or the Focus button. In addition, marked sections of the sequence can be highlighted for visual reference. Figure 12-1 shows the Timeline window.
Using the Position Indicator The position indicator in the Timeline marks your place in the sequence. It also determines how some of your commands are interpreted. For example, when you perform an edit, the system takes the location of the position indicator as the IN point in the absence of established marks. When you move the position indicator in the Timeline, the smaller position indicator within the Record monitor’s position bar and Playback monitor’s position bar also moves.
3. Click OK. The scroll bar changes to a position bar. An advantage of the position bar is that when you focus on only a portion of the sequence, both the Timeline and Record or Playback monitor’s position bars show a highlighted region around the position indicator. This represents the range of material displayed in the window.
Displaying Detail in the Timeline The scale bar stretches and contracts the Timeline area centered around the blue position indicator. This allows you to either zoom in to focus on a specific area of your sequence or zoom out to display your whole sequence. This feature is especially useful when you have a lengthy sequence with many edits.
Zooming In and Out The Zoom In and Zoom Back commands in the Timeline Fast menu stretch out the Timeline like an accordion to allow you to focus on detail, but with the following differences: • The Zoom In command does not expand the Timeline incrementally, but allows you to select a portion of the Timeline of any size to instantly expand to fill the window. • The Zoom Back command does not shrink the Timeline incrementally, but instantly restores it to its former size.
Focusing the Timeline The Focus button also allows you to zoom in on a section of the Timeline. It is located in the Timeline toolbar next to the Fast Menu button. Focus button The Focus button allows you to center the position indicator quickly and expand the Timeline. The Focus button always expands the Timeline to a scale of 90 pixels per second. The position indicator is centered in the window. When you click the Focus button again, the Timeline returns to its previous size.
t (Macintosh only) Click the Maximize button in the top right corner of the window. The Timeline expands to full-screen size. n To restore a resized Timeline window to its default position, click the Timeline and choose Home from the Windows menu. Resize box Notice that a Timeline with reduced tracks wraps around to show more of the sequence. As you reduce tracks in a full-screen Timeline, the sequence wraps around, allowing you to examine a long sequence in greater horizontal detail.
You can click in either window to activate it and bring it forward at any time, or you can click in the title bar of the Timeline window and drag it to the Bin monitor to place each window in its own monitor. n If the Timeline or Composer window is hidden behind another window, choose the window again from the Tools menu.
Controlling Movement in the Timeline While working in the Timeline window, you can use the Ctrl and Alt keys (Windows) or Ctrl, k, and Option keys (Macintosh) to control the movement of both the position indicator and any segments that you move in Segment mode. The Timeline provides a small icon window called the motion mode indicator in the Timeline toolbar.
IN to OUT Highlighting in the Timeline When you mark a sequence with IN to OUT points, the system indicates the selection by highlighting the marked region in the Timeline. Only selected tracks are highlighted. All tracks selected Highlighted region This visual guide helps you monitor track and segment selection more carefully when mixing or applying effects across multiple tracks and segments.
Unlike traditional tape editing, Segment mode allows you to instantly reposition entire segments by using visual controls as though you were physically “dragging” portions of your sequence around on a tape. You can move clips separately or together, and on one track or across tracks. Observe the following guidelines when editing in Segment mode: • Transition effects on either side of a moved selection are deleted. Transition effects inside the selection are preserved.
Selecting and Deselecting Segments There are two basic methods for selecting segments for moving or editing: • Click a Segment Mode button, and select segments with the pointer. • Lasso one or more segments on one or more tracks by using the mouse. Once you enter Segment mode by using either of these methods, you can continue to select or deselect additional segments.
To select segments with the pointer: 1. Click one of the Segment Mode buttons located in the Timeline toolbar. The arrow changes to a large pointer. 2. Click a segment in any track to select it. Shift+click additional segments to select a group. Lassoing One or More Segments You can use the mouse to lasso a single segment or a group of segments across one or more tracks. To lasso segments: t Draw a lasso beginning in the area above the tracks in the Timeline.
• Lasso at least two transitions or all transitions included in multiple segments. If your lasso surrounds only one transition, you enter Trim mode. • Drag from left to right. If you drag from right to left, you enter Trim mode with slip rollers selected. Deselecting Segments To deselect one or more selected segments, do one of the following: t To deselect an entire track, click the Track button in the Track Selector panel.
segment forward or backward in the Timeline, indicating the frames you pass as you drag the segment. The two outer frames in the four-frame display make it easy to view and analyze the frames between which you might want to drop the selected segment. • n A centered numeric offset counter appears below the frame monitors. The offset counter tracks the number of frames or feet+frames (24p and 25p projects) that you move while dragging the selected segment from its starting point.
When you drag the segments, the original highlighted segment remains in place, while a “ghost” segment enclosed in a dotted white box moves along with the pointer until you release it at a new edit point. When you release the segment into its new position, the actual lift (Overwrite) or extract (Splice-in) occurs. Until then, the segment position is preserved in the Timeline, allowing you to maintain your perspective of the sequence while selecting the new edit point.
Maintaining Sync in Segment Mode When you use Lift/Overwrite in Segment mode, filler is added to the sequence to maintain sync. When you move segments in the Timeline using Extract/Splice-in, the sync is broken. To maintain sync when you use Extract/Splice-in, select the Segment Drag Sync Locks option in the Edit tab of the Timeline Settings dialog box.
3. Click OK. 4. In the Track Selector panel, click the Sync Lock button for the video and audio tracks that you want to keep in sync. 5. Click the Extract/Splice-in button. 6. Click an audio or video segment, and drag it to the new location. In the following example, an audio segment in track A2 is moved. The new location for the audio segment has filler added to the video track. All segments remain in sync. Before segment drag sync lock After segment drag sync lock This segment will be moved.
it extracts (removes) the segment from its previous position and closes the gap. Before splice-in Clip W (selected clip) After splice-in Clip W n Clip Y Clip Y Clip Z Surrounding clips are unchanged. (selected clip) Clip Z For information on maintaining sync in the sequence when using Extract/Splice-in, see “Maintaining Sync in Segment Mode” on page 481. To perform an Extract/Splice-in edit: 1. Click the Extract/Splice-in button in the Timeline toolbar. 2. Select the segments you want to move.
Like the standard Overwrite function, the Lift/Overwrite edit deletes and replaces underlying material at the new position, effectively creating new edits. It also “lifts” the segments from the previous position, leaving black or silence of the same duration. Before overwrite Clip W (selected clip) After overwrite Clip W Blank filler Clip Y Clip Y Clip Z (selected clip) Clip Z Underlying materials overwritten To perform a Lift/Overwrite edit: 1.
To delete segments quickly: 1. Click one of the Segment Mode buttons: - Extract/Splice-in (yellow) deletes the segments and closes the remaining gaps. The total duration of the sequence is shortened, and any synchronized tracks lose sync. - Lift/Overwrite (red) deletes the segments but leaves blank space or silence in their place. The total duration of the sequence remains the same, and sync is maintained. 2. Select one or multiple segments. 3. Press the Delete key. The segments are deleted.
the IN and OUT points mark where the edit points across tracks line up. IN point OUT point Adding Comments in Segment Mode You can add comments to sequence clips. These comments will also appear in the Timeline or in lists that you create, such as an EDL or a cut list. For more information on adding comments to sequence clips, see “Adding Comments to Sequence Clips” on page 440.
Bin Editing into the Timeline For information on editing multiple clips directly from the bin into the Record monitor, see “Creating an Instant Rough Cut” on page 426. You can use Segment mode to edit clips directly from a bin into the sequence in the Timeline. Bin editing allows you to bypass the process of loading clips into the Source monitor, setting marks, and clicking the Splice-in button or Overwrite button. To perform a direct edit from a bin into your Timeline: 1.
Bin Editing Directly into a Sequence Using the Keyboard Bin editing allows you to bypass the process of loading clips into the Source monitor, setting marks, and clicking the Splice-in button or Overwrite button. You can use keyboard shortcut keys to edit clips directly from a bin into the sequence in the Timeline. To perform a direct edit from a bin into a sequence: 1. Activate bin editing: a. Double-click Bin in the Settings scroll list of the Project window. b.
To cut or copy and paste segments: 1. Select the segment by using one of the Segment Mode pointers. 2. Press Ctrl+C (Windows) or k+C (Macintosh) to copy, or Ctrl+X (Windows) or k+X (Macintosh) to cut. 3. Place the position indicator at the new IN point, and press Ctrl+V (Windows) or k+V (Macintosh) to paste the segment in the Timeline.
To adjust your view of the Timeline quickly for frame-by-frame viewing and editing: t n Choose Show Every Frame from the Timeline Fast menu. The film track displays frames for the topmost video track only. You cannot display more than one film track at a time. To quickly view more frames as you scroll: t Drag the resize box in the lower right corner of the Timeline for a full-screen view. You can reduce the size of Timeline tracks to wrap the sequence around several times.
The Timeline changes to one of the following displays. Head frame for each clip Heads view Head and tail frames for each clip Heads Tails view 3. Press and hold the Alt key (Windows) or Option key (Macintosh), click the frames representing the clip you want to move, and drag the clip to its new position. The sequence is rearranged to match the changes you made.
This action is equivalent to the T-E-X keyboard command sequence: Mark Clip, Mark IN, Extract. For information about how the Mark Clip button works, see “Marking an Entire Clip or Segment” on page 390. To edit using the Top and Tail commands: 1. Load a sequence into a monitor. 2. Select the track or tracks you want to edit and deselect all other tracks. 3. Place the position indicator where you want to perform an edit. Top button Tail button 4.
Understanding Effects Editing Your primary use for multiple tracks of video is for effects. Effects editing techniques in the Avid system fall into the following basic categories: • Motion effects, such as freeze-frame and slow-motion or fast-motion effects, involve applying frame-motion parameters to selected footage, usually on a single video track. • Transition effects, such as dissolves and wipes, involve making the transition from one edited clip to another on the same video track.
All film effects can be custom made to match existing standards for preparing film opticals, and can be sent to any professional lab for preparing effects. c n If you are creating a 30-fps project with plans to match back to create a film cut list, be sure to limit your use of tracks and effects to film standards, or conform the effects to optical printing standard durations after making a copy of the sequence and before generating the list.
following configuration shows only one example. The Track Selector panel can look very different depending on the nature of the source material or the work underway in the sequence. Figure 12-2 shows the Track Selector panel.
• You cannot edit deselected tracks on the source side into the sequence, regardless of record track selections. • You cannot edit deselected tracks on the record side into the sequence, regardless of source track selections. There are five methods for selecting tracks: • Click the Track button of any inactive track to select the track. (To deselect the track, click the Track button of any active track.) • Drag a lasso around multiple tracks to select them at once.
Audio Track Monitor buttons behave differently in some circumstances, as described in this section. Video Track Monitor button for V1 video track Audio Track Monitor button for A1 audio track Audio Track Monitor button for A2 audio track Monitoring Video The Video Track Monitor button determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing.
• If your sequence includes more than eight audio tracks, you can select any eight tracks to monitor at one time by clicking the Audio Track Monitor button for each audio track you want to monitor. The Audio Track Monitor button changes to purple with either a black or gold Speaker icon when the audio track is selected for monitoring playback and output. • To hear more than eight tracks at once, you must mix down some of them to a maximum of eight.
• You can monitor the upper layers of a composited effect apart from the lower layers. • You can quickly isolate an individual audio track for monitoring without having to click several Audio Track Monitor buttons to deselect monitoring of all other audio tracks. • You can isolate audio tracks for audio scrubbing without having to deselect monitoring of all other audio tracks.
n You can also patch tracks by using the Auto-Patching option in the Edit tab of the Timeline Settings dialog box. For more information, see “Timeline Settings Options” on page 462. To perform a patch: t Drag from a source track (audio or video) to the targeted record track (a white arrow appears during the patch). New source track order identifies the patch. Audio patch from a source track to a record track During patch After patch To undo a patch: 1.
Locking and Sync Locking Tracks The Avid system provides two ways of locking tracks: • You can lock selected tracks to prevent further editing from being performed on them. • You can sync lock selected tracks so that when you trim one track, the other tracks are trimmed, also. The Sync Lock and Lock buttons of the Track Selector panel display a Sync Lock icon for sync-locked tracks, and a Lock icon for locked tracks. The procedure for applying the locks is different in each case.
To lock tracks: 1. Select the tracks to be locked (Source, Record, or both). 2. Choose Lock Tracks from the Clip menu. The Lock icon indicates that the selected tracks are locked. No further editing can occur on locked tracks until you choose Unlock Tracks from the Clip menu. Sync Locking Tracks For more information on using the sync lock feature in Trim mode, see “Using Sync Lock” on page 677. Sync locking affects trimming and splice-in edits.
To manage the numbering scheme of new tracks rather than use the consecutive numbering default: 1. Press and hold the Alt key (Windows) or Option key (Macintosh) and choose New Audio Track, New Video Track, New Picture Track, or New Sound Track from the Clip menu. The Add Track dialog box appears. New Track Type pop-up menu Track Number pop-up menu 2.
To add a custom name to a track in the Timeline: 1. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Track Selector button. 2. Choose Rename Track from the shortcut menu. The Comments window opens. 3. Type a new name for the track. 4. Click OK. To remove a custom track name: 1. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Track Selector button. 2. Choose Rename Track from the shortcut menu. The Comments window opens. 3. Click Remove.
Adding an Edit (Match Framing) The add edit function places an artificial edit point between frames of a clip. The edit appears in the Timeline as a transition between two clips, but when you play the clip, the footage appears unchanged because the frames are continuous. Add edit placed between frames 1 2 3 4 5 6 7 Footage plays back continuously. This form of edit is also known as a match frame.
The edit appears in the sequence with an equal sign to indicate a match frame. Equal sign indicates a match frame. n By default, the match-frame indicator is white. If a change in level occurs, the match-frame indicator changes to red. Adding Edits to Filler Clips You can add an edit to all tracks with filler, regardless of the track selection. To add an edit to filler clips at the position indicator: 1. Place the position indicator at the chosen frame. 2.
To remove match-frame edits: 1. Select the entire sequence or a portion of it as follows: t Select the entire sequence by removing any IN and OUT points. t Select a portion of the sequence by marking an IN point and an OUT point surrounding the match-frame edits (add edits) you want to remove. 2. Select the tracks from which you want to remove the edits. 3. Choose Remove Match Frame Edits from the Clip menu. The Avid system removes the edits.
• If you do not mark an IN point in the sequence, the Avid system uses the IN point and OUT point in the source clip (if both are marked) to determine the IN point in the sequence. If both marks are not set in the source clip, the system uses the position indicator as the IN point. • If you do not mark an OUT point in the clip and no OUT point is set in the sequence, the Avid system uses the end of the source clip as the OUT point.
Detecting Duplicate Frames When you edit offline with plans to generate an EDL, the Dupe Detection feature allows you to visually track duplicate frames of footage while editing so that you can eliminate or manage the requirements of an online dupe reel. n The Dupe Detection feature works only for the V1 track. When you activate Dupe Detection, each set of duplicate frames is tagged with a different color. (Up to 10 color sets can be distinguished during a single detection process.
To activate Dupe Detection: t Choose Dupe Detection from the Timeline Fast menu. Dupe Detection is instantaneous and retroactive; if duplicate frames already exist in your sequence, the colored bars appear immediately. As you edit, the system shows duplicate frames as they occur. n c You can change the handle size used by Dupe Detection in the Edit tab of the Timeline Settings dialog box. The Avid application might mark a special effect optical (such as a blowup) as a duplicate frame.
• In 16mm film editing (using the multiple-strand method), labs sometimes use the zero-frame cutting method to avoid seeing each splice in a 35mm blowup print. In this method, the negative is conformed along with the handles so that the cuts appear as soft frame handles rather than jumps in the resulting 35mm blowup. Different labs have different standards depending on the equipment used; usually, a minimum of four frame handles is needed.
To adjust handle lengths in Dupe Detection: 1. Double-click Timeline in the Settings scroll list of the Project window. The Timeline Settings dialog box appears. 2. Choose the number of handle frames from the Dupe Detection Handles pop-up menu in the Edit tab. The typical 35mm safety frame setting is 0.5 frame (amounting to a 1-frame total with both sides of a cut). Dupe Detection Handles pop-up menu 3. Click OK. The chosen value is applied to the head and tail of every event.
Tracking Color Frame Shifts If you are preparing for an online edit using 1-inch reel-to-reel sources, you can enable the Color Framing options to track and correct instances where an edit cuts between the four fields (two frames) required to create a complete NTSC color sync signal phase (or eight fields — four frames — required for PAL).
2. Click the Color Framing pop-up menu in the Edit tab, and choose the appropriate option: t For NTSC video, choose the 4-field option. t For PAL video, choose the 8-field option. 3. Click OK to complete the setting selection. To correct color-frame interruption as you edit: 1. Note any edits that cause the green lights to blink. You can adjust the edits now, or place locators to return to these edits and correct them later. 2. To adjust the edit, enter Trim mode.
Finding Black Holes and Flash Frames The following commands help you quickly find parts of your sequence that you might want to delete from the final sequence: • Finding Black Holes • Finding Flash Frames Black holes are segments of the sequence that consist of one or more frames of filler. Flash frames are clips that have an extremely short duration, for example, fewer than 30 frames. Finding Black Holes To find black holes: 1. Click the Timeline to activate it. 2.
Finding Flash Frames To find flash frames: 1. Set the maximum frame length that you want to detect: a. Double-click Timeline in the Settings scroll list of the Project window. The Timeline Settings dialog box appears. b. Click the Edit tab. c. In the option Find Flash Frames Shorter Than, type the maximum number of frames you want to detect. The default is 10, which indicates the system will detect clips with 9 or fewer frames. d. Click OK. 2. Click the Timeline to activate it. 3.
Printing the Timeline To print the Timeline: 1. Choose Print Timeline from the File menu. The Print dialog box appears. n The name of the printer and details of the dialog box will vary, depending on your facility. 2. Select the Print options. 3. Click OK (Windows) or Print (Macintosh). The system prints the current view of the Timeline. You can also use the Print Timeline command to print the Timeline in Heads view or in Heads Tails view.
Using the Timeline
CHAPTER 13 Working in Trim Mode Basic editing in Source/Record mode and in the Timeline initially produces a rough cut, which can be loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can enter Trim mode and fine-tune the transitions between each clip or between whole segments. You can also trim edits as you build a sequence rather than create a rough cut first.
