Avid® Media Composer® and Film Composer® Input and Output Guide
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Contents Using This Guide Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Related Information. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
PAL Audio and Video Synchronized During Transfer (PAL Method 1). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 PAL Audio and Video Digitized Separately (PAL Method 2). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Audio Transfer Options for 24p PAL Projects. . . . . . . . . . . . . . . . 52 Planning a DV Project (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . 53 Understanding DV . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Film-to-Tape Transfer Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Transfer Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Additional Film Transfer Aids . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Chapter 3 Logging Preparing Log Files for Import . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Using Avid Log Exchange to Convert Log Files . . . . . . . . . . . . . .
Entering Frames-per-Second Rates for PAL Transfers . . . . . . . 118 Entering Key Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119 Entering Additional Timecodes (Option) . . . . . . . . . . . . . . . . . . 120 Entering the Ink Number (Option) . . . . . . . . . . . . . . . . . . . . . . . . 121 Entering Additional Film Data . . . . . . . . . . . . . . . . . . . . . . . . . . . 121 Modifying Clip Information Before Digitizing. . . . . . . . . . . . . . . . . .
Setting the Video and Audio Input . . . . . . . . . . . . . . . . . . . . . . . . 161 Setting the Pulldown Switch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Film Project Pulldown and Transfer Settings . . . . . . . . . . . . 163 Choosing a Resolution in the Digitize Tool . . . . . . . . . . . . . . . . . 165 Choosing Color or Monochrome in the Digitize Tool. . . . . . . . . 165 Choosing a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Calibrating Video Input . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 Saving Video Input Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Saving a Custom Default Setting for the Video Input Tool. . . . 208 Adjusting Video Levels for Tapes Without Color Bars . . . . . . . 208 Digitizing Preparations Check List . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 Chapter 5 Digitizing Before You Begin Digitizing . . . . . . . . . . . . . . . . . . . . .
Redigitizing Your Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Redigitizing Master Clips and Subclips . . . . . . . . . . . . . . . . . . . . 244 Redigitizing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Saving Two Versions of a Sequence When Redigitizing . . . 245 Using Decompose When Redigitizing . . . . . . . . . . . . . . . . . . 245 Redigitizing the Sequence Without Using Decompose . . . . 247 Relinking Clips by Key Number .
Digitizing Methods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 Logging Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 Autodigitizing Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Storage Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Checking the Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . 322 Advanced Video Output Calibration . . . . . . . . . . . . . . . . . . . 327 Preparing for Audio Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 Setting the Calibration Tone . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Calibrating Global Output Levels. . . . . . . . . . . . . . . . . . . . . . 333 Adjusting Output on Eight-Channel Audio Systems . . . . .
Enabling VTR Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372 Using VTR Play Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 Using Direct Record Emulation. . . . . . . . . . . . . . . . . . . . . . . . . . . 376 Chapter 9 Exporting and Exchanging Material Understanding Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380 Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting with the Avid ABVB NuVista Codec for QuickTime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432 Exporting as an AVI File (Windows Only) . . . . . . . . . . . . . . . . . . . . . 434 AVI Settings Options (Windows Only). . . . . . . . . . . . . . . . . . . . . 437 AVI Video Compression Dialog Box Options ( Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440 Using the Avid Codec for AVI (Windows Only). . . . . . . . . . . . .
Displaying Information in the Locators Window. . . . . . . . . . . . 472 Using Locator Colors with R&A Files . . . . . . . . . . . . . . . . . . . . . 473 Appendix A File Format Specifications Graphics (Image) Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475 Preparing Graphics Files for Import . . . . . . . . . . . . . . . . . . . . . . . 478 Graphics File Import Specifications . . . . . . . . . . . . . . . . . . . . . . .
Column Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523 Data Headings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526 Sample Avid Log . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529 Appendix D Preserving Information in the Vertical Blanking Interval Line Ranges. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Figures Figure 1-1 Workflow: Video Project with Video Source. . . . . . . . .34 Figure 1-2 Workflow: Video Project with HD Source, SDTV Downconversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35 Figure 1-3 Offline Workflow: 24-fps Film Source, SDTV Transfer 39 Figure 1-4 Online Workflow: 24-fps Film Source, SDTV Transfer, Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . .40 Figure 1-5 Offline Workflow: 24-fps Film or HDTV Source, SDTV Downconversion. .