Understanding Trim Mode Trim mode provides a unique set of controls within the Composer window for fine-tuning edits with various trim procedures. There are three types of trimming modes: • Quick Trim Mode • Big Trim Mode • Small Trim Mode From these Trim modes you can perform many of the same functions, such as removing or adding frames, or slipping or sliding segments. n Working in Trim Mode You can render transition effects while in Trim mode but you cannot render segment effects.
The Trim Settings dialog box provides options to configure basic displays and functions when you use Trim mode. You can learn about Trim settings as follows: • For an overview of all Trim settings, see “Trim Settings Options” on page 524. • For setting the default Trim mode, see “Entering Trim Mode” on page 526. • For information on transition playback loop parameters, see “Trimming During a Playback Loop” on page 539.
Quick Trim Mode You can enter Quick Trim mode from the Playback monitor for making quick adjustments to transitions in your sequence. Quick Trim mode replaces the Playback monitor with smaller displays of outgoing and incoming frames.
Big Trim Mode Big Trim mode replaces the Source and Record monitors with displays of outgoing and incoming frames. Big Trim mode also shows transition playback loop parameters.
Small Trim Mode Small Trim mode leaves the Source monitor display intact, but has smaller displays of outgoing and incoming frames. Outgoing frames Incoming frames Small Trim mode Frame offset counters Trim buttons Play Loop button Trim Settings Options There are several options available from the Trim Settings dialog box. To open the Trim Settings dialog box: t Working in Trim Mode Double-click Trim in the Settings scroll list of the Project window.
Table 13-1 describes the Trim Settings options in the Features tab. Table 13-1 Trim Settings Options — Features Tab Option Description Never use Small Trim mode Sets the system to enter Big Trim mode when you perform any operation that activates Trim mode. In Big Trim mode, both Source and Record monitors are replaced by displays of outgoing and incoming frames.
Table 13-2 describes the Trim Settings options in the Play Loop tab. The Play Loop feature continuously replays the last trim you performed for review purposes. For information about the Play Loop feature, see “Reviewing the Trim Edit” on page 535.
To enter Trim mode, do one of the following: t Click the Trim Mode button. The system enters Trim mode and selects the transition nearest the position indicator for dual-roller trimming. The dual-roller icon appears on all highlighted tracks. This method is useful for selecting straight-cut transitions on one track or across video and audio tracks.
This method is useful when you need to select multiple transitions staggered across parallel tracks (overlap cuts) for simultaneous trimming. Lasso drawn across three tracks Transitions are selected for dual-roller trim. n To select transitions located below several track layers, you can draw a lasso within the Timeline by pressing and holding the Alt key (Windows) or Ctrl key (Macintosh) while you drag. t Click the Go to Previous Edit or Go to Next Edit button.
you to the last trimmed transition. For more information on this method, see “Trimming During a Playback Loop” on page 539. n The Play Loop button does not appear in Source/Record mode by default. You must map it to the keyboard or a palette in advance. For information on button mapping, see “Understanding Button Mapping” on page 179. Switching Between Quick Trim Mode and the Playback Monitor When you click the Trim Mode button from the Playback monitor, the system enters Quick Trim mode.
Exiting Trim Mode To exit Trim mode at any time, do one of the following: t Click the Trim mode button. t Click the Source/Record Mode or the Effect Mode button. t Click a frame step, or press the Right Arrow key or Left Arrow key. t Press the Escape key to enter Source/Record mode by default. t Click a location in the Timecode (TC1) track at the bottom of the Timeline. The position indicator moves to that location. Click in the TC1 track.
Using Basic Trim Procedures The following sections provide basic trim procedures you can use when working in Trim mode: • Selecting Trim Sides • Selecting Video Tracks in Trim Mode • Audio Solo in Trim Mode • Selecting Additional Transitions • Performing a Basic Trim • Reviewing the Trim Edit • Reviewing an Edit • Trimming On-the-Fly • Dual-Image Playback During Trims • Trimming During a Playback Loop Selecting Trim Sides To select the sides of a transition to trim, do one of the fo
t Trim Counter A-side B-side Purple highlight indicates active side. Use the Trim Counter frame indicators located below the monitors. Click the A-side or B-side of a frame indicator to select single-roller trimming, or Shift+click both frame indicators to select dual-roller trimming. The selected parts of the transition are highlighted, and the corresponding rollers appear in the Timeline.
Selecting Additional Transitions In Trim mode, you can select additional transitions for trimming in different contexts. To quickly select additional transitions on contiguous tracks for trimming on the same side: t Click the corresponding record-side track selectors in the Track Selector panel. For example, if you select a single transition in track V1 for single-roller A-side trimming and want to add A1 and A2 tracks at the same transition, click the corresponding track selectors.
You do not see the dual roller icon within the Timeline. To select both sides, you must first select one side, and then Shift+click to select the other side. To quickly add multiple transitions to the currently selected transitions: t Press the Shift key and lasso the additional transitions. You can select and trim two heads or tails simultaneously, in any combination, for each track in the sequence. All selected transitions are trimmed the same number of frames.
(from 1 to 99) you want to move forward or backward. Then, press Enter. If the number of frames is larger than 99, type an f after the number to indicate frame count. For example, to enter 200 frames, type 200f and press Enter. - t To move the transition to an exact point in the timecode, type a timecode number larger than 99, including frames. For example, type 102 to enter 1 second and 2 frames (1:02).
2. Click the Play Loop button. The system enters a playback loop. This loop begins at a preroll point before the transition and ends at a postroll point, pausing briefly before beginning playback again. 3. Set and alter the length of the preroll, postroll, and transition effect duration by clicking the appropriate timing text box and typing a new value.
To review footage starting from the previous transition: 1. Place the position indicator at the transition you want to review. 2. Click the Edit Review button. The position indicator moves before the previous transition and begins to play. n If you have a sequence with multiple selected tracks, the Edit Review command moves the position indicator before the first set of edit lines that line up on all the selected tracks. 3. To stop play, press the space bar.
t Press the J or L key once to play at normal speed, or more than once to shuttle at higher speeds. When you see the frame where you want to relocate the transition, press the space bar or the K key to complete the trim. The monitors and the Timeline are updated to reflect the trim. n When trimming with the J-K-L keys, you cannot completely trim away a segment. The Avid system always leaves one frame. To remove the remaining frame, see “Performing a Basic Trim” on page 534.
Trimming During a Playback Loop An alternative method for trimming is to view the transition continuously in a playback loop, and use the keyboard to adjust the transition in 1-frame or 10-frame (8-frame for 24p) increments until you achieve the trim you want. You can perform this procedure in any of the Trim modes, using single-roller or dual-roller trims. To trim during a playback loop: 1. Enter Trim mode and select transitions for trimming. 2.
Creating Overlap Edits You can use an overlap edit to smooth a transition by giving the viewer the illusion that the audio or video is shared between two separate but adjacent clips. Perform a dual-roller trim to create overlap edits. Audio overlap example V1 Before trimming A1 A2 Clip A Clip B Clip C V1 After trimming A1 A2 Clip A Clip B Clip C Clip B audio is extended. Clip C audio is trimmed in. To create an overlap edit: 1.
Extending an Edit Use an extend edit to perform dual-sided (A-side and B-side) trims on selected tracks within Source/Record mode. An extend edit allows you to quickly create a split edit without entering Trim mode. It also allows you to establish the exact frame that you want to trim to by using the position indicator. (When you enter Trim mode, by default the position indicator moves to the nearest transition.) You can extend edits backward or forward in the Timeline.
3. Click the Extend button. You can map the Extend button from the Trim tab of the Command palette. For information on the Command palette and button mapping, see “Understanding Button Mapping” on page 179. The adjustment appears in the Timeline. Video track is extended backward. Slipping or Sliding Segments Slip and slide procedures are two unique Trim mode techniques that allow you to make frame-accurate adjustments to a selected segment.
Drag right to left around two or more transitions. IN OUT To drag a lasso around a segment on a lower track, press and hold the Alt key (Windows) or Ctrl key (Macintosh) while you drag a lasso. You enter slip trim by default. To switch to slide trim, press and hold the Alt key (Windows) or Option key (Macintosh) while you double-click the segment.
n You cannot perform both slipping and sliding functions simultaneously. You can slip and slide the video and audio for a segment together. Alternatively, you can slip and slide a single segment of video or audio independently from the rest of the segment. You can also slip segments in Source/Record mode by using the Slip Left and Slip Right buttons. The Slip/Slide Display Once you select the clips for slipping or sliding, the Trim mode interface changes to a four-frame display.
The type of trim you perform (slip or slide) determines which frames are updated, as follows: • In slip trimming, the two inner monitors for the head and tail frames of the clip change because only the contents of the clip are adjusted. The frames that precede and follow the clip are not affected. Surrounding material remains fixed. Slip 1 frame to the right.
t Use the numeric keypad to enter specific frame-count or timecode values, and press Enter. t Use the trim keys or buttons to shift the selection by 1-frame or 10-frame (8-frame for 24p) increments. t Use the J-K-L keys. 2. Monitor the progress of the trim by using the monitors, the Trim counters, and the Timeline. When you reach the end of available material while slipping a shot, the trim stops. Similarly, when you reach the next transition while sliding a shot along a track, the trim stops.
3. Slip the shot by doing one of the following: t Click the Slip Left button to slip the shot one frame left (revealing later material from the source clip). t Click the Slip Right button to slip the shot one frame right (revealing earlier material from the source clip). t Alt+click (Windows) or Option+click (Macintosh) the Slip Left or Slip Right button to trim 10 frames (8 frames for 24p) at a time.
To add black filler while trimming: 1. Enter Trim mode. 2. Select the transition. 3. Press and hold the Alt (Windows) or Ctrl (Macintosh) key while dragging the A-side or B-side trim roller. A black segment is added without changing the duration of sequence. Trimming without adding black No black is added and sync breaks appear in the Timeline. Black fills the trim duration and sync is maintained.
Trimming with Sync-Locked Tracks You can sync lock tracks to maintain a synchronized relationship when you perform a single-roller trim. Sync Lock icon Before trimming A1 A2 A3 After trimming A1 A2 A3 Single-roller A-side trim Maintains the relationship To trim with sync-locked tracks: n Sync-locked tracks aid only single-roller trim functions in Trim mode because dual-roller trims do not cause sync breaks. 1.
2. Perform single-roller trims as necessary, with the following results: - When you trim the A-side of a transition forward, all other segments locked in sync move forward with the trim. If the transitions are staggered, this action might split one or more of the segments at the sync point established by the position indicator, leaving filler.
Using the Transition Corner Display The Transition Corner Display is a Trim mode interface that shows six frames you can use as reference points when trimming a transition effect: Transition Corner Display button Frames on which the transition effect starts The two frames between which a cut point defines the transition Frames on which the transition effect ends Use the Transition Corner Display to trim the transition effect’s start frames, end frames, and duration in timecode or feet+frames (for 2
To trim a transition by using the Transition Corner Display: 1. Select a transition effect for trimming: t Lasso the effect in the Timeline from right to left. t Enter Trim mode and click in the transition in the Timeline. t Use the Go to Transition buttons to enter Trim mode and step through transitions until you highlight the transition you want. 2. Click the Transition Corner Display button. The button changes to green, and the display is enabled.
CHAPTER 14 Working with Audio You edit audio by using many of the same techniques and tools you use to edit video, including Source/Record mode, Segment mode, and Trim mode functions. Your Avid system also provides several unique features that facilitate audio editing, such as audio scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between speakers. In addition, you can adjust the high, low, and midrange frequency ranges of segments by using the Audio Equalization (EQ) tool.
• Changing the Sample Rate for Sequences and Audio Clips • Displaying Audio Formats in Bins • Working with Zaxcom Deva and Aaton InDaw Audio Exploring the Audio Tools The Avid system provides a collection of tools for managing and fine-tuning audio volume, pan, equalization, and transitions.
Accessing Audio Effect Tools You can access the following tools from any of the audio effect tools: • Audio Mix (for adjusting pan and volume) • Automation Gain • AudioSuite • Audio EQ To access one of the audio effect tools: t Choose one of the tools from the Tools menu. To switch to another tool when one of the audio tools is already open: t Choose the new tool from the Effect Mode Selector pop-up menu.
The following section describes two features that help you locate transitions and monitor audio samples while editing or adjusting sound with the tools. Audio Editing Aids The Avid system provides audio scrub features and waveform plots specifically designed for frame-accurate cueing, marking, and editing of audio. You can use these features any time during editing or while making adjustments with the audio tools. Soloing Audio Tracks in the Timeline You can solo multiple tracks in the Timeline.
To turn off soloing for the track: t Click the Audio Track Monitor button again. To turn off the solo feature for all audio tracks: t Ctrl+Alt+click (Windows) or k+Option+click (Macintosh) an Audio Track Monitor button for a solo track. Using Audio Scrub The term audio scrub originated in the film industry. It describes the process of “scrubbing” a magnetic audiotape across the playback heads to monitor a portion of sound.
Selecting Tracks for Scrubbing By default, all monitored audio tracks are selected for scrubbing. However, as the play speed increases during audio scrubbing, some monitored audio tracks are dropped. You can select up to two tracks to ensure they play during scrubbing, even if the system has to drop some tracks. Table 14-1 shows how many tracks can be scrubbed at the varying speeds of play.
The Audio Track Monitor button is purple with a gold Speaker icon to indicate which tracks will be played if the system has to drop tracks during audio scrubbing. By default, the two top Audio Track Monitor buttons display the gold Speaker icon. You can isolate specific audio tracks for scrubbing without having to deselect monitoring of all other audio tracks by soloing the audio tracks. See “Soloing Audio Tracks in the Timeline” on page 556.
Using the Mouse to Perform Smooth Scrub You can use the mouse to perform smooth audio scrubbing of selected tracks. Like the J-K-L keys, you can jog and shuttle using the mouse. Unlike three-button play, however, playback rates with the mouse are not at fixed increments. They can vary all the way from 1 to 300 fps, depending on manipulation of the mouse. To monitor audio with the mouse: 1. Select the correct track and adjust the playback volume as necessary. 2.
• The audio is always sampled in a forward playback direction; whether you step backward or forward through the material, you hear the same audio sampling at each destination frame. Digital scrub example This entire section is sampled. Step 10 frames (8 frames 24p).
To adjust the parameters for digital scrub: 1. Open the Audio Settings dialog box by using one of the following procedures: t Double-click Audio in the Settings scroll list of the Project window. t If you have digital scrub parameters displayed in the second row of information above the Source or Record monitors, Alt+click (Windows) or Option+click (Macintosh) the digital scrub parameters.
Performing the Digital Scrub Procedure To locate an audio edit point in either source-side or record-side audio by using digital scrub: 1. Solo an audio track for scrubbing and adjust the output volume, if necessary. 2. Press the Caps Lock key to activate digital audio scrub. n You can also activate digital audio scrub by pressing and holding the Shift key while you drag the position indicator or click the step buttons. 3.
To display audio waveforms: 1. If you are searching for a point in a known section of the tracks, zoom in and show more detail in the sequence to isolate a section of the audio. With less audio to display, the system draws the waveform plot faster. 2. Choose Audio Data from the Timeline Fast menu. A submenu appears, containing two waveform plot options.
n Press Ctrl+period (Windows) or k+period (Macintosh) at any time during the redraw of the waveform plot to stop the redraw. 3. (Option) Maximize the visibility of your waveform display using one of the following procedures: t Continue to expand or shrink your view of the Timeline by using the scale bar, effectively spreading out the waveform plots to show detailed variations in the audio levels.
n Audio waveform plots can slow your navigation through the Timeline. Therefore, you might want to use them selectively. To do this, you can create a custom Timeline view, as described in “Understanding Timeline Views” on page 448. Once you have created a customized waveform view, you can simply choose it from the Timeline View pop-up menu when needed, and return to another view when you are done.
The Audio Project Settings dialog box appears. 4. Choose Yes from the Show Mismatched Sample Rates as Different Color pop-up menu. Depending on what sample rate you chose for your project, the color black will be displayed on those clips. For example, if you chose 48 kHz from the Sample Rate pop-up menu in the Audio Project Settings dialog box, the sample plot of these clips (48 kHz) will be displayed as black, and the sample plot of all other clips with different sample rates (32 kHz and 44.
Muting the Audio The Mute button in the Play tab of the Command palette allows you to quickly turn all sound tracks on and off during editing. This is especially convenient when you fine-tune complex audio and video edits, making it possible to shift quickly between the two. You can set your audio levels and speaker volumes and mute them whenever necessary without changing the settings. To mute all audio tracks: t Click the Mute button to mute all audio tracks.
The system uses these adjustments for all playback, including output to a digital cut. n The Audio Mix tool adjusts entire clips only. You can adjust volume levels within a clip in the Timeline by using Audio Gain Automation. For information, see “Using Audio Gain Automation” on page 580. To open the Audio Mix Tool, do one of the following: t Choose Audio Mix from the Tools menu. t If one of the audio tools is already open, choose Audio Mix from the Effect Mode Selector pop-up menu.
Resizing the Audio Mix Tool You can use the Number of Mix Panes button to change the display from 8 tracks to 4. When you select 4 tracks, a menu appears that allows you to display the first 4 or last 4 tracks that are enabled. You can further simplify the Audio Mix Tool display by clicking the Display/Hide Sliders button to switch between hiding and displaying the volume Level sliders.
t To adjust levels from an IN point through the end of the track, mark an IN point only. One mark also adjusts the entire track from the beginning of the clip that includes the mark. t To adjust levels globally throughout the track, make no marks. 3. Choose Audio Mix from the Tools menu to open the Audio Mix tool. The Audio Mix tool contains eight panels, one for each audio track that you can monitor and adjust.
6. Raise or lower the volume as needed. This adjusts the volume for a single clip. See “Changing an Audio Level” on page 573. Volume Level display Click Gang buttons to gang multiple tracks. Level slider Pan Value display and pop-up slider 7. Adjust the pan values as needed. See “Adjusting Pan Values” on page 573. 8. Apply the adjustments to a chosen region of the track by using the Audio Mix Fast menu located in the upper right portion of the tool. See “Applying Pan Value Adjustments” on page 573.
Changing an Audio Level To change an audio level value in the audio panel, do one of the following: t Click a number along the vertical edge of the Level slider. t Click the Level slider and type a value. Values are cumulative until you press Enter (Windows) or Return (Macintosh). For example, if you want to enter the value 12, type it. However, if you type 1 and then want to change the value to 2, press Enter (Windows) or Return (Macintosh) before typing the 2.
Table 14-2 Audio Mix Fast Menu Commands Choose To Set Level on Track, Set Pan on Track Apply the same pan or volume levels currently set in the Audio Mix tool to all segments in the marked regions of the tracks. Adjust Pan/Vols on Track Open a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks.
n The Clip Gain values set by the Audio Mix tool are the values for the entire segment; for example, you cannot set a subsection of a segment without affecting the entire segment. To set gain for a portion of a segment, use Audio Gain Automation. For more information, see “Using Audio Gain Automation” on page 580. Ganging and Adjusting Multiple Tracks You can gang multiple tracks in the Audio Mix tool to maintain the same relative settings between tracks when you make adjustments.
Rendering an Audio Effect The Render Effect button allows you to render an audio effect without closing the Audio Mix tool. For example, if you change the level of a clip that contains a rendered audio dissolve, the effect becomes unrendered. You can use the Render button to rerender the audio dissolve directly from the Audio Mix tool. Then, you can play the clip back immediately to hear the effect of the level change with the dissolve in place.
- n The Default Pan command restores the pan values to the values set in the Audio Settings dialog box. Stereo (available on the Audio tool) is the only Audio Mix mode that supports pan/vol effects. Modifying How the System Interprets Pan During Playback To modify the way the system interprets pan during playback: t Set the default pan values in the Audio Settings dialog box.
Adjusting Volume While Playing an Audio Mix Effect You can use the Audio Loop Play button to change the volume on an existing Audio Mix effect while you play the clip. The Audio Loop Play button appears on several of the audio effect tools and is also a mappable button in the Command palette. You can perform the following operations while the system plays the loop: • Adjust audio effects. • Use the Peak Hold pop-up menu in the Audio tool to change between Peak Hold and Infinite Hold.
- If you have only an IN point or only an OUT point, the system uses the location of the position indicator as the second point. For example, if there is an IN point and no OUT point, the system loops from the IN point to the end of the (smallest selected) audio segment under the position indicator. 3. Adjust the volume as necessary. 4. Click the Audio Loop Play button again to stop replaying the effect. The Avid system automatically saves your changes as part of an Audio Mix effect.
Using Audio Gain Automation Audio Gain Automation (also known as audio volume rubberbanding) allows you to change the volume of a segment by adding and manipulating gain keyframes in the Timeline. The following illustration shows an expanded audio track containing gain keyframe information. Gain values in decibels Graphic representation of keyframes and gain ramps in the Timeline The Avid system uses a linear ramp to change the volume from one gain keyframe to the next.
For example, assume that you have copied an audio file from a CD-ROM. You want to equalize (EQ) the audio but the overall volume is too loud. In this case, you would do the following: 1. Use the Audio Mix tool to lower the overall volume. See “Using the Audio Mix Tool” on page 568. 2. Apply an EQ effect and any other audio effects. See “Using the Audio EQ Tool” on page 598. 3. Use Audio Gain Automation to fine-tune the volume of different sections of the audio in the sequence.
Adjusting Volume in the Timeline To use Audio Gain Automation to adjust volume: 1. Select an audio track for adjusting volume. 2. Click the Timeline Fast menu and choose Auto Gain from the Audio Data submenu. n n If there is audio volume data on a clip and Auto Gain is not chosen from the Timeline Fast menu, the system displays a pink triangle on the clip to indicate that audio volume data is present but not displayed.
The following illustration shows the expanded audio track with volume data. 4. Click the Add Keyframe button in the FX tab of the Command palette to add keyframes along the Timeline. The Avid system adds a keyframe to each enabled track. A straight line appears in the selected audio track. The line shows the current gain level for that track in the Audio Mix tool.
Deleting Audio Gain Keyframes in the Timeline To delete a single audio gain keyframe: 1. Move the pointer over the keyframe. 2. When the pointer changes to the hand pointer, press the Delete key. n You don’t need to press the mouse button. If you press the mouse button, you might change the gain. If there are identical keyframes in other active tracks, the system deletes them also. To delete groups of audio gain keyframes: 1. Mark an IN point and an OUT point or mark the entire segment. 2.
t Move a keyframe horizontally to move the start or end of a ramp. Place the pointer over a keyframe. When the pointer changes into the hand pointer, Alt+click (Windows) or Option+click (Macintosh) the keyframe, and drag it. t Move several keyframes vertically on a track at the same time by placing IN and OUT points to select the area you want. When you move one keyframe up or down within the marked area, all keyframes within the marked area move in relation to each other.
For information on using these external fader controllers or mixer, see “Recording Automation Gain Information” on page 594. Adjusting the Volume of Individual Keyframes To edit the volume for individual keyframes by using an external fader controller or mixer: Position indicator lights 1. Check the color of the position indicator lights.
Understanding the Automation Gain Tool Before this section discusses recording volume in the Timeline, it describes the Automation Gain tool in detail. The following illustration shows the Automation Gain tool.
The following features are similar to the Audio Mix tool: • Bypass auto gain button: This button allows you to temporarily turn off the Automation Gain effect. This button is the same as the Bypass Clip Gain button in the Audio Mix tool. • Number of Mix Panes and Which Set of Tracks to Display in Mix Panes Menu buttons: These buttons allow you to display 4 or 8 panes and to select which enabled tracks are displayed. They are similar to the display options in the Audio Mix tool.
The remainder of the features described in this section are specific to the Automation Gain tool. Track Solo Button The Track Solo button (Speaker icon) lets you mute and solo individual audio tracks during Audio Gain Automation recording. Button Color Description Purple (default) The audio track is on. Gray The audio track is muted. Green The track is soloed. You can solo more than one track at a time. To switch between solo and on, do one of the following: t Click the Track Solo button.
To change the previous state of a button: t c Alt+click (Windows) or Option+click (Macintosh) the button. While the Automation Gain tool is active, the Avid system overrides any other mappings of the number keys 1 to 8 at the top of the keyboard. Number keys on the right side of the keyboard are not affected.
Position Indicator Lights Position indicator lights The position indicator lights provide information about the current location of the faders on the external fader controller or mixer. Colors Description Both lights are blue. The fader matches the current Timeline volume. Only top light is blue. The fader is higher than the Timeline volume. Only bottom light is blue. The fader is lower than the Timeline volume. Both lights are gray.
Selecting Tracks in the Automation Gain Tool To apply adjustments to a chosen region of the track: 1. Select the tracks. Track Selection Menu button 2. Click the Automation Gain Tool Fast menu (located in the upper right portion of the tool) and choose a menu command. n The commands in the Automation Gain Tool Fast menu appear dimmed until you select a track by clicking the Track Selection Menu button. To apply the adjustments to multiple tracks: t Click additional Track Selection Menu buttons.
• With an IN point (no OUT point): Commands apply adjustments to full clips from the IN point to the end of selected tracks. • With no points: Commands apply adjustments globally (across entire tracks). To apply the adjustments: t Choose one of the following commands from the Automation Gain Tool Fast menu: • Set Pan on Track: This command applies the same pan or volume levels currently set in the Audio Mix tool to all segments in the marked regions of the tracks.
• Remove Pan/Vols on Track: This command deletes all audio mix adjustments that have been applied to segments in the marked regions of selected tracks. Each audio clip is restored to its previous pan and volume settings. • Calibrate Hardware Sliders: This command takes the place of the HW (hardware) button in previous releases. When the Calibrate Hardware Sliders option is enabled, the Recording status light changes to gold and the external faders control the sliders in the Automation Gain tool.
To record audio gain information by using the Automation Gain Tool sliders: 1. Select an audio track for adjusting volume. 2. Click the Timeline Fast menu and choose Auto Gain from the Audio Data submenu. n If there is automation gain data on a clip and Auto Gain is not chosen from the Timeline Fast menu, the system displays a pink triangle on the clip to indicate that audio volume data is present but not displayed. 3.
You should remove as many excess keyframes as possible while still maintaining the desired volume changes. You can move, add, and delete keyframes individually or as groups to further adjust the volume. For details on how to adjust the keyframes, see “Adjusting Volume in the Timeline” on page 582. Using a Keyboard Shortcut When Editing Audio Keyframes You can map the Fast Forward and Rewind buttons to your keyboard to speed your editing of audio keyframes.
2. Move the blue position indicator to the section of audio that you want to adjust and mark IN to OUT points. Position indicator lights 3. (FaderMaster Pro only) Note the colors of the position indicator lights for the track you want to adjust. Move the fader until both lights are blue. If you cannot adjust it to the exact position where both lights are blue, get it as close as you can. 4. Set Preroll and Postroll values, if necessary. 5. Click the Record button to start recording your actions. 6.
9. To decrease the number of keyframes, choose Filter Automation Gain on Track — In/Out from the Automation Gain Tool Fast menu. (Click the Track Selection Menu button for a track to enable Filter Automation.) n If you delete too many keyframes, use the Undo command to restore them. 10. Repeat step 9 until you have decreased the number of keyframes to an acceptable level. You should remove as many excess keyframes as possible while still maintaining the desired volume changes.
The Audio EQ tool opens. Render Effect button Audio Loop Play button Effect Mode Selector pop-up menu Track Selection Menu button EQ Parameter display Fast Menu button Effect icon Display/Hide EQ Graph button Enable/Disable EQ Effect button Low shelf Parametric midrange 3-band controls High shelf EQ Range slider EQ Parameter graph Audio EQ Tool Features This section describes the basic buttons and menus on the Audio EQ tool as well as the EQ-specific items on the tool.
Basic EQ Tool Features The following buttons appear along the top portion of the Audio EQ tool: • Effect Mode Selector pop-up menu: Allows you to choose among the Audio EQ, Audio Gain Automation, Audio Mix, and AudioSuite Plug-In tools. • Audio Loop Play button: Allows you to make adjustments to an EQ effect while you play the effect. This button is also a mappable button on the Command palette.
• Bypass RT EQ button: Instructs the system to ignore all the EQ effects. This button is also available on the Audio Mix and Automation Gain tools. If you select this feature in one tool, it is selected in the other tools as well. • Enable/Disable EQ Effect button: Allows you to enable or disable the current EQ effect. When the button is yellow, the effect is enabled. (The button text IN stands for inline.
The Ignore EQ option turns off all EQ effects for the sequence. Rendered EQ effects still play correctly. When you apply Audio EQ effects, consider the following: • Audio EQ can be applied only to entire segments. You cannot isolate portions of a segment for an Audio EQ effect by using IN to OUT points. You must use add edits (match frames) to mark off a smaller segment. • You can use IN to OUT points to select a range of complete segments for applying an Audio EQ effect.
The Audio EQ tool allows you to emphasize or deemphasize audio frequencies. The height of the curve in the bottom pane shows the amount of emphasis or deemphasis (also called boost or cut) that is being applied. The range is from +15 dB to –20 dB. Applying Audio EQ Effects To adjust audio EQ for a track: 1. Load the sequence containing the audio track. 2. (Option) Isolate a portion of an audio segment by placing add edits. 3.
7. Use one of the following methods to change a value in the Audio EQ tool: t Click a number along the vertical edge of the Low Shelf, Parametric Midrange, or High Shelf sliders. t Click the Low Shelf, Parametric Midrange, or High Shelf slider and type a value. Values are cumulative until you press Enter (Windows) or Return (Macintosh). For example, if you want to enter the value 12, simply type it.
For example, the following illustration shows a segment with one EQ effect applied to the Audio Clip 2 in track A1. If you choose Set EQ In/Out, the current EQ effect is also applied to Audio Clip 1 and Audio Clip 3 on track A1. Before Set EQ In/Out After Set EQ In/Out – EQ effect is added to Audio Clip 1 and Audio Clip 3. If there is no EQ setting on the currently selected clip, choosing Set EQ In/Out deletes the EQ settings on all clips within the IN to OUT range.
Set EQ In/Out applies only to the audio track currently selected by the Audio EQ tool. You can change your selected region by eliminating or adding marks in the Timeline, or by selecting a different track. 9. Play through the audio again, using the Audio Loop Play button. 10. Repeat steps 6 to 9 until you are satisfied with the EQ adjustments. Saving Audio EQ Effects The Avid system treats an EQ setting as an effect. You can save EQ settings in a bin just as you save any other effect template.
To copy the settings to another audio clip: t Drag the effect icon in the Audio EQ tool to another audio clip in the Timeline. For more information on using effect templates, see the effects guide for your Avid system. Removing Audio EQ Effects To remove an Audio EQ effect: 1. Place the position indicator on the effect in an active track. 2. Do one of the following: t From Source/Record mode, click the Remove Effect button. t From Trim or Effects mode, press the Delete key.
Low Shelf Example In this example, assume that a bass drum in the sound track is very pronounced and the Audio EQ tool is used to deemphasize it. Also assume that there are voices on the same track as the music. The human voice covers a wide range of frequencies, and the challenge is to preserve the bass frequencies of the voices while deemphasizing the bass drum sound. Consider that the goal of the adjustments is the final sound.
To compensate for the loss of bass: 1. Use the 2-octave midrange setting to create a wide midrange. 2. Move the midpoint of the parametric curve to 88 Hz (Windows) or 90 Hz (Macintosh). 3. Boost the midrange of the parametric curve to +7.7 dB. Small Octave Range Example In this example, assume that a bass drum in the sound track is very pronounced and the Audio EQ tool is used to deemphasize it. Also assume that there are voices on the same track as the music.
Consider that the goal of the adjustments is the final sound. You should use small adjustments to preserve as much of the original sound track as possible. Do not be overly concerned about specific parameter values. This example isolates the particular frequency that we want to deemphasize. In this example, we do not use the low shelf, but instead use the parametric midrange to isolate the frequency. To isolate the frequency: 1. Use the 1/4-octave influence range. 2.
To locate a specific frequency and either emphasize or deemphasize it: • Use the 1/4-octave influence range and a large negative decibel value. • Keep both the high shelf and low shelf set to zero. • Use the EQ Range slider to move the center point of the parametric curve along the frequency range while you play the audio track. Once you locate the frequency you want, you can adjust it as needed. Using Audio EQ Templates Your Avid system provides a set of predefined audio EQ templates.
The Fast menu on the Audio EQ tool provides access to a number of predefined EQ templates, as shown in the following illustration. The EQ templates are designed to fix problems that you often encounter with audio clips. For example, Tape Hiss Filter rolls off frequencies above 4 kHz. NTSC Hum Buster cuts the bass on frequencies that often cause hum on NTSC systems. Applying an EQ Template To apply an EQ template from the Audio EQ Tool Fast menu: 1.
2. Choose the template from the Audio EQ Tool Fast menu. The Avid system places the EQ effect on the audio clip. The following illustration shows the contents of the Audio EQ tool when you select the Female Voice with Presence template in the Timeline. As explained in the tool, you cannot change the parameters of a predefined EQ template. n To see the parameter values of one of the EQ templates that cannot be edited, view the Console window after you apply the effect.
To create your own EQ effect template: 1. Drag the effect icon from the Audio EQ tool to a bin. The system creates an EQ effect in the bin. 2. Rename the template by clicking the text and typing a new name. Effect icon Adding an EQ Template to the Audio EQ Tool Fast Menu You can add your own EQ templates to the Audio EQ Tool Fast menu. You do this by storing your EQ template in the same bin as the predefined templates.
3. Open the bin named Site_EQs_Bin.avb as follows: a. Open one of the following folders: drive:\Program Files\Avid\Avid Media Composer\SupportingFiles\Site_Effects drive:\Program Files\Avid\Avid Film Composer\SupportingFiles\Site_Effects b. Choose All Files from the Files of Type pop-up menu at the bottom of the dialog box. The Site_EQs_Bin.avb file appears. c. Double-click the Site_EQs_Bin.avb file. 4. Drag one of your EQ templates to Site_EQs_Bin. 5.
4. Drag one of your EQ templates to Site_EQs_Bin. 5. If you have not already done so, name the template by clicking the text and typing a name. 6. Close the bin. n The Avid system does not save the effect to the bin until you close the bin. 7. Click the Audio EQ Tool Fast Menu button and look for your new template. Adjusting EQ While Playing an Audio Effect You can use the Audio Loop Play button to create or change an EQ effect while a clip is playing.
To improve the response time, do one of the following: t Monitor as few audio tracks as possible. t Deselect the video track, if practical. t Use IN and OUT points to choose a narrow interval to adjust. Understanding Digidesign AudioSuite Plug-Ins Your Avid system supports AudioSuite, the Digidesign host-based, file-based plug-in specification. Users have access to audio-processing plug-ins developed by Digidesign and by Digidesign third-party developers.
The DAE folder contains the following: • A DAE Prefs folder. The plug-in vendor might install settings in this folder. • A DAE Plug-Ins folder containing the following: - A set of basic plug-ins from Digidesign. - A file named AvidAppPlugIn.dpm. The Avid system requires this file; do not delete it. Several basic plug-ins are installed automatically. For a description of the plug-ins, see Appendix A.
Several basic plug-ins are installed automatically. For a description of the plug-ins, see Appendix A. When you purchase additional plug-ins, the third-party vendor provides instructions on how to load the plug-ins. Some vendors might require you to drag the plug-in to the Plug-Ins folder. Other vendors might perform the task automatically for you by using an installation program.
n The DAE application uses between 9 and 16 MB of memory, depending on how many plug-ins are loaded. If you plan to use other applications while the Avid system is running, you might find it useful to quit the DAE application to free up memory for the other application. To restart the DAE application, Option+click the status display. Setting Playback Buffer Size (Macintosh Only) While the DAE application is running, you can choose Set Playback Buffer Size from the DAE application’s File menu.
Additional parameters for working on master clips Status display Applying an AudioSuite Plug-in to a Clip in the Timeline The following illustration shows the default layout of the AudioSuite window.
To apply an AudioSuite plug-in to a clip in the Timeline: 1. Open the AudioSuite window by doing one of the following: t Choose AudioSuite from the Tools menu. t If an audio tool is already open, choose AudioSuite from the Effect Mode Selector pop-up menu. 2. Use the Track Selection Menu button to choose the tracks that you want to modify. When you choose an item from this menu, the system selects or deselects the corresponding track in the Timeline.
Using a Plug-In Dialog Box The contents of the plug-in dialog boxes vary, but the top six buttons are always visible. If a particular button is not available, it appears dimmed. The following illustration shows the Digidesign Normalize plug-in. These six buttons appear on all AudioSuite Plug-In dialog boxes. The buttons are: • OK: Saves the effect and closes the dialog box. • Cancel: Closes the dialog box and does not save the effect.