Tables Table 1-1 Film Shoot Specifications. . . . . . . . . . . . . . . . . . . . . . . . . 58 Table 2-1 Ratio of Film to Video . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Table 2-2 Ratio of Film to Video with FPS . . . . . . . . . . . . . . . . . . . 67 Table 4-1 Drive Filtering Options . . . . . . . . . . . . . . . . . . . . . . . . . 129 Table 4-2 Digitize Settings: General Tab . . . . . . . . . . . . . . . . . . . 132 Table 4-3 Digitize Settings: Media Files Tab . . . . . . .
Table 8-3 24p and 25p Project Output Options . . . . . . . . . . . . . .357 Table 8-4 Audio Play Rates for 24p and 25p Projects . . . . . . . . .359 Table 8-5 VTR Emulation Settings: Record and Play Emulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .373 Table 9-1 Available Avid Applications for AvidLinks Export. .389 Table 9-2 Export Settings Dialog Box Options . . . . . . . . . . . . . . .392 Table 9-3 Export Settings Dialog Box OMFI and AAF Settings Options. . . . . . .
Table A-3 Graphic Import Frame Sizes: Progressive. . . . . . . . . . 484 Table A-4 Graphic Import Frame Sizes: MultiCamera . . . . . . . . 484 Table A-5 Graphic Import Frame Sizes: DV . . . . . . . . . . . . . . . . . 485 Table A-6 Animation File Import Specifications . . . . . . . . . . . . . 486 Table A-7 QuickTime File Import and Export Specifications . . 487 Table A-8 AVI File Import and Export Specifications. . . . . . . . . 488 Table A-9 OMFI File Import Specifications . . . . . . . .
Using This Guide The Avid Media Composer and Film Composer Input and Output Guide presents information to help you bring material into your Avid system and send material out. Material for input includes video footage, film footage that has been transferred to video, graphic images, audio, and other elements that you use to create a sequence. Material for output includes sequences, clips, individual frames, and audio, either as a work in progress or as a finished piece.
projects and editors responsible for the input and output stages of a project. About This Guide The Contents lists all topics included in the book. They are presented with the following overall structure: • Chapters 1 and 2 present conceptual information to help you plan a project and understand the film-to-tape transfer process. • Chapters 3 through 9 include conceptual information and step-by-step procedures for all aspects of input and output.
The Media Composer and Film Composer documentation uses the following special symbols and conventions: 1. Numbered lists, when the order of the items is important. a. • Bulleted lists, when the order of the items is unimportant. - t Alphabetical lists, when the order of secondary items is important. Indented dashed lists, when the order of secondary items is unimportant. One arrow indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed.
If You Need Help If you are having trouble using Media Composer or Film Composer, you should: 1. Retry the action, carefully following the instructions given for that task in this guide. 2. Check the documentation that came with your hardware for maintenance or hardware-related issues. 3. Check the release notes supplied with your Avid application for information on accessing the Avid Web site and the Avid Knowledge Center. 4.
• Avid Composer Products Setup Guide for the Macintosh Operating System • Avid Media Composer and Film Composer Getting Started Guide for Video Editing • Avid Film Composer and Universal Offline Editing Getting Started Guide • Avid Media Composer and Film Composer Quick Reference for the Windows 2000 Operating System • Avid Media Composer and Film Composer Quick Reference for the Macintosh Operating System • Avid Media Composer and Film Composer Editing Guide • Avid Media Composer and Film
application. For information on using Help, click the Using Help button in the Help system. 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.
CHAPTER 1 Planning a Project This chapter presents suggested workflows and other information that can help you plan your film-originated or video-originated project.
Working with Multiple Formats Avid systems offer you a flexible approach to finishing your project, whether it originates as video or film. For video projects, you can use the offline capabilities of the Media Composer or Film Composer system and the Total Conform capabilities of the Symphony system to produce the highest quality, uncompressed broadcast masters.
creates 24p media by removing the extra fields inserted by the 2:3 pulldown process and by creating progressive frames. Working in 24p simplifies digital editing of film or other 24-fps-originated content, such as HDTV video that has been downconverted to ITU-R 601 digital video. In addition, 24p media requires less storage and processing power than 30-fps media.
The source for 25p is typically 25-fps film or 25-fps HDTV format. The methods for creating and storing 25p media are the same as for 24p. For an example of a 25p project workflow, see “25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output” on page 44. n You can digitize the audio directly from the original Nagra reels or DAT tapes, and sync within the Avid system. For more information, see “Alternative Audio Paths” on page 47.