Some plug-ins require an analysis pass on the audio data before they can process the information. If so, they perform the first pass automatically. Other plug-ins do not require a first pass but can achieve more accurate results if you allow them to perform a first pass. If the plug-in supports the optional pass, this button will be available. Otherwise, it will be dimmed.
Creating New Master Clips You can use AudioSuite plug-ins to create new master clips. This allows you to use multiple input and output channels, and to change the length of the media. You can perform the following operations on the media you create: • Apply AudioSuite plug-ins to more than one track (also referred to as a channel or stream) at the same time. For example, a plug-in might allow you to process two separate tracks as a stereo pair.
Display/Hide Master Clip Controls button Activate Current Plug-In button Toggle Master Clip Mode button Track Selection Menu button Clip Selection pop-up menu Mark IN to OUT indicators Input Source Track selectors Processing Mode Selection pop-up menu Find Source From Effect button Load In Source Monitor button Target Bin for New Master Clip pop-up menu Status display Load Result check box Handle Length for End of Master Clip (seconds) text box • Track Selection Menu button: This menu is no
n • Target Bin for New Master Clip pop-up menu: This menu allows you to choose the target bin. The system will place the new media and a corresponding AudioSuite effect template in the bin. The template allows you to modify the effect at a later time. • Toggle Master Clip Mode button: This button activates the master clip processing mode. The button is yellow when master clip processing mode is active.
system automatically disables tracks until it reaches the plug-in’s maximum number. Mono, Stereo, and Multichannel Processing AudioSuite plug-ins allow you to select the following types of processing: n • Mono processing only: This option is available for plug-ins that operate on only one audio track at a time. The other option (Stereo) appears dimmed. The plug-in applies the effect to each source track individually, in a serial manner.
operates on multiple channels, creates a master clip with the same number of tracks that were chosen in the AudioSuite window. The Status display at the bottom of the AudioSuite Plug-in window indicates how many tracks the plug-in can process. If more tracks are enabled than can be processed, the plug-in automatically selects the correct number of tracks. You can change the track selection based on your needs.
4. (Option) Change the preview source track; Alt+click (Windows) or Option+click (Macintosh) the Input Source Track selector. 5. (Option) Type a value in the Handle Length text box to lengthen the clip by a specific amount. For example, type 2 if you plan to add a 2-second reverb trail. n If you are using Time Compression/Expansion plug-ins, the plug-ins automatically lengthen or shorten the clip. 6. Choose a plug-in from the Plug-In Selection pop-up menu. 7.
The system names the template as follows: • (Windows) The original clip name is combined with the effect name, for example, Test Audio clip - AudioSuite Plug-In Effect: Normalize. • (Macintosh) An effect file name extension is added to the effect name, for example, QuietClip.NormalizeQuietClip.Normalize.effect. The template is useful if you want to modify the effect after it is created. To use a template to modify a master clip: 1. Drag an AudioSuite plug-in template into the AudioSuite window.
3. Open the bin named Site_AudioSuite_Bin.avb as follows: a. Open one of the following folders: drive:\Program Files\Avid\Avid Media Composer\SupportingFiles\Site_Effects drive:\Program Files\Avid\Avid Film Composer\SupportingFiles\Site_Effects b. Choose All Files from the Files of Type pop-up menu at the bottom of the dialog box. The Site_AudioSuite_Bin.avb file appears. c. Double-click the Site_AudioSuite_Bin.avb file. 4. Drag one of your AudioSuite templates to Site_AudioSuite_Bin. 5.
5. If you have not already done so, name the template by clicking the text and typing a name. 6. Close the bin. n The Avid system does not save the effect to the bin until you close the bin. 7. Click the AudioSuite Fast Menu button and look for your new template. Plug-in Limitations The following limitations apply to the AudioSuite plug-ins: • Some plug-ins that perform analysis passes on the audio data are not supported. This includes plug-ins that use playlist information to cache analysis data.
Addressing Memory Allocation Problems (Macintosh Only) The DAE application requires between 9 and 16 MB of RAM, depending on how many plug-ins are loaded. When the application starts, it attempts to allocate enough memory for all the plug-ins in the Plug-Ins folder within the DAE folder. If you have many plug-ins (for example, more than 10), the application might not be able to allocate enough memory for all of them.
If you still receive memory errors when using the AudioSuite plug-ins, you might have too many plug-ins in the Plug-Ins folder within the DAE folder. Move some plug-ins to another folder and try running the AudioSuite plug-ins again. For example, you could create a Plug-Ins Disabled folder for storing plug-ins that are not in use. Canceling a Render Operation To cancel a render operation: t n Press Ctrl+period (Windows) or k+period (Macintosh). Be careful not to press these keys multiple times.
If the plug-in is not installed when you go to render a plug-in effect, the system displays an error message and tells you which plug-in is not installed. At that time, you can cancel or bypass the rendering process as previously described. Understanding Recording Voice-Over Narration Audio punch-in allows you to record audio directly into the Timeline for voice-over narration.
The following illustration identifies the various elements of the tool. Record button Play In/Out button Stop button Go to Mark IN button Cancel button Preroll and Postroll text boxes Audio Tool button Handles text box Input Source pop-up menu Input Channels buttons Timeline Track pop-up menus Target Drive pop-up menu Target Bin pop-up menu Features of the Audio Punch-In tool are as follows: • Play In/Out button: Starts playing with the ability to perform a real-time punch-in.
• Audio Tool button: Opens the Audio tool so you can monitor and adjust the audio levels during recording. • Preroll text box: Allows you to provide an audiovisual cue before the recording begins. The Avid system backs up the blue position indicator for the prescribed number of seconds. You can hear the audio during preroll. When starting a punch-in with the Record button, a preroll allows you to provide the duration, in seconds, of the audio visual cue before the recording begins.
• Timeline Track pop-up menus: Allow you to specify where the Avid system places the audio in the Timeline. Choose either New Track or an existing track. When you choose an existing track, the Avid system overwrites the audio on that track and silences that portion during playback. • Target Drive pop-up menu: Allows you to choose a target drive. • Target Bin pop-up menu: Allows you to choose a target bin.
To use the Audio Punch-In tool: 1. Load a sequence in the Timeline. 2. Choose Audio Punch-In from the Tools menu. The Audio Punch-In tool opens. Record button Play In/Out button Stop button Input Source pop-up menu Input Channels buttons Timeline Track pop-up menus 3. Select the input source and input channels that correspond to your hardware setup, and set other values in the window as appropriate. To select the input channels you want, click and hold the appropriate Input Channels button. 4.
You can replace part (or all) of an existing track or you can create a new track for the voice-over. IN point OUT point 5. Click the Play In/Out button or press the V key. Loop play begins over the entire sequence. If you set an IN point and an OUT point, loop play begins from the IN point to the OUT point. The Play In/Out button blinks bright green while playing. 6. When you are ready to start the voice-over, click the Record button or press the B key.
The system creates one master clip regardless of how many punch-ins you perform. The following illustrations show the results of adding a voice-over. The system automatically names the voice-over. You can change the name as you would for any clip (for example, change the name in the bin). Voice-over adding a new track Voice-over replacing a portion of a track n There are three Undo functions that can be performed during one session.
continuously through the sequence. Click the Record button when you find what you want to punch-in, and then click the Record button again to end recording. Scenario 2 - Set an IN point and an OUT point around the material you want to record. Set a preroll time. Click the Record button to start the preroll. When the system arrives at the OUT point, recording ends. The last region including the OUT point is recorded. Repeat recording over the same region until you are satisfied with the results.
4. Follow the procedure in “Creating the Voice-Over” on page 639. 5. As you record, monitor the previously recorded audio tracks along with your current recording from the meters in the Audio tool and from the sound on the speakers. Using Peak Hold While Recording Peak Hold allows you to customize the meter displays, and sets and plays back the internal calibration tone.
Go to Mark IN button Record button For more information on mapping buttons and for information on the MCS3, see “Understanding Button Mapping” on page 179 and “Mapping MCS3 Buttons” on page 765.
Voice-Over Media Files The Avid system automatically names the voice-over and stores it as an audio clip, as shown in the following illustration. Using a GPI Device with the Audio Punch-In Tool Your Avid system can send signals to a V-LAN® VLXi® deck controller and a general-purpose interface (GPI) device that trigger GPI actions. These signals are sent when playback begins and ends, and also when recording with the Audio Punch-In tool begins and ends.
To make use of this feature, you must: • Understand when the Avid system sends GPI trigger signals. For more information, see “Understanding GPI Trigger Signals” on page 647. • Connect a V-LAN VLXi deck controller and a VLXi-GT GPI to your Avid system. For more information, see “Connecting a V-LAN VLXi Controller and GPI” on page 649. • Configure the V-LAN VLXi deck controller and the GPI, and then create GPI settings for your specific needs.
GPI Signal Sequence When Using the Audio Punch-In Tool Without Preroll or Postroll When you use the Audio Punch-In tool without any preroll or postroll, the sequence of signals is as follows: 1. Record Out is sent when recording begins. 2. Stop Out is sent when recording (and playback) ends. GPI Signal Sequence When Using the Audio Punch-In Tool with Preroll and Postroll When you use the Audio Punch-In tool with preroll and postroll, the sequence of signals is as follows: 1.
Example of Linking GPI Actions to Trigger Signals For information on GPI actions, see Table 14-4. You can configure the GPI to respond to each of the signals sent by the Avid system in a specific manner. For a simple indicator light, you might create a GPI setting linking the Record Out signal from the Avid system to the GPI Set action (to turn the light on) and a setting linking the Stop Out signal from the Avid system to the GPI Reset action (to turn the light off).
GPI terminals (for connections to external hardware) IN OUT IN OUT IN OUT IN OUT IN OUT IN OUT VLXi-GT GPI SERIAL LAN 2 3 4 5 6 Terminator (required when cable length is more than 50 feet [15.24 meters]) V-LAN connection V-LAN VLXi controller SERIAL CF AC 1 PARALLEL REF SERIAL A TIMECODE A IN OUT SERIAL B TIMECODE B IN OUT LAN CF AC VLX TRANSMITTER VLX 2R DUAL RECEIVER VLXi transmitter serial input Note: All cables are customer supplied.
To configure the V-LAN VLXi controller and the VLXi-GT GPI: 1. Double-click Deck Configuration in the Settings scroll list of the Project window. The Deck Configuration dialog box appears. 2. Click Add Channel. 3. Choose VLAN VLX from the Channel Type pop-up menu. 4. Choose the serial port to which the V-LAN VLXi is connected from the Port pop-up menu. 5. Click OK. The autoconfigure message box appears. 6. Click Yes.
6. Click OK. The GPI Settings dialog box appears. 7. Click OK to set the GPI. 8. Click Apply in the Deck Configuration dialog box. Table 14-3 GPI Settings Options Option Description Name Keep the default V-LAN VLXi name or type a new name. Description (Option) Add a description of the GPI trigger. Device Type Select V-LAN, which is the Avid-supported device type. Address Select the V-LAN network address to which the VLXi-GT is assigned.
Table 14-4 GPI Node Settings Options Option Description Function Select one of the three active functions: • Record Out • Play Out • Stop Out Seven options are listed, but only the three signals described in “Understanding GPI Trigger Signals” on page 647 are active. Node Choose a node from the Node pop-up menu. Nodes 1 through 6 correspond to the physical connectors on the back of the VLXi-GT GPI device. Action Select an action: • Set activates a command. • Reset deactivates a command.
7. Click Apply. The GPI setting is updated. Deleting a GPI Setting To delete a GPI setting: 1. Double-click Deck Configuration in the Settings scroll list of the Project window. The Deck Configuration dialog box appears. 2. Click the VLXi-GT text box. 3. Select the name of the GPI you want to delete. 4. Click Delete. 5. Click OK. 6. Click Apply. The GPI setting is deleted.
4. Find the end of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker. 5. Turn on the appropriate track. 6. Click the Add Edit button. 7. Use the process described in “Using the Audio Mix Tool” on page 568 to change the level or pan within this new segment.
To apply a fade or crossfade: 1. Place the position indicator on a transition. 2. Click the Quick Transition button (it appears by default in the second row of buttons below the Record monitor). The Quick Transition dialog box appears. 3. Do not choose another effect from the Add pop-up menu at the top; only dissolves work with audio tracks. 4. Select a duration for the dissolve, measured in frames (30 frames equals 1 second of NTSC footage; 25 frames equals 1 second of PAL footage).
5. Choose the location for the dissolve from the Position pop-up menu. - Ending at Cut fades the audio on the A-side to 0, ending at the cut point. - Centered on Cut or Custom Start creates a crossfade. Custom Start allows you to begin the dissolve off-center — that is, closer to the transition and ending later into the B-side, or the reverse. - Starting at Cut fades the audio up from the B-side, starting at the cut point. 6.
Dipping Audio To dip audio from a higher level to a lower one — for example, when bringing music down and under a voice-over track: t Use the procedures described in “Using Audio Gain Automation” on page 580. t Use the procedure described in this section. To apply a dip in audio: 1. Play back the section of the sequence where the dip will take place to determine the start point for the dip, and apply an add edit to the audio track.
Mixing Down Audio Tracks When you work with multiple audio tracks while editing your material, you might need to mix down the final audio to two tracks. To mix down several edited audio tracks to one or two audio tracks: 1. Load a sequence into the Record monitor. 2. Click the Track buttons in the Track Selector panel to select the audio tracks you want to mix down. 3. Mark an IN point and an OUT point at the start and end of the material you want to mix down.
Selected section of audio Destination tracks 5. Select Mono and select the target track to which you want to mix down the audio. If you want stereo, select Stereo and select two target tracks for the mixed-down audio. 6. Choose a target drive and a target bin. The target drive is the media drive where the system stores the media files for the mixed-down audio. 7. Select Save Premix Sequence if you want to save the sequence before mixing down the audio. 8. Click OK.
Changing the Sample Rate for Sequences and Audio Clips You can change the sample rate for sequences and audio clips from within the Change Sample Rate dialog box. Since you can combine clips with different sample rates in the same sequence, this feature is useful when you need to ensure that the entire sequence has the same sample rate for a digital cut or export. To change the sample rate for a sequence or an audio clip: 1. Select one or more sequences or audio clips in the bin. 2.
Displaying Audio Formats in Bins You can select a bin heading to display the audio formats in the bin. The applicable audio format, AIFF-C or WAVE (Windows) or SDII (Macintosh), appears in the Audio Format column for master clips. To add the Audio Format column to a bin: 1. With a bin in Text view, choose Headings from the Bin menu. The Bin Column Selection dialog box appears.
2. Ctrl+click (Windows) or click (Macintosh) Audio Format from the scroll list to select it. 3. Click OK. The Audio Format column appears in the bin. Working with Zaxcom Deva and Aaton InDaw Audio When you transfer audio with a Zaxcom Deva or an Aaton® InDaw recorder, you can log information about the audio, such as: • Shoot date • Timecode • Scene • Take information • Production notes After you import the audio file to an Avid system, you can display this information in the bins.
Reimporting Zaxcom Deva or Aaton InDaw Audio If you use audio transferred with a Zaxcom Deva or an Aaton InDaw recorder and later delete the media, you can reimport the media using batch import. For more information on reimporting files, see the input and output guide for your Avid system. You can also batch digitize the deleted media if you have a source tape. The Aaton InDaw recorder can have a tape name and a source tape associated with it.
CHAPTER 15 Syncing Methods Your Avid system provides special tools that help you establish and maintain sync relationships between various clips. This includes managing sync between unrelated clips or clips with the same timecode, ganging footage, matchframing footage, and using Sync Point Editing.
Autosyncing Clips For more information on tracking sync breaks, see “Displaying Sync Breaks” on page 674. When you digitize footage that includes both audio and video, the system automatically establishes sync when it creates clips in the bin. Autosyncing applies to audio and video clips that have been digitized separately, usually from two separate sources. Autosyncing creates a new subclip that displays sync breaks in the Timeline as though the audio and video were digitized simultaneously.
• If you are autosyncing clips of different lengths, the longer clip is truncated to the length of the shorter clip; video clips override audio clips. • If you autosync according to common timecodes that are staggered (one clip starts later than the other), the later starting timecode becomes the start of the new subclip. The clip with the earlier starting timecode is trimmed accordingly. To create an autosynced subclip: 1. Highlight the two clips in the bin. 2. Choose AutoSync™ from the Bin menu.
- Outpoints, if you are syncing according to OUT points set in both clips. - Source Timecode, if the two clips have matching timecode. - Auxiliary TC1–TC5, if the two clips have matching timecode in the same Auxiliary Timecode column. Choose an Auxiliary TC, 1 through 5, from the pop-up menu. 4. Click OK. The subclip is created and named by default after the video clip with the file name extension .sync.n, where n is the incremental number of subclips created with the same name.
If you do not use AutoSync and the video clip timecode does not match the audio clip timecode, you should select only video clips when you use AutoSequence. You can then add audio to the sequence and sync the audio with the video by using the Splice-in and Overwrite functions. Use the following guidelines when creating a synchronized sequence: • Your original videotape must have continuous timecode.
5. Edit the audio tracks. 6. Record a digital cut of the audio directly onto the original videotape when you finish editing the sequence. c n Make sure the video tracks are not enabled when you begin recording a digital cut. You can build a sequence without filler by pressing and holding the Alt key (Windows) or Option key (Macintosh) while you choose AutoSequence from the Bin menu.
n - During digitizing - From imported audio media (OMFI, AIFF-C, or WAVE format), master clips generated by AudioSuite plug-ins, or tone generator media • You cannot slip at the perforation level of the imported QuickTime® audio media. • You cannot slip at the perforation level of the audio clips from Media Composer or Film Composer releases earlier than Release 10.5.3. You must import the audio media as a new clip.
5. Zoom in on the area of the subclip that contains the audio slate frame as follows: a. Choose Zoom In from the Timeline Fast menu. b. Draw a box around the slate-frame area. 6. Move the audio sync either backward or forward in 1-perf increments by clicking the Slip Left One Perf or Slip Right One Perf button. Each click of the perf button performs the sync adjustment. 7. Play the subclip in the Source monitor to evaluate your sync adjustment.
Your Avid system provides several features for avoiding, tracking, and removing sync breaks, as described in the following sections. Editing to Avoid Sync Breaks One way to avoid breaking sync is to maintain the duration of the track when adding or removing material, as follows: • When adding material to a track, use the Replace or Overwrite functions instead of Splice-in, whenever possible. • When removing material from a track, use Lift instead of Extract.
Displaying Sync Breaks By default, the Timeline displays sync breaks whenever they occur during editing. They appear at break points as white numbers indicating negative or positive offset values relative to zero. The Sync Breaks option also displays match-frame edits by displaying an equal sign (=) on the edits. Match frames Sync breaks You encounter sync breaks and match frames in different circumstances: For more information on match frames, see “Adding an Edit (Match Framing)” on page 505.
Fixing Sync Breaks Sync breaks are displayed only when the out-of-sync tracks overlap. If an overlapping portion of one of the tracks is deleted, replaced, moved, or trimmed, then the sync break disappears. You fix sync breaks in one of several ways, based on the type of break and the needs of your sequence. Fixing Sync in Trim Mode For more information about trimming, see Chapter 13. In Trim mode, restore the frames to sync by performing one or more single-roller trims on the out-of-sync tracks.
• Splice in or extract selected frames of filler when necessary. • Use the Add Edit function to isolate only a portion of a clip or filler segment in the sequence for extracting or replacing. Fixing Sync in Segment Mode For more information on editing in Segment mode, see “Understanding Segment Mode” on page 474. In Segment mode, you can restore sync in some circumstances by selecting and moving the entire out-of-sync segment.
Using Sync Lock The Sync Lock feature allows you to maintain sync among several tracks while adding, moving, trimming, or removing material in a sequence. For example, if you insert an edit into one track that is sync locked to a second track, the system automatically inserts filler in the second track to maintain sync between the two. Sync Lock icon Sync Lock All button You activate sync locking by clicking a Sync Lock button in the Track Selector panel to display the Sync Lock icon.
Syncing with Tail Leader You can add tail leader to the audio or video material to provide a useful visual reference in the Timeline for tracking and fixing sync breaks across any number of tracks. Tail leaders lined up for multiple video (vid) and audio (aud) tracks Film editors traditionally use standard head and tail leaders for this purpose. You can create your own leader according to any specification, as described in “Creating Leader” on page 262.
3. To restore sync, find the point at which the sync was lost. Add or remove frames by using the appropriate edit function, as described in “Fixing Sync Breaks” on page 675. As a quick fix, you can enter Segment mode by clicking the Extract/Splice-in (yellow arrow) button. Drag the black segment at the end of the out-of-sync tail leader to the location where the sync was lost. This segment of black, created when the track went out of sync, is the exact length of the sync break.
The system adds a locator to the enabled tracks in the Timeline and in the Record monitor. Locators in sync Focus button 4. To add a note that will appear in the Record monitor whenever you park on the locator frame — such as Music sync or Sound Effect sync — double-click the locator in the Record monitor, type your comments in the comment entry area of the Locator window. You can use the Find procedure to quickly go to a locator with text.
Using Add Edit When Trimming When trimming with several audio tracks in sync, you can use the Add Edit button to create an edit in the silent or black areas of the synced tracks. They occur in line with the track you are trimming, and they trim all the tracks at once to maintain sync. n You can also add an edit to filler. For more information, see “Adding Edits to Filler Clips” on page 506. To use the Add Edit button while trimming: 1. Place the position indicator on the edit that you want to trim.
Using Sync Point Editing Sync Point Editing (SPE) allows you to overwrite material onto your sequence in such a way that a particular point in the source material is in sync with a particular point in the sequence. For example, you can sync an action in the source video with an audio event, such as a musical beat in the Record monitor, and then edit it so that the action occurs on the beat.
3. Mark the material in one of the following ways: t Mark the IN and OUT points in either the Source or Record monitor, leaving the opposite monitor clear of marks. t Mark an IN or OUT point in the Source monitor, or an IN or OUT point in the Record monitor. For example, if you marked an IN point in the Source monitor, mark the OUT point in the Record monitor. 4. Move the source position indicator to the sync frame in the clip. This establishes the source sync point. 5.
Ganging Footage in Monitors The Gang function does not combine tracks into a synced relationship, but rather locks monitors in sync so that you can move through footage in two or more monitors simultaneously. This function is convenient for viewing and marking the sequence and source material simultaneously, based on syncing of the position indicators in each monitor. You can gang the Source monitor and any number of pop-up monitors with the Record monitor.
Match Framing Footage The Match Frame feature allows you display matching footage in the Source monitor from the Record monitor. Reverse Match Frame lets you load a source clip and locate its sync frame in the sequence. Like the Gang function, match framing does not create a permanent sync relationship between clips, but instead provides you with a convenient way of locating, marking, and editing matching material.
Syncing Methods
CHAPTER 16 MultiCamera Editing The Avid MultiCamera editing features allow you to incorporate multiple camera angle sources into the nonlinear editing process. Systems equipped with the multicamera hardware can also play back, in real time, multiple camera angles in a Source monitor and the sequence in the Record monitor.
Understanding Grouping and Multigrouping Clips The grouping and multigrouping procedures gather selected clips into a single unique clip. Both procedures allow you to use special MultiCamera editing features, such as multi-split views and cutting on-the-fly, in MultiCamera mode. The differences between the two procedures are summarized as follows: MultiCamera Editing • Grouping creates a separate group clip out of a single set of master clips, from the IN point to the OUT point of the longest clip.
Creating Group Clips In addition to the multicamera context, grouped clips can be useful in other circumstances. Unlike multigrouping, which requires clips with matching source timecode, you can group clips that were shot at different times, on different days, and on completely different source tapes. This means that you can: • Use group clips to create montage sequences quickly with fast-cutting between unrelated clips.
The Group Clips dialog box appears. 4. Select an option, based on the following: - Film TC/Sound TC, if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. - Inpoints, if you are syncing according to IN points set in each clip. - Outpoints, if you are syncing according to OUT points set in each clip. - Source Timecode, if the clips have matching timecode.
A group clip appears in the bin, with the name of the first clip in the group, followed by the file name extension Grp.n. The n is the incremental number of group clips with the same name in the same bin. You might want to rename them for easier reading, such as name.Group. Creating Multigroup Clips Multigrouping is strictly for use in large multicamera productions, such as situation comedies, in which all synchronous camera shots are recorded with the same timecode.
4. Select an option, based on the following: - Film TC/Sound TC, if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. - Inpoints, if you are syncing according to IN points set in each clip. - Outpoints, if you are syncing according to OUT points set in each clip. - Source Timecode, if the clips have matching timecode.
MultiCamera Displays There are several displays that allow you to view and edit with multiple camera angles. You can edit with either group clips or multigroup clips in all of the displays. Quad Split button • Full-Monitor Display—The Source monitor displays a single frame from one clip in the group clip. You can view each angle in full-monitor size as you edit. The monitor updates during on-the-fly editing. Also, in Full-Monitor display, the Client monitor remains full screen.
• MultiCamera Mode: MultiCamera Quad Split Edit and MultiCamera Nine Split Edit—After you create a sequence that includes group clips, you can display the sequence in MultiCamera mode. MultiCamera mode is similar to Quad Split Source view or Nine Split Source view, except that it gangs the Source and Record monitors under one set of controls. All camera angles displayed in the Source monitor are synchronized and continuously updated during playback and editing.
Full-Monitor Display When you first load a grouped or multigrouped clip, the Source monitor displays a single frame from one clip in the group in Source/Record mode. This is called Full-Monitor display when working with group clips because you can view each angle in full-monitor size as you edit. In Full-Monitor display, the Client monitor also remains full screen. The basic features of Full-Monitor display are as follows: • Provides source-oriented control of multicamera material.
• Provides the same MultiCamera editing features that are available in Quad Split Source view, Nine Split Source view, and MultiCamera mode. These features are described in “MultiCamera Editing Techniques” on page 701. The only difference is that in Full-Monitor display, you can view each angle as full size while you edit.
The basic features of Quad Split Source view are as follows: Swap Cam Bank button • Provides source-oriented control of multicamera material. You can switch camera angles, play back (one camera angle at a time), cue, and mark material without affecting the sequence. • Provides the same Source monitor controls that are available when you edit other clips in Source/Record mode.
Group Menu icon Nine Split Source view Sequence or linecut The basic features of Nine Split Source view are as follows: MultiCamera Editing • Provides source-oriented control of multicamera material. You can switch camera angles, play back (one camera angle at a time), cue, and mark material without affecting the sequence. • Provides the same Source monitor controls that are available when you edit other clips in Source/Record mode.
Swap Cam Bank button • Allows you to use the Swap Cam Bank button to switch the Nine Split Source view from one bank of nine camera angles to another bank of nine camera angles. The Multi-angle View menus allow you to change the camera angles of the split displays. • Allows the Client monitor to display the Nine Split Source view. See “Playing a Linecut on the Source and Client Monitors” on page 699. • The Record monitor is not active with Nine Split Source view.
were in Quad Split Source view or Nine Split Source view before entering MultiCamera mode. MultiCamera mode takes the Nine Split Source view and Quad Split Source view one step further: it gangs all clips in the group clip displayed in the Source monitor with the sequence displayed in the Record monitor. All clips are synchronized and continuously updated during editing.
The basic features of MultiCamera mode are as follows: Swap Cam Bank button • Provides sequence-oriented control of multicamera material, in contrast to Full-Monitor display, Nine Split Source view, and Quad Split Source view. Whenever you play back, cue, switch camera angles, or mark material, your changes occur in the sequence. • All camera angles displayed in the Source monitor are synchronized and continuously updated during playback and editing.
The system uses the name of the clip within the group to identify the clip in each cut, and adds a G in parentheses to indicate the group. (G) indicates a group clip. Using various keys and functions, you can switch and edit the displayed group clip at any point in the sequence, as described in the following sections. These techniques apply to both group and multigroup clips.
Cutting On-the-Fly with MultiCam Keys You can switch the display of up to eight camera angles by using the default MultiCam keys on the keyboard. You can also map additional MultiCam buttons from the MCam tab of the Command palette to the keyboard. Then, you can use the MultiCam keys, Shift key, and Swap Cam Bank key to select up to 18 different camera angles. n The Swap Cam Bank button does not function in MultiCamera Nine Split Edit mode during playback. Table 16-1 lists the default MultiCam keys.
If the group contains more camera angles than the multi-split display, the MultiCam keys will select the clips; however, only four clips will be shown in the Quad Split display and only nine clips will be shown in the Nine Split display. Key equivalents for selecting camera angles: F9 F10 F11 F12 If you press a MultiCam key when the footage is stopped, the system switches the camera angle and creates an edit in the sequence.
While you cut on-the-fly, a green line highlights the current camera angle on the Source monitor, and the cuts are updated immediately in the Record monitor containing the sequence. n If your Avid system does not include the multicamera hardware, the Record monitor is not updated to reflect the current cuts. When the play stops, the Timeline is updated to reflect the cuts. Editing and Playing Back a Linecut in MultiCamera Edit Mode You can edit and play back a linecut while in MultiCamera Edit mode.
Using the Add Edit Button You can use the Add Edit button like a hot key to add edits while stepping through a sequence or on-the-fly during playback. The only difference is that you are not switching camera angles until after you set the edit points. This method is especially useful when editing to music because it allows you to concentrate on the beats and ignore camera angles until the edits are placed. To use this method, you must first map the Add Edit button onto the keyboard.
or more audio tracks synchronized and available for patching at any time. Click the Group Menu icon to display the pop-up menu. n The Second Row of Info option must be selected in the Composer Settings dialog box for the Group Menu icon to be displayed above the Source monitor. In addition, you can choose the Audio Follow Video option from the Group menu to instruct the system to switch both audio and video for each camera angle when you cut on-the-fly or selective camera style.
To use the Group menu: 1. Click the Group Menu icon in the second row of information above the Source monitor to display the Group menu. 2. Select video or audio channels from any clip in the group to patch the video or audio channels to the tracks available in the sequence. 3. (Option) Choose the Audio Follow Video option to switch both audio and video for each camera angle when you cut on-the-fly or selective camera style.
The clips in the group are listed in the Multi-angle View menu. Select additional angles from the Multi-angle View menu. 3. Choose the clip you want to display from the Multi-angle View menu. The new clip appears in the multi-split display. Using Match Frame in MultiCamera Editing You can use the Match Frame button to display the matching clip within the group when match framing from the sequence, or you can display the original clip when match framing from the source group.
MultiCamera Workflow Options The Avid MultiCamera editing features make possible three basic workflow models for cutting multiple-angle shows: selective camera cutting, cutting on-the-fly, and combination cutting. Each workflow option has its advantages. When and how you use them is a matter of personal preference. Selective Camera Cutting Selective camera cutting involves marking and editing source material into the sequence, much as you build a sequence by using nongrouped clips in a normal session.
3. Mark IN and OUT points for the entire scene. 4. Select a camera angle for the first clip, and then splice the entire scene into a sequence. 5. Use the arrow keys, the Add Edit button, or both to select edit points and switch to different angles throughout the master scene in the sequence. 6. To replace a portion of the take with a part from another take, use the timecode notes again to cue the take, set marks, and perform a replace edit. 7.
4. Select a camera angle for the first clip, and then splice the entire scene into a sequence. 5. Choose MultiCamera Mode from the Special menu to enter MultiCamera mode. 6. Play the sequence from the beginning. Watch the clips in the multi-split display and the sequence footage in the Record monitor, and then use the MultiCam keys to switch to different angles on-the-fly. n Only the highlighted camera angle plays. 7.
• If you are editing a live-on-tape event, such as a concert or comedy club performance, you can begin by cutting on-the-fly to capture transitions spontaneously. You have the added benefit of stopping and returning to a transition if you make a mistake, and trimming or adjusting edits in a nonlinear fashion. Editing style is a matter of preference; choose the approach that works best for your production.
MultiCamera Editing
APPENDIX A Using AudioSuite Plug-Ins This appendix describes how to access and use the AudioSuite plug-ins, including the set of core plug-ins that comes with your Avid system. It also provides a list of other plug-ins that are supported by this release.
The following illustration shows the AudioSuite window. Plug-in Selection pop-up menu Drive Selection pop-up menu Status display For details on installing and accessing the plug-ins, see “Understanding Digidesign AudioSuite Plug-Ins” on page 617. Core AudioSuite Plug-Ins The following basic plug-ins are installed automatically as part of the Avid system software installation: Using AudioSuite Plug-Ins • Invert — Inverts the polarity (phase of the audio file).
analog-to-digital converters (A/Ds), and can produce clicks and pops on clip edit transitions if not removed. • Time Compression Expansion — Allows you to adjust the duration of a selected clip by creating a new master clip. This increases or decreases the selection’s length without changing pitch. • Pitch Shift — Changes pitch with or without changing length. • EQ — Allows you to adjust frequency equalization on individual audio clips.
Invert The Invert plug-in reverses the polarity of the selected audio. All positive sample amplitude values are made negative, and all negative amplitudes are made positive. This process is useful for permanently altering the phase (polarity) relationship of tracks. Inverting can be useful when mixing because it alters frequency response between source tracks recorded with multiple microphones and also allows you to correct for audio that was recorded out of phase.
Editing any of these controls automatically calculates the equivalent value in the others. To configure the Normalize parameters: 1. Type the amount of boost you want applied during the Normalize process. 2. To set a specific decibel amount below maximum, double-click and type that value in the Max Peak at: (dB) text box. 3. To set the amount of normalization as a percentage of maximum, type the percentage you want in the Max Peak at: (%) text box.
Signal Generator The Signal Generator plug-in produces audio test tones in a variety of frequencies, waveforms, and amplitudes. The plug-in has the following options: n • Frequency: This option sets the frequency of the signal in hertz. Values range from a low of 20 Hz to a high of 20 kHz. • Level: This option sets the amplitude of the signal in decibels. Values range from a low of -95 dB to a high of 0.0 dB. • Signal: These buttons allow you to select the waveform.
important in audio postproduction applications because it allows you to adjust sounds to specific time lengths or timecode durations for synchronization. n To change duration (length) and pitch simultaneously, use the Pitch Shift plug-in. Master Clip Mode Parallel Processing The Time Compression/Expansion plug-in allows two tracks to be time-compressed or expanded as a “stereo pair,” so that the two sides of the stereo signal are processed relative to each other.
The Time Compression/Expansion plug-in has special parameters that let you enter time compression or expansion values in different formats, as explained below. They are located in the Source and Destination columns, and also include the Ratio slider. Additional controls for fine-tuning the compression and expansion process are also included. To use the special control features: • Press and hold the Ctrl key (Windows) or the k key (Macintosh) to engage slider fine-tune mode.
an overdub recorded to a MIDI click) or regions that have been processed with the Pro Tools Identify Beat command. The Ratio slider lets you set the destination length in relation to the source length. Dragging the slider to the right increases the length of the destination file, and dragging the slider to the left decreases its length. The controls below the bar line allow you to fine-tune the time compression and expansion process. They include the Crossfade, Min Pitch, and Accuracy sliders.
crossfade times. For audio material with softer attack transients, use longer crossfade times. The slider has a range of 0 ms to 200 ms. Min Pitch The Min Pitch slider lets you select the minimum (lowest) pitch that will be used in the plug-in’s calculations during the time compression/expansion process. The slider has a range of 40 Hz to 1000 Hz.
Pitch Shift The Pitch Shift plug-in allows you to adjust the pitch of any source audio file with or without a change in its duration. This powerful function allows sounds to be transposed a maximum of a full octave up or down in pitch with or without altering playback speed. Edit the Pitch Shift parameters by double-clicking and typing in any Destination text box or by clicking and dragging the sliders. All Pitch Shift plug-in controls are linked, so that changing one changes the others.
Pitch Shift Parameters The Pitch Shift plug-in has the following parameters: Gain The Gain controls set the input level, in tenths of a decibel. The input level should be set so that the plug-in can adequately handle amplitude peaks in the selection. Dragging the slider to the right increases gain, and dragging the slider to the left decreases gain. Coarse and Fine Adjust the pitch by dragging either of the two faders, or by typing values in the Coarse and Fine text boxes.
Keep in mind that altering a file in this way has little detrimental effect on the fidelity of audio files, whereas time correction can affect fidelity in a pronounced way. Ratio The Ratio slider lets you set the amount of transposition (pitch change). Moving the slider to the right raises the pitch of the processed file, and moving the slider to the left decreases its pitch. Press and hold the Ctrl key (Windows) or the k key (Macintosh), and then click and drag the slider to fine-adjust.
EQ There are two EQ plug-ins: • 1-Band EQ II • 4-Band EQ II The EQ II plug-ins provide an enhanced “British EQ” sound that is favored by contemporary audio engineers and producers. EQ II Parameters The EQ II plug-ins have the following parameters: Input Allows you to control the input gain of the EQ to prevent the possibility of clipping.
Freq Allows you to designate the center of the frequency region to be cut or boosted. Q (Peak only) Allows you to set the bandwidth of the Peak filter. Higher values represent narrower bandwidths. Lower values represent wider bandwidths. Bypass Bypasses the EQ. The 4-Band EQ II has individual Bypass buttons for each band (black buttons with EQ curve icons).
High-Shelf Produces a lift or a cut at the specified frequency and above it. Low-Pass Attenuates all frequencies above the selected cutoff frequency setting at a rate of 12 dB per octave while allowing all others below the frequency to pass through. For this reason, no gain control is available for this filter. Compressor The Compressor plug-in reduces the dynamic range of signals that exceed a selected threshold by a specific amount.
could cause gain reduction that persists through a soft section. Of course, compression has many creative uses that break these rules. The Compressor has built-in metering that allows you to monitor the amount of gain reduction taking place. The Gain Reduction meter usually remains at 0 level when the input signal is below the threshold, and falls to the left to show the amount of gain reduction in decibels when the input signal exceeds the threshold.
Threshold Allows you to set the threshold level. Signals that exceed this level will be compressed. Signals that are below it will be unaffected. A level setting of 0 dB is equivalent to no compression. Unlike scales on analog compressors, metering scales on a digital device reflect a 0-dB value, which indicates full scale (fs)—the full-code signal level. There is no headroom above 0 dB. Ratio Allows you to set the compression ratio. The range is based on decibels above the threshold.
Knee Allows you to set the rate at which the compressor reaches full compression once the threshold has been exceeded. This parameter ranges from 0 (hardest response) to 200 (softest response). Graph Displays the response curve set by the Compressor’s Threshold, Ratio, and Knee settings. As you adjust these parameters, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings. External Key This parameter has no effect on the AudioSuite plug-ins.
Limiting is used to remove occasional peaks because gain reduction on successive peaks wouldn’t be noticeable. If audio material contains many peaks, the threshold should be raised and the gain manually reduced so that only occasional, extreme peaks are limited. The Limiter’s ratio is internally set to 100:1 and the attack time is automatically set to 0 milliseconds. The Limiter is similar to heavy compression.
Threshold Allows you to set the threshold level. Signals that exceed this level will be limited. Signals that are below it will be unaffected. Attack Allows you to set the Limiter’s attack time. The smaller the value, the faster the attack. The faster the attack, the faster the Limiter applies attenuation to the signal. In general, if you use fast attack times and heavy limiting, you should use a proportionally longer release time, particularly with material that contains many peaks in close proximity.
Gate The Gate plug-in reduces noise by decreasing the gain of signals that fall below a user-selectable threshold. Gate Parameters The Gate plug-in has the following parameters: Phase Invert Allows you to invert the phase (polarity) of the input signal in order to change frequency response between multi-miked sources or to correct for miswired microphone cables. Gating (Reduction Meter) Indicates the amount of reduction in dB. Threshold Allows you to set the threshold level.
Decay Allows you to control how long it takes for the Gate to close after the signal falls below the threshold level. Range Sets the depth of the Gate when closed. This parameter has a maximum depth of -80 dB. Setting the Gate to higher range levels allows more of the gated audio that falls below the threshold to peek through the gate at all times.
Expanders can be thought of as soft-noise gates because they provide a gentler way of cutting off noisy low-level signals than the typically abrupt cutoff of a gate. If you want, however, you can use this plug-in as Gate by setting the Ratio to its maximum value and using short Attack, Decay, and Hold settings.
Attack Allows you to set the Expander’s attack time. This parameter determines how quickly a signal’s level is reduced once it falls below the threshold. This setting, along with the Ratio setting, allows you to control how soft the Expander’s gain reduction curve is. Hold Allows you to specify a duration (in seconds or milliseconds) that the Expander/Gate will stay open after the initial attack cycle.
Graph Displays the response curve set by the Expander/Gate’s Threshold, Ratio, and Range settings. As you adjust these parameters, refer to the graph to see how the shape of this curve changes. It allows you to see the effect of your settings. External Key This parameter has no effect on the AudioSuite plug-ins. Key Listen This parameter has no effect on the AudioSuite plug-ins. Mod Delay The Mod Delay plug-ins provide time-delay-based effects.
Mod Delay Parameters The Mod Delay plug-ins have the following parameters: Input Allows you to control the input volume of the delay to prevent clipping. Wet/Dry Allows you to control the balance between the delayed signal and the original signal. If you are using a delay for flanging or chorusing, you can control the depth of the effect somewhat with the Wet/Dry setting. LPF (Low-Pass Filter) Controls the cutoff frequency of the low-pass filter.
Feedback Allows you to control the amount of feedback applied from the output of the delay back into its input. It also controls the number of repetitions of the delayed signal. Negative Feedback settings give a more intense “tunnel-like” sound to flanging effects.
Focusrite d3 Focusrite® d3 is a high-quality, dynamics processor plug-in that contains a compressor and a limiter. The d3 compressor reduces the dynamic range of audio signals that exceed a user-selectable threshold by a specific amount. The d3 does this by reducing output levels when input levels increase above the threshold. The d3 limiter operates as a fast-attack compressor with a high compression ratio.
Digidesign D-Fi The set of D-Fi™ plug-ins provides analog synthesizer effects: • Lo-Fi™ adds noise generation, bit-rate reduction, distortion, and saturation to sound. • Sci-Fi™ adds analog synthesizer-type ring modulation, frequency modulation, and variable frequency resonator. • Recti-Fi™ generates new harmonics and subharmonics through waveform rectification. • Vari-Fi™ adds tape and turntable “start up” and “slow down” effects.
APPENDIX B Using an External Fader Controller or Mixer This appendix describes how your Avid system supports the following external fader controllers or mixer for Audio Gain Automation recording: • JL Cooper FaderMaster Pro MIDI automation controller. This low-cost unit allows you to make fine adjustments to audio clips. This unit does not support “flying faders,” which means that the faders don’t move automatically as you record audio gain information and they must be manually zeroed prior to recording.
n An external fader controller or mixer is optional. It is not required to perform Audio Gain Automation recording. Table B-1 compares the external fader controllers and mixer.
• Snap mode: In Snap mode, the fader controller automatically stops recording as soon as you release the fader. In addition, the fader continues to display the volume information in the Timeline. For more information, see “Using the Snap Mode Feature on the MCS-3000X” on page 749. For more information on using these external fader controllers or mixer, see “Recording Automation Gain Information” on page 594. Using the FaderMaster Pro and MCS-3000X The setup procedure is similar for both units.
MCS-3000X Buttons There are four rows of unlabeled buttons at the top of the MCS-3000X fader controller. The following illustration labels each row of buttons: Select Snap Mode Solo Mute • Select buttons: The green light next to the Select button for a track is on when you are recording Audio Gain Automation on the track. The green light is off when you are listening to the volume level in the Timeline.
Using the Snap Mode Feature on the MCS-3000X The MCS-3000X has a Snap Mode button for each track that allows you to easily punch-in and punch-out small sections of automation gain information. The second row from the top contains the Snap Mode buttons. For more information on button locations, see “Understanding the Automation Gain Tool” on page 587. In Snap mode, the fader automatically stops recording as soon as you release the fader.
Ganging Faders on the FaderMaster Pro You can use the features available on the FaderMaster Pro to gang faders. When the faders for two tracks are ganged, the fader sends identical volume messages for both tracks when you move one fader. This can be useful when you have stereo tracks. Note that the ganged faders do not move together physically. For information on ganging the faders, see the FaderMaster Pro user’s manual.
Audio Gain Automation recording. For a comparison with external fader controllers, see Table B-1.
Initializing the Yamaha 01V This section describes how to initialize the Yamaha 01V digital mixer. These steps should only have to be done once, and repeated only if the mixer’s operational parameters have been manually changed to settings that are incompatible with the Avid system. You should perform these steps when you first set up the unit. You might also find it necessary to perform the steps if the unit stops working correctly with your Avid system.
To reconfigure the mixer: 1. Press the MIDI button. The system displays the first pane of the MIDI Options window. 2. Set the following controls in the MIDI Options window: - Set Control Change TX to ON. - Set Control Change RX to ON. Starting the Avid System with the Yamaha 01V Attached When you start your Avid system with the Yamaha 01V attached, you can use the faders for mixing audio channels or for performing Audio Gain Automation recording.
6 6 6 6 6 6 6 6 6 6 6 6 6 6 0 0 0 0 0 0 0 0 0 0 0 0 0 0 5 5 5 5 5 5 5 5 5 5 5 5 5 5 6 5 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 20 20 20 20 20 20 20 20 20 20 20 20 20 20 20 0 CURSOR ENTER 1 17 2 18 3 19 4 20 5 21 6 22 7 23 8 24 9 10 11 Channels 1–12 (mono) Channels 17– 24 12 13/14 15/16 STEREO MASTER Channels 13-16 (Two stereo inputs) When you start the Avid system, it automatically configures the Yamaha 01
Accessing Audio Gain Automation Recording To record automation gain in the Automation Gain tool you must be in Option I/O mode, and then do the following: 1. Press the Option I/O button. The faders move into the correct position for recording automation gain. 2. When recording automation gain, use the On button on each channel to switch between Timeline control of audio gain to user control of audio gain. You can punch-in and punch-out of gain recording as many times as you want.
To enable Solo mode: 1. Press the MIDI button. The mixer displays pane 1 of the MIDI Options window in the LCD display. 2. Set the following controls in the MIDI Options window: - Set Param Change TX to ON. - Set Param Change RX to ON. If Solo mode is on when you are mixing audio, however, it interferes with the normal operation of the mixing board functions. If the Avid system audio outputs are connected to the Yamaha 01V, leave the Param Change TX and Param Change RX controls set to OFF.
APPENDIX C Keyboard Shortcuts: Macintosh and Windows Equivalents This appendix compares keyboard shortcuts on Media Composer and Film Composer for Macintosh systems with the keyboard shortcuts on Media Composer, Film Composer, and Symphony for Windows systems. Keyboard shortcuts are listed in the quick reference for your Avid system and the Shortcuts topic, which you can access directly from the Media Composer and Film Composer Help menu.
Command Key = Control Key For most shortcuts that use the Macintosh Command (Apple or k) key, substitute the Windows Ctrl key. Note the following exceptions: Macintosh Key Combination Windows Key Combination Action k + clip icon Ctrl + Alt + clip icon Opens the Clip Info box k + click a keyframe Ctrl + Alt + click a keyframe Selects all keyframes in an effect Option Key = Alt Key For most shortcuts that use the Macintosh Option key, substitute the Windows Alt key.
Macintosh Control Key For shortcuts that use the Macintosh Control key, substitute the following keys or key combinations: Macintosh Key Combination Windows Key Combination Control + Alt + Action Plays a continuous loop from the IN point to OUT point Control + or Alt + or Edits to position indicator on record side, ignoring record-side marks Option + or Alt + or Steps forward or backward one field Control + Shift + Marks between locators (or marks entire sequence when no locators pres
Other Keys For shortcuts that use other keys, substitute the following keys or key combinations: Macintosh Key Combination Windows Key Combination Option + drag a trim roller Ctrl + Alt + drag a trim roller Allows for single-frame motion while dragging trim rollers Shift + Command + L Shift + Ctrl + L Brings to front (Title tool) Shift + Command + K Shift + Ctrl + K Sends to back (Title tool) Keyboard Shortcuts: Macintosh and Windows Equivalents Action
APPENDIX D Using the MCS3 Controller The JL Cooper Media Control Station3 (MCS3) provides an alternative to editing footage using the keyboard and mouse. While you need to use the keyboard and mouse for naming and digitizing functions, you can program and use the MCS3 controller for navigation and frequently used editing functions. Your Avid system documentation explains the editing process in detail. For hardware installation instructions, see the setup guide for your Avid system.
Configuring the MCS3 Settings To configure the MCS3 Settings: 1. Double-click Controller Settings in the Settings scroll list of the Project window. The Controller Settings dialog box appears. 2. Choose the appropriate port from the Port pop-up menu: - (Windows) COM1 or COM2 - (Macintosh) Port #1, #2, #3, or #4 3. Choose JL Cooper MCS3 Controller from the Controller pop-up menu. 4. Click the Edit Settings button.
The MCS3 Controller Settings dialog box appears. Function buttons Navigation buttons Using the Default Button Mappings When the MCS3 Controller Settings dialog box appears for the first time, it includes a set of default functions mapped to the MCS3 buttons.
Default Navigation Buttons The navigation buttons appear at the bottom of the MCS3 Controller Settings dialog box as follows: n • Rewind • Fast Forward • Stop • Play You cannot change the navigation button definitions; however, the rightmost navigation button (without a symbol) is not mapped to a Command palette function. You can map this button. For instructions, see “Mapping MCS3 Buttons” on page 765. Unused (Map to the Command palette function of your choice.
Table D-1 Default Button Mappings MCS3 Button Command Palette Function W1 Go to IN W2 Mark IN W6 Mark OUT W7 Go to OUT Mapping MCS3 Buttons You can map the Command palette functions of your choice to the MCS3 buttons. Each button has an additional function activated by the Shift key. To see the shifted function: t Press and hold the Shift key on your keyboard. The alternate function appears on the button in the MCS3 Controller Settings dialog box.
3. Select ‘Button to Button’ Reassignment. Make sure this radio button is selected. 4. To map a function, do one of the following: t Map an unshifted function — Click the function in the Command palette and drag it to the button in the MCS3 Controller Settings dialog box whose function you want to program.
Configuring a Shifted Button You can use the Shift key on your keyboard to toggle between shifted and unshifted functions on the MCS3 controller or you can program one of the buttons on the MCS3 to function as a Shift key. To configure a shifted button: 1. Open the MCS3 Controller Settings dialog box. See “Configuring the MCS3 Settings” on page 762. 2. From the Shift Key Button pop-up menu, choose the function button that you want to assign as the Shift key on the MCS3 controller.
Table D-2 Maximum Jog Speed Options Option Description 1/4 speed The jog speed does not exceed one quarter the recorded speed. 1/2 speed The jog speed does not exceed one half the recorded speed. Normal (default) The jog speed corresponds to how fast you turn the wheel. 2x speed The jog speed does not exceed twice the recorded speed. 4x speed The jog speed does not exceed four times the recorded speed. Customizing the Maximum Shuttle Speed You can customize the maximum shuttle speed.
Table D-3 describes the Maximum Shuttle Speed options.
b. Type a descriptive name in the text box. c. Press Enter (Windows) or Return (Macintosh). 5. Select the Controller settings that you want to make active. A check mark indicates the active Controller settings. Editing Footage with the MCS3 Controller Red arrow lights The jog/shuttle wheel controls how you move through footage. You toggle between Jog and Shuttle modes by pressing the wheel. When the two red arrow lights above the wheel are on, you are in Shuttle mode.
Moving Through Footage in Shuttle Mode The red arrow lights above the jog/shuttle wheel are on when you are in Shuttle mode. If they are off, press the wheel to enter Shuttle mode. • When the jog/shuttle wheel is at the midpoint position, both red arrow lights are on and the footage is paused. • Turn the jog/shuttle wheel until it stops. Keep the jog/shuttle wheel in this position to view footage at the maximum shuttle speed set in the MCS3 Controller Settings dialog box.
4. Use the jog/shuttle wheel and the navigation buttons to move back and forth between clips and sequences. 5. Use the MCS3 function buttons to perform edits. To view your button mappings, check the mappings in the MCS3 Controller Settings dialog box (see “Configuring the MCS3 Settings” on page 762). Close the MCS3 Controller Settings dialog box before you use the controller for editing. 6. Use the MCS3 controller to jog through footage on a video deck or DAT player.
To identify the problem: 1. Click OK to close the message box. 2. Make sure you chose the appropriate serial port in the Controller Settings dialog box. 3. Make sure you chose JL Cooper MCS3 Controller in the Controller Settings dialog box. 4. Check the cable connections. 5. Press the jog/shuttle wheel. When the controller is in Shuttle mode, the red arrow lights above the wheel are on. 6. Contact Avid Customer Support if you continue to see the message.
Using the MCS3 Controller
Glossary This Glossary defines terms used in Avid documentation. Some entries might not apply to your particular system. 24p 24-fps progressive media. The Avid system creates 24p media by combining (deinterlacing) two video fields into a single full, reconstructed frame. For NTSC film-to-tape transfers, the system creates 24p media by undoing the 2:3 pulldown inserted by the telecine process, removing the extra fields, and creating progressive frames. 25p 25-fps progressive media.
4:2:2 digital video A digital video system defined by the ITU-R 601 (CCIR-601) technical documentation. 4:2:2 refers to the comparative ratio of sampling of the three components of the video signal: luminance and two color channels. A-roll A method of conforming that requires the compositing of all multilayer effects into a single layer (including laboratory-standard dissolves and fades) before assembly. Also called single-strand editing. A/B-roll 1.
AES Audio Engineering Society. The primary international organization of users and producers of professional audio. The AES maintains a standards committee that supervises the work of several subcommittees and working groups covering various fields of sound reinforcements. AES/EBU Audio Engineering Society/European Broadcasting Union. A standards-setting organization that defined a digital signal format for professional audio input to the Avid video-based editing systems using the SA 4 board.
answer print A print made of the final cut for review before the final release print is created. See also work print. anti-aliasing A computerized process of digitally smoothing the jagged lines around graphic objects or titles. ASCII American Standard Code for Information Interchange. The standard that governs the recording of characters by a sequence of binary digits. Most computers use ASCII code to represent text, which makes it possible to transfer data from one computer to another.
ATR Audiotape recorder. A device for recording and reproducing sound on magnetic recording tape. Attic folder The folder containing backups of your files or bins. Every time you save or the system automatically saves your work, copies of your files or bins are placed in the Attic folder, until the folder reaches the specified maximum. The Attic folder copies have the file name extension .bak and a number added to the file name.
Avid Projects folder The folder containing your projects. AVR Avid Video Resolution. The compression level at which visual media is stored by the Avid system. The system creates media in a particular AVR using proprietary conversion algorithms to convert analog video to digital form. backtiming A method of calculating the IN point by subtracting the duration from a known OUT point so that, for example, music and video or film end on the same note.
best light A telecine transfer performed with optimum settings of the color grade controls but without precise scene-by-scene color correction. Betacam, Betacam SP Trademarks of Sony Electronics, Inc. Two component videotape and video recording standards. Sony Betacam was the first high-end cassette-based system, recording video onto 1/2-inch magnetic tape.
black edits 1. A video source with no image. 2. A special source you can fade into, out of, or use for other effects. black level See setup. black point The luminance value in a video image that you set to be equal to reference black when making a color adjustment. Compare with white point. blue screen A special effects procedure in which a subject is photographed in front of a uniformly illuminated blue or green background.
burn-in A visible timecode permanently superimposed (burned in) on footage, usually in the form of white numbers in a black rectangle. Burned-in timecode is normally used for tracking timecode during previews or offline editing. A videotape with burn-in is also called a burn-in dub or window dub. BVB Black-Video-Black. A preview mode that displays black, newly inserted video, and then black again. B–Y One of the color difference signals in the component color system of the NTSC video standard.
channel 1. A physical audio input or output. 2. One of several color components that combine to define a color image. An RGB image is made up of red, green, and blue color channels. In color correction, you can redefine color channels by blending color components in different proportions. 3. See track. character generator An electronic device, or computer device and software combination, that creates letters and numbers that can be superimposed on video footage as titles.
clip 1. A segment of source material recorded or digitized into your system at selected IN and OUT points and referenced in a project bin. The clip contains pointers to the media files in which the actual digital video and audio data is stored. 2. In a record in a log, which stands for one shot, the clip includes information about the start and end timecode for the shot, the source tape name, and the tracks selected for editing. 3.
color correction The process of adjusting the color characteristics of video material to achieve an accurate representation of color and consistency of color from one clip in a sequence to another. The term generally refers to adjustments made across all the video in a program rather than to individual color changes made as part of a single effect.
compositing The process of layering two or more images on top of one another. Examples include titles, keys, and picture-in-pictures. composition The standard term used by OMF Interchange to refer to an edited sequence made up of a number of clips. The OMF equivalent of a sequence in an Avid system. compression 1. In audio, the process of reducing the dynamic range of the audio signal. 2.
Console A display that lists the current system information and chronicles recently performed functions. It also contains information about particular items you are editing, such as the shots in your sequence or clips selected from bins. consolidate To make copies of media files or portions of media files, and then save them on a drive. The Consolidate feature operates differently for master clips, subclips, and sequences.
crushing the blacks The reduction of detail in the black regions of a film or video image by compressing the lower end of the contrast range. CU Closeup. See also ECU. cue To shuttle a videotape to a predetermined location. Curves graph An X, Y graph that plots input color values on the horizontal axis and output color values on the vertical axis. Used in the Color Correction tool as a control for changing the relationship between input and output color values. cut 1.
DAE Digidesign Audio Engine. A trademark of Avid Technology, Inc. The application that manages the AudioSuite plug-ins. dailies Film prints or video transfers of recently shot film material, prepared quickly so that production personnel can view and evaluate the previous day’s shooting before proceeding. Also called rushes, primarily in the United Kingdom. DAT Digital audiotape. A digital audio recording format that uses 3.8mm-wide magnetic tape in a plastic cassette.
digitize To convert analog video and audio signals to an Avid compressed digital signal format. dip An adjustment to an audio track in which the volume gain level decreases or “dips” to a lower level, rather than fading completely. direct digital interface The interconnection of compatible pieces of digital audio or video equipment without conversion of the signal to an analog form. direction handle A line extending from a control point that controls the direction of a Bézier curve.
dongle A hardware device used as a key to control the use of licensed software. The software can be installed on any system but will run only on the system that has a dongle installed. The dongle connects to the Apple Desktop Bus on Macintosh systems or to the parallel (printer) port on PC systems. double-perf film Film stock with perforations along both edges of the film. double-strand editing See A/B-roll. double system Any film system in which picture and sound are recorded on separate media.
dubbing 1. In videotape production, the process of copying video or audio from one tape to another. 2. In film production, the process of replacing dialog on a sound track. See also ADR, foley. dubmaster A second-generation copy of a program master used for making additional preview or distribution copies, thereby protecting the master from overuse. dupe Duplicate. A section of film or video source footage that has been repeated (duplicated) one or more times in an edited program.
EBU European Broadcasting Union. A standards-setting organization in which only users (not vendors) have a voice. See also AES/EBU. ECU Extreme closeup. edgecode See edge numbers, key numbers. edge filter A filter that applies anti-aliasing to graphics created in the Title tool. edge numbers Sequential numbers mechanically printed or optically exposed along the edge of a strip of film to assist in matching negatives to work prints.
effects The manipulation of an audio or video signal. Types of film or video effects include special effects (F/X) such as morphing; simple effects such as dissolves, fades, superimpositions, and wipes; complex effects such as keys and DVEs; motion effects such as freeze frame and slow motion; and title and character generation. Effects usually have to be rendered because most systems cannot accommodate multiple video streams in real time. See also rendering. EIA Electronic Industries Association.
event A number assigned by the editing system to each performed edit. In most computer editing systems, an event defines an action or a sequence of actions performed by the computer in a single pass of the record tape. extract To remove a selected area from an edited sequence and close the resulting gap in the sequence. eyedropper A tool for taking a color from a screen image and using that color for text or graphics.
filler clip A segment of a sequence that contains no audio or video information. Filler can be added to the Source monitor (or pop-up monitor) and edited into a sequence. See also filler proxy. filler proxy The result of a composition specifying media to be played for the filler clips in each track. film timecode Timecode added to the film negative during the film shoot via a film timecode generator.
frame offset A way of indicating a particular frame within the group of frames identified by the edge number on a piece of film. For example, a frame offset of +12 indicates the twelfth frame from the frame marked by the edgecode. frame pulse A pulse superimposed on the control track signal. Frame pulses are used to identify video track locations containing vertical sync pulses.
generation The number of times material has been rerecorded. The original videotaped material is the first generation. A copy of the original is a second-generation tape, and so on. Each generation shows a gradual loss of image quality. With digital copies, there is little or no loss in quality. genlock In Broadcast, a system whereby the internal sync generator in a device (such as a camera) locks onto and synchronizes itself with an incoming signal.
hard recording The immediate recording of all audio, video, timecode, and control tracks on a magnetic recorder. Because hard recording creates breaks in any existing timecode or control track on the tape, this procedure is often performed on blank tape when an edit is not required or in emergency circumstances. See also crash recording. HDTV High-definition television. A digital video image having at least two times the resolution of standard NTSC or PAL video. The HDTV aspect ratio is 16:9.
histogram In color correction, a graph that plots the distribution of pixels in an image based on their brightness. Provides a visual guide to the makeup of a video image in terms of relative luminance. H phase Horizontal phase. The horizontal blanking interval used to synchronize the timing of two or more video signals. hue An attribute of color perception. Red, green, blue form the color model used, in varying proportions, to produce all the colors displayed in video and on computer screens.
interface 1. The computer software or hardware used to connect two functions or devices. 2. The program access level at which a user makes selections and navigates a given system. See also GUI. IRE A unit of measurement of the video waveform scale for the measurement of video levels, originally established by the Institute of Radio Engineers. The scale is divided into 140 IRE units, 100 above the blanking reference line and 40 below it. ISO 1. Isolation reel.
jogging See stepping. JPEG Joint Photographic Experts Group. Also, a form of compression developed by Avid Technology, Inc. KEM roll The roll of film used on a KEM flatbed editing system. A KEM roll combines multiple takes onto a single roll (a work print, not a negative). The maximum length of a KEM roll is 1000 ft (35mm). kerning The spacing between text characters in print media, such as titles. key To combine a selected image from one source with an image from another source.
layback The process of transferring a finished audio track back to the master videotape. See also audio sweetening. layered tracks The elements of an effect created by combining two or more tracks in a specified way, such as nesting one track as a layer within another. L-cut See overlap edit. leader A length of film, tape, or a digital clip placed at the beginning of a roll, reel, or sequence to facilitate the cueing and syncing of material.
load 1. A roll of film stock ready to be placed in the camera for photography. A 1000-foot load is a common standard. 2. A group of multicamera reels shot at the same time, sharing the same timecode, and numbered accordingly. locator log A mark added to a selected frame to qualify a particular location within a sequence. User-defined comments can be added to locators. 1. To enter information about your media into bins at the beginning of the editing process.
magnetic track mark IN/OUT A sound track recorded on magnetic sound recording film. 1. The process of entering the start and end timecodes for a clip to be edited into a sequence. 2. The process of marking or logging timecode numbers to define clips during a logging, recording, or digitizing session. See also IN point, OUT point. mask 1. In film, a border placed over an image with a 3:4 aspect ratio to create the look of an another aspect ratio, such as wide-screen. 2. See alpha channel.
matte key A video effect comprised of three components: the background video, the foreground video, and the matte or alpha channel (black and white or grayscale silhouette) that allows one portion of the image to be superimposed on the other. media The video, audio, graphics, and rendered effects that can be combined to form a sequence or presentation. media data Data from a media source. Media data can be: 1. Analog data: film frames, Nagra tape audio, or videotape video and audio. 2.
mix 1. A transition from one video source to another in a switcher. 2. The product of a recording session in which several separate sound tracks are combined through a mixing console in mono or stereo. mixdown audio monitor The process that allows the user to combine several tracks of audio onto a single track. 1. In video, a picture tube and associated circuitry without tuner or audio sections. The monitor includes the display of source media, clips, and sequences.
multitrack A magnetic tape or film recorder capable of recording more than one track at a time. NAB National Association of Broadcasters. Nagra A brand of audiotape recorder widely used in the film production and postproduction industries. negative 1. A film element in which the light and dark areas are reversed compared to the original scene; the opposite of a positive. 2. A film stock designed to capture an image in the form of a negative. noise 1.
nonlinear editing A type of editing in which you do not need to assemble the program from beginning to end. The nature of the medium and the technical process of manipulating that medium do not dictate how the material must be physically ordered. You can use nonlinear editing for traditional film cutting and splicing, and for recorded or digitized video images. You can make changes at the beginning, middle, or end of the sequence. See also linear editing. NTFS New Technology File System.
one light A telecine transfer or film print produced with a single setting of color correction values. One light is the simplest, fastest, and least costly type of transfer. online edit The final edit using the master tapes and an edit decision list (EDL) to produce a finished program ready for distribution; usually associated with high-quality computer editing and digital effects. opticals The effects created in a film lab through a process called A-roll and B-roll printing.
overwrite An edit in which existing video, audio, or both is replaced by new material. See also splice. oxide A metallic coating on videotape or magnetic film that is magnetized during the recording process. PAL Phase Alternating Line. A color television standard used in many countries. PAL consists of 625 lines of information scanned at a rate of 25 fps. See also NTSC, SECAM. palette A central location for user-selectable buttons, which you can map to various functions for ease of use.
position indicator A vertical blue line that moves in the position bar and in the Timeline to indicate the location of the frame displayed in the monitor. postroll A preset period of time during a preview when a clip will continue to play past the OUT point before stopping or rewinding. precomputed media A computed effect stored in a file and referenced by a composition or sequence. Applications can precompute effects that they cannot create during playback.
Program side In color correction, the second of two available levels of color adjustment. Corrections made on the Program side typically apply a final look to a finished sequence, for example, by fine-tuning the color values to enhance the mood of a dramatic program. See also Source side. progressive media Media composed of single frames, each of which is vertically scanned as one pass. project A data device used to organize the work done on a program or series of programs.
pullout An Avid term that combines two words — pulldown and OUT point. The pullout is the column where the user logs the pulldown relationship at the sync point of the OUT point (end timecode) as either A, B, C, or D. This field cannot be modified by the user and is calculated by the system based on the pullin and the duration of the clip. radio frequency (RF) The high-frequency portion of the electromagnetic spectrum used for transmitting television and radio signals. See also UHF, VHF.
rehearse To play a sequence in the Timeline from the preroll through the postroll. rehearse postroll To play a sequence in the Timeline from the current position to the postroll. rehearse preroll To play a sequence in the Timeline from the preroll to the current position. release print A film print ready for presentation to an audience. Release prints generally include both picture and sound tracks. See also answer print, work print, YUV.
RIFF wave See WAVE. ripple The process in edit decision list management of adjusting the times of all edits following a length-altered edit. RMAG Removable magnetic disk. RMAGs are used in conjunction with chassis; each chassis can hold two of these removable disk modules. roll A length of film wound on a spool or core. Generally, a spool of film is referred to as a roll, and a spool of tape is referred to as a reel. rolling text Text that moves vertically across an area over time.
R–Y One of the color difference signals in the component color system of the NTSC video standard. The signal formula is: R–Y = 0.701R (red) – 0.587G (green) – 0.114B (blue) See also B–Y, Y. safe action area, safe title area The regions of the video image considered safe from cropping for either the action or on-screen titles, taking into account variations in adjustments for video monitors or television receivers.
saturation A measurement of chrominance. Saturation is the intensity of color in the video signal. See also vectorscope. scale bar A control in the Timeline window that allows you to expand and contract the Timeline area centered around the blue position indicator. SC phase Subcarrier phase. The method used to calibrate the colorburst portion of a composite video signal. SC/H phase Subcarrier to horizontal phase.
SEG Special effects generator. A section of a switcher that provides the capability to perform wipes of various patterns. segment A section of a track or clip within a sequence in the Timeline that can be edited. sequence An edited composition that often includes audio and video clips and rendered effects connected by applied transitions. The Avid system contains a Timeline that graphically represents the edited sequence. serial timecode See LTC.
sifting The displaying of clips that meet specific criteria in a bin. signal-to-noise ratio The ratio of a wanted signal to an unwanted signal. silence Blank (black) space in the audio tracks in a Timeline that contains no audio material. single-perf film Film stock that is perforated along one edge only. single-strand editing See A-roll. slate An identification board held briefly in front of the camera at the beginning of a take that displays information about the take.
SMPTE timecode A frame-numbering system developed by the Society of Motion Picture and Television Engineers that is used primarily for electronic editing and timing of video programs. It assigns a number to each frame of video, telling the elapsed number of hours, minutes, seconds, and frames; for example, 01:42:13:26. See also time-of-day timecode. soft wipe A wipe effect from one image to another that has a soft, diffused edge.
speed The point at which videotape playback reaches a stable speed, all servos are locked, and there is enough preroll time for editing, recording, or digitizing. splice An edit in which the material already on the video or audio track is lengthened by the addition of new material spliced in at any point in the sequence. See also overwrite. split edit See overlap edit. split-screen The video special effect that displays two images separated by a horizontal or vertical wipe line.
storyboard A series of pictures (traditionally sketches) designed to show how a production will look. Comic books are essentially storyboards. Storyboards and subsequent sequences can be created by manipulating images from the recorded or digitized footage in a bin. streaming A technology that allows users to watch a video clip or movie over the Internet while the video is being copied to their computers. See also video stream. striped stock 1.
sync word The portion of SMPTE timecode that indicates the end of each frame and the direction of tape travel. See also timecode, time-of-day timecode. tail frame The last frame in a clip of film or a segment of video. tail slate The slate information recorded at the end of the take instead of at the beginning; usually recorded upside down. tails out Film or videotape wound on a reel with the head next to the hub and the tail on the outside of the reel. TBC Time-base corrector.
TIFF Tag Image File Format. A tag-based system developed by Aldus Corporation for storing and interchanging raster images. The OMF Interchange standard includes TIFF as a common format for graphic interchange, and it includes TIFF with extensions as a common format for video frame data. time-base error A variation in the stable relation of picture information, color information, and video sync pulse during the VTR playback process. See also sync (synchronization).
tone A constant audio frequency signal recorded at the start of a tape at 0 VU (volume units) to provide a reference for later use. Usually recorded in conjunction with color bars. track 1. The section of tape on which a signal is recorded. Also called a channel. 2. The sound portion of a video program. 3. A region of a clip or sequence on which audio or video is placed. 4. A playback channel represented in a sequence as either a video track or an audio track.
transition A representation of what is to take place as one segment ends and the next one begins. The simplest transition is a cut, which occurs in video when the first frame of the starting segment directly follows the last frame of the segment that is ending. transition effect A wipe, dissolve, or digital video effect (DVE) applied to an edit transition. See also effects. transition play loop The loop that plays in Trim mode.
user bits The portion of the timecode data available for encoding data chosen by the user; for example, footage count or Keykode numbers. U-type VTR A recorder format that uses 3/4-inch videotape. value The actual data associated with a particular property in an OMF Interchange object. variable-speed play A process — or an editing-system feature that enables the process — of shifting easily between the playing, stepping (jogging), and shuttling of footage. VBV Video-Black-Video.
vertical sync Sync pulses that control the vertical field-by-field scanning of the video picture by the electron beam. VHF Very high frequency. One of the television signals for broadcasting in the United States per FCC standards. VHF is the frequency between high frequency (HF) and ultrahigh frequency (UHF). VHS Video Home System. The 1/2-inch videocassette format developed by JVC for consumer and industrial use. video 1. The visual portion of a program or sequence. 2.
VLXi A registered trademark of Videomedia, Inc. A series of controllers that control and synchronize professional video equipment for animation, video editing, HDTV, and broadcast television production. VTR Videotape recorder. VU meter Volume unit meter. An instrument used to measure audio levels. VVV Video-Video-Video. A preview mode that shows a previously recorded scene, the new insert video, and then the previously recorded scene again. WAVE RIFF Waveform Audio File Format.
window dub See burn-in. wipe A shaped transition between video sources in which a margin or border moves across the screen, wiping out the image of one scene and replacing it with another. work print A film print made from the original negative that is used during the editing process to produce a cut list or edit decision list for final program assembly. Work prints are typically low-cost, one-light prints that receive heavy wear through repeated handling.
Z axis The axis that is perpendicular to the X and Y axes in a three-dimensional system. zero duration dissolve The method of editing two scenes end-to-end simultaneously; also called a cut.
Index ABCDEFGHIJKLMNOPQRSTUVWYZ Numerics 16:9 display for 24p editing 350 for 25p editing 350 format (Composer settings) 363 option 349 24p editing projects creating 76 displaying timecodes in 244 25i PAL editing projects creating 77 25p editing projects creating 76 displaying timecode in 244 30i NTSC editing projects creating 77 3D effects See Effects (3D) A A2 timecode option described 353 displaying 361 Aaton InDaw batch digitizing deleted media from 664 reimporting media from 664 Absolute timecode de
Adding bin columns 233 color indicators (Script window) 333 comments during editing 440 edits 505 filler during a trim 547 to a sequence 423 locators while editing 393 new tracks 502 off-screen indicators (Script window) 332 page and scene numbers in the Script window 317 script marks 334 takes in the Script window 329 Adjust Pan/Vols on Track command (Audio Mix Tool Fast menu) 574 Adjust Pan/Vols on Track command (Automation Gain Tool Fast menu) 593 Adjusting digital audio scrub parameters 560 dupe de
Audio (continued) tracks mixing down 659 monitoring 496 transitions fine-tuning 654 voice-over 636 volume adjusting in the Audio Mix Tool 568 adjusting in the Timeline 580 adjusting while playing 578 waveform plots displaying 582 Audio Data command (Timeline Fast menu) 563 Audio effect tools accessing 555 Audio effects rendering 576 Audio EQ (Equalization) adjusting while playing 616 removing 607 saving 606 templates 611, 613 Audio EQ command (Tools menu) 598 Audio EQ tool See also EQ effect examples
Audio volume adjusting in the Audio Mix tool 568 in the Timeline 580 while playing 578 rubberbanding 580 Audio waveform plots displaying 563 AudioSuite plug-ins accessing 715 applying 620 Broadband Noise Reduction (BNR) 742 Compressor 730 core plug-ins 716 creating new master clips with 625 DC Offset Removal 720 described 617 D-Fi 744 D-FX 744 dialog box 623 Digidesign Intelligent Noise Reduction (DINR) 742 Duplicate 718 EQ 728 Expander/Gate 737 Fast menu 624 Focusrite d3 743 Gain 719 Gate 736 installi
Avid Media Composer folder (Windows) 55 Avid Media Composer system starting (Macintosh) 70 starting (Windows) 61 Avid Projects folder deleting folders from (Macintosh) 67 deleting folders from (Windows) 58 described (Macintosh) 65 described (Windows) 56 renaming (Macintosh) 66 renaming (Windows) 57 Avid System Test Pro diagnostic utility 190 Avid Unity environment 266 Avid Unity LANshare 267 Avid Unity MediaNet 163 Avid Unity MediaNet icons ejecting and mounting (Macintosh) 92 Avid Users folder deletin
Bins (continued) columns in adding 233 aligning 229 deleting 231 duplicating 231 moving 229 showing and hiding 229 creating 102 deleting 105 display views for 203 to 206 displaying audio formats in 662 displaying audio information in 663 displaying in Project window 100 displaying objects in 201 editing from, in Segment mode 487 Fast menu 209 finding 412 finding from the Script window 340 Info display 136 information in the Console 188 listing timecodes in 244 locking items in 224 managing 107 managing
Buttons (continued) Mark IN 389 Mark Locators 397 Mark OUT 389 MultiCam 703 Mute 568 New Project (Select User and Project dialog box) 76 New User (Select User and Project dialog box) 73 Next In Group 702 Nine Split 697 on the Windows title bar (Windows only) using 51 Play (Script window) 331 Previous In Group 702 Quad Split 696 Set Color (Script window) 333 Set Offscreen (Script window) 332 Swap Cam Bank 693 Toggle Source/Record in Timeline 472 Trim mode 527 Buttons, user-selectable Add Alt Key (Window
Buttons, user-selectable (continued) Trim A-side 531 Trim B-side 531 Trim mode 527 Bypass volume settings 577 Choosing a user 73 bin headings 228 film format options 76 Clear Monitor command (Clip Name menu) 375 C Calculator command (Tools menu) 185 Calculator tool using 185 Calibrate Hardware Sliders command (Automation Gain Tool Fast menu) 594 Camera setups in the lined script 303 Center Duration option (Composer settings) 363 Center Pan command (Clip menu) 198 Change Sample Rate dialog box 661 C
Clips (continued) displaying information 358 local colors in the Timeline 457 source colors in bins 215 source colors in the Timeline 456 duplicating 211 finding from the Script window 340 group creating 689 highlighting offline media in the Timeline 457 linking to script 320 loaded switching between 374 loading into monitors 371, 373 locking in a bin 224 marking with IN and OUT points 388 moving 211 multigroup creating 691 playing in a loop 371 in Script view 255 using buttons 380 rearranging in Fram
Composer settings 16:9 Monitors 363 access and brief description of 113 Auto-create New Tracks 365 Auto-enable Source Tracks 365 Center Duration option 363 Color Framing options defined 364 setting 513 Copy Source Locators option 365 Digital Scrub Parameters option 363 Fast Forward options 366 First (lower) Row of Info 363 First Row of Buttons 363 Ignore Track Selectors 366 Phantom Marks 365 Rewind options 366 Second Row of Buttons 363 Second Row of Info 363 Single Mark Editing 365 Stop at Head Frames
Criterion pop-up menu (Custom Sift dialog box) 218 Crossfading audio 655 Custom Sift command (Bin menu) 218 Custom Sift dialog box 218 Customizing appearance of user interface 123, 144 bin views 207 the Composer window 346, 348 the Timeline 448 timecode 419 Trim mode 520 Cutaways marking with locators 394 Cutting text in the Script window 315 Cutting See Editing, Specific edit modes Cutting, copying, and pasting in the Timeline 488 Cycle Picture/Sound button 496 D DAE (Digidesign Audio Engine) appli
Dialog boxes Add Scene/Page 317 Archive to Videotape 287 Audio Mixdown Parameters 660 Audio Settings 197, 562 Bin Column Selection 230 Change Scene/Page 318 Consolidate 279 Custom Sift 218 Delete 214 Delete (script integration) 318, 329 Delete Media Files 272 exploring 172 Film Settings 78 Find 407 Group Clips 689 Left Margin 312 Media Tool Display 270 New Project 76 New User 73 Open 104 Quick Transition 656 Read Audio Timecode 199 Relink 295 Restore from Videotape 292 Select 418 Select User and Projec
Dual-roller trim playback 538 Dupe checking 464 Dupe Detection 509 Dupe Detection Handles option (Timeline settings) 464 Dupe handle lengths adjusting for dupe detection 512 described 510 Duplicate AudioSuite plug-in 718 Duplicate command (Edit menu) duplicating a bin column using 231 clips and sequences using 211 settings using 129 Duplicating bin columns 231 clips and sequences 211 settings 129 Duration tracking 354 E Edit Review button 536 Editing a new sequence 417 adding new tracks during 502 aud
Enlarging tracks in the Timeline 452 Entering Segment mode 476 Source/Record mode 416 Trim mode 526 Environment (Toolset) 173 EQ AudioSuite plug-ins 728 EQ effects adjusting while playing 616 applying 602 removing 607 templates for 611 Errors “No MCS3 found” message 772 viewing log of, in the Console window 187 Existing projects selecting 79 Existing users selecting 74 Exiting Trim mode 530 Expander/Gate AudioSuite plug-in 737 Exploring dialog boxes 172 Export settings access and brief description of 1
Film dailies method creating bins for 107 Film projects creating bins for 107 Film settings described 114 in the Project window 118 Film track editing with 489 Filter Automation Gain on Track command (Automation Gain Tool Fast menu) 593 Find Bin button 412 from the Source monitor 412 in the Script window 340 Find command (Edit menu) 319, 407 Find dialog box 407 Find Frame button 413 Find procedures 407 Find Script button 339 Finding black holes 515 flash frames 515 related media files 293 script from m
Frames (continued) finding with the Match Frame button 685 with the Match Frame feature 409 with timecode offset 405 rearranging in Frame view 252 in Script view 255 Frequencies (audio) adjusting 598 Full-frame display 370 Full-Monitor Display 695 Full-screen Timeline 470 G Gain AudioSuite plug-in 719 Ganging footage in monitors 684 multiple tracks in the Audio Mix tool 575 multiple tracks on an external fader controller 750 Gate AudioSuite plug-in 736 Gathering format elements 257 General settings ac
Holding slates on screen 324 Home command (Windows menu) 471 Home key 386 I Ignore Track Selectors options (Composer settings) 366 Ignoring pan settings 577 volume settings 577 Import settings access and brief description of 114 Importing a script 309 statistics files 142 test patterns 258 IN and OUT points 388 Indicating off-screen dialog 332 Info display in the Project window defined 136 displaying Hardware 138 Memory 137 Info window opening from a monitor 356 from a Script window 311 Installing Aud
Launching the Avid application (Windows) 61 L-cut edit (Overlap edit) 540 for audio clips 393 Leader creating 262 for managing sync breaks 678 Left Arrow key moving through footage with 386 navigating with 172 Left Margin command (Script menu) 312 Left Margin dialog box 312 Lift/Overwrite button using 483 Lifting material 436 Limiter AudioSuite plug-in 733 Linecut option (MultiCamera) 705 Lined script described 302 Linking clips to script 320 Load Filler command (Clip Name menu) 424 Loading filler 424
M Making subclips 391 Managing bins 107 folders 107 media files 265 Mapping buttons to Timeline top toolbar 454 menu commands 183 user-selectable buttons 179 Mark Locators button 397 Mark Subclip button 391 Mark-and-park editing See Single-mark editing Marking clips 390 entire segments 390 IN and OUT points 388, 389 segments in Segment mode 485 with locators 393, 397 Marks clearing 389 IN and OUT points 388 phantom 433 Master clips consolidating 275 copying 212 creating new, with AudioSuite 625 deletin
Media files archiving 283 backing up 283, 283 consolidating defined 275 procedure for 279 deleting in bins 213 unreferenced 274 using the Media tool 272 finding related 293 managing in a workgroup environment 266 overview 265 manipulating with the Media tool 268 relinking 294 restoring from videotape 290 unlinking 300 voice-over 646 Media relatives selecting in the bin 226 Media tool basic features of 268 opening 270 Media Tool command (Tools menu) 270 Media Tool Display dialog box 270 Media Tool Fast
Menu commands (continued) Get Clip Info (File menu) 419 Get Position Info (File menu) 188 Go To Page (Script menu) 319 Go To Scene (Script menu) 319 Group Clips (Bin menu) 689 Hardware (Tools menu) 189 Headings (Bin menu) 230 Home (Windows menu) 471 Left Margin (Script menu) 312 Load Filler (Clip Name menu) 424 Lock Bin Selection (Clip menu) 224 Lock Tracks (Clip menu) 502 mapping 183 Match Frame Track 411 Media Tool (Tools menu) 270 Mount All (File menu) (Macintosh) 93 Mount All (File menu) (Windows)
Mixing down audio 659 MM Host specifying settings 267 Mod Delay AudioSuite plug-ins 740 Modifying pan values 576 settings 128 Monitor icons 496 Monitoring audio and video tracks 496 Monitors clearing clips from 375 displaying sequence information using 356 ganging footage in 684 hiding video in 376 loading footage into 371, 373 loading multiple clips and sequences into 373 resizing 376, 378 viewing in 368 Mono option (audio) 660 Motion effects defined 493 Motion mode indicator in the Timeline 473 Moun
N O Narration recording voice-over 636 National Television Standards Committee (NTSC) video editing format 76 Navigation buttons MCS3 controller 764 Navigation keys for dialog boxes and menus 172 Nested effects defined 494 Nesting effects 494 projects in folders 80 New Audio Track command (Clip menu) 421, Offline editing detecting color-frame shifts during 513 detecting duplicate frames during 509 Offline items selecting in the bin 226 Offline media indicator in the Timeline 457 Off-screen dialog in
Page Down key navigating with 172 Page Setup command (File menu) 256 Page Up key navigating with 172 PAL (Phase Alternating Line) video editing format 76 Pan adjustment See also Audio Mix tool modifying 577 one track at a time 570 Parametric midrange in Audio EQ tool 601 Pasting in the Timeline 488 segments 488 text in the Script window 315 Patching tracks 499 Pause button 380 Perforation level slipping audio at 196 Phantom marks using 433 Phantom Marks options (Composer settings) 365 Phase Alternatin
Preserve Specific Vertical Blanking Lines options (General settings) 122 Previous In Group button 702 Print Bin command (File menu) 256 Print Timeline command (File menu) 517 Printing bins 256 locators 403 statistics 139 the Timeline 517 Project settings defined 112 displaying 125 Project window closing 99 displaying bins 100 settings 111 usage 138 Info display, using 136 opening 99 Projects backing up 83 closing 82 creating new 76 deleting (Macintosh) 67 deleting (Windows) 58 items created by system (
Remove Automation Gain on Track command (Automation Gain Tool Fast menu) 593 Remove Clip Gain on Track command (Audio Mix Tool Fast menu) 574 Remove Pan on Track command (Audio Mix Tool Fast menu) 574 Remove Pan on Track command (Automation Gain Tool Fast menu) 593 Remove Pan/Vols on Track command (Audio Mix Tool Fast menu) 574 Remove Pan/Vols on Track command (Automation Gain Tool Fast menu) 594 Removing add edits (match frames) 506 color indicators (Script window) 333 off-screen indicators (Script wi
Scene creating a bin for 107 Scene and page numbers (Script window) adding 317 changing 318 deleting 318 searching for 319 Screen resolution changing (Windows) 53 Script box in Script view 254 Script integration See also Color indicators, Off-screen indicators, Scripts, Script marks, Script window, Slates, Takes described 304 elements of 305 for video projects 306 holding slates on screen 324 importing a script for 309 lining conventions in 302 workflow 305, 340 Script Mark button 335 Script marks addi
Searching for page and scene numbers in the Script window 319 in the Script window 316 to 320 Second Row of Buttons option (Composer settings) 363 Second Row of Info option (Composer settings) 363 Segment Drag Sync Locks option (Timeline settings) 481 Segment effects defined 493 Segment mode deleting segments in 484 editing from a bin in 487 extracting/splicing in 483 four-frame display described 478 suppressing 480 in the editing workflow 47 in the Timeline 487 lifting/overwriting in 483 marking segm
Serial (COM) Ports tool specifying a controller in 192 Set Bin Background command (Edit menu) 251 Set Bin Display command (Bin menu) 201 Set Bin Display dialog box 201 Set Color button (Script window) 333 Set Font command (Edit menu) 155, 313 Set Font dialog box 155, 313 Set Level on Track command (Audio Mix Tool Fast menu) 574 Set Offscreen button (Script window) 332 Set Pan on Track command (Audio Mix Tool Fast menu) 574 Set Pan on Track command (Automation Gain Tool Fast menu) 593 Setting the bin di
Settings scroll list (continued) Serial (COM) Ports 115 summary of contents 112 Timecode Window 115 Timeline 116 Timeline View 116 Title Style Sheet 116 Transfer 116 Trim 116 Video Input 116 Video Output 116 VTR Emulation 116 Workspace 117 Shift Key Button option MCS3 controller 767 Shortcut menus (Macintosh) 94 Shortcut menus (Windows) 94 Show All Takes command (Script menu) 326 Show Every Frame command (Timeline Fast menu) 490 Show Frames command (Script menu) 325 Show Locators command (Timeline Fast
Soloing audio tracks in the Timeline 556 Sorting clips 242 columns, multilevel 243 Source clips finding with Match Frame 409 Source colors assigning custom colors to 216 assigning in bins 216 displaying in the Timeline 456 limiting available colors of 217 Source frames finding 414 Source material displaying in the Timeline 472 loading into monitors 371 Source monitor described 346 viewing in 368 Source/Record mode customizing window settings in 348 entering 416 first edits in 415 in the editing workflo
Supporting Files folder, defined (Macintosh) 64 Supporting Files folder, defined (Windows) 55 Swap Cam Bank button 693 Switching multicamera angles 702 Sync autosyncing 666 ganging footage in monitors 684 maintaining during segment move 481 during trim 547 with Add Edit 681 with leader 678 with locators 679 with sync lock 676 sync-locked tracks trimming with 549 using Match Frame 685 Sync breaks displaying 674 fixing 675 Sync Breaks command (Timeline Fast menu) 674 Sync Lock icon in the Track Selector
Three-perforation film projects 78 Three-point editing with phantom marks 433 Tick Marks in Position Bars option (Composer settings) 363 Time Compression Expansion AudioSuite plug-in described 721 using to change media length 625 Timecode window 359 access and brief description of 115 Timecodes changing 419 default starting 122 display options 24p and 25p projects 244 in the Timecode window 359 multiple 362 table of 353 finding frames with 405 setting multiple displays 362 SMPTE standard formats for en
Timeline view customizing 448 examples of 448 replacing 460 restoring default 461 saving 459 Timeline View pop-up menu 459 Tips playback performance 442 showing ToolTips (Interface settings) 123 Title bar (Windows only) using 51 Title Style Sheet settings access and brief description of 116 Toggle Source/Record in Timeline button (Timeline) 472 Tool palette displaying text labels 123, 368 using 367 Toolbar, top Timeline 454 Tools Audio EQ 598 Audio Gain Automation 580 Audio Mix 568 Audio Punch-In 636 C
Transitions audio, fine-tuning 655 selecting additional for trimming 533 selecting for trimming 527 trimming 551 Trash emptying 106 moving bins from 105 viewing contents of 105 Trim adding filler during 547 during a playback loop 539 edits, reviewing 535 maintaining sync during 547 on-the-fly 537 sides, selecting 531, 537 slip and slide procedures 542 with sync-locked tracks 549 Trim mode basic procedures in 531 Big Trim mode switching with Small Trim mode 529 customizing 521 defined 520 entering 526 e
User identifying 73 selecting another 127 User bits in LTC, reading 199 User interface customizing appearance 123, 144 templates 154 User profiles creating new 73 deleting (Macintosh) 67 deleting (Windows) 58 items created by system (Macintosh) 65 items created by system (Windows) 56 User settings defined 111 opening a project with 81 selecting a user from 127 Users creating new 73 selecting existing 74 setting up 73 Users folder See Avid Users folder User-selectable buttons See Buttons, user-selectabl
Volume meters in the Timeline 583 VTR Emulation settings access and brief description of 116 W Waveform plots options in the Timeline Fast menu 563 Wide-screen (16:9) display option 349 Windows taskbar (Windows only) using 52 Windows title bar (Windows only) described 51 Work environment (Toolset) 173 Workflow, film scene 200 Workgroup environment working with media files 266 Workspace linking to a toolset 174 Workspace settings access and brief description of 117 creating 157 Workspaces assigning but