For 30i NTSC projects and 25i PAL projects, you can choose the Matchback option, which lets you digitize and edit film-originated footage at 30 fps or 25 fps and “match back” to a cut list for conforming your edit to film. For more information, see “Using the Matchback Option” on page 368. Your Avid system also includes features that enable you to digitize and edit multicamera projects. For more information, see Chapter 6 and the editing guide or Help for your Avid system.
1. (Option) Import a log file to create a bin. (Step 1) Log 2. If you imported a log file, batch digitize in the Media Composer or Film Composer offline system. Otherwise, log and digitize, or digitize on-the-fly. 3. Complete offline edits and create a final sequence. 4. Copy project information from the offline system to the Symphony online system. 5. Batch digitize the sequence in an online resolution in the Symphony system. 6. Use Symphony to finish the project. 7.
1. (Option) Import a log file to create a bin. 2. If you imported a log file, batch digitize in the Media Composer or Film Composer offline system. Otherwise log and digitize, or digitize on-the-fly. Use an HD VTR or other equipment to downconvert the HD source. (Step 1) HD Log HD source footage: NTSC 30 fps or PAL 25 fps (Step 2) HD VTR Media Composer or Film Composer offline editing system (Step 3) 3. Complete offline edits and create a final sequence. 4.
Planning a 24p or 25p Project A 24p or 25p project is one that uses 24p or 25p media, which is created and stored in the Avid system. In most cases, the source footage is film shot at 24 fps (for 24p) or 25 fps (for 25p), but new technology is introducing 24p and 25p videotape formats, both for cameras and VTRs. For 24p or 25p videotape, you need to use a 24p VTR to downconvert the high-definition format of HDTV to SDTV digital video for digitizing by the Avid system.
NTSC and PAL Image Sizes The Universal Mastering capabilities of your Avid system let you create both NTSC and PAL master tapes from the same project. If you plan to output both formats, consider the following information. In the Avid system, NTSC video uses a 4:3 aspect ratio with a screen display of 720 x 486 pixels, except for DV footage, which uses a screen display of 720 x 480 pixels.
Editing. Figure 1-4 shows the online stage, using a Symphony system, film-tape-film-tape relinking, and multiple output formats. With this workflow, the sound recording is synchronized as part of the telecine transfer. For alternative audio workflows, see “Alternative Audio Paths” on page 47. For details on the telecine transfer process, see “Stage 1: Transferring Film to Video” on page 65.
1. The telecine process uses one-light or best-light transfer and syncs picture and sound to create ITU-R 601 video. The process adds 2:3 pulldown to film footage to create an NTSC videotape, or uses 4.1% speedup for PAL videotape. The telecine process also creates a shot log (for example, a FLEX file). 2. Convert the shot log file with Avid Log Exchange (ALE), then import the shot log file into Media Composer or Film Composer to create a bin or bins. 3.
6. The telecine process uses the pull list and a full color-corrected transfer to create NTSC or PAL videotape with selects from the original negative (picture only). The process also creates a new shot log file. 7. Copy the project information from the floppy disk to the Symphony online system. From the offline system (Step 6) Telecine transfer process (picture only) Pull list Film shot at 24 fps (Step 7) 8. Convert the new shot log with ALE and import it into the Symphony system.
24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output This workflow is based on film or video footage shot at 24 fps and planned for HDTV (high-definition television). Different workflows are being developed for this new technology, which includes 24p tape formats, VTRs, and cameras. This workflow presents one possible path. Figure 1-5 shows the offline stage of the workflow, using a Media Composer or Film Composer system with Universal Offline Editing.
1. Source videotape comes either from a telecine transfer or a 24-fps video camera. The telecine process transfers 24-fps film footage at 1:1 (no pulldown). It also creates a shot log (for example, a FLEX file). 2. For telecine transfer projects, convert the shot log file with ALE and import it into Media Composer or Film Composer to create a bin or bins. 3. Batch digitize the footage in an offline resolution, based on the shot log. Use a 24p deck to downconvert HDTV to ITU-R 601 video.
6. For film-originated projects, the telecine process uses the pull list and full color-corrected transfer to create HDTV videotape with selects from the original negative (picture only). The process also creates a new shot log file. 7. Copy the project information from floppy disk to the Symphony online system. 8. For telecine transfer projects, convert the new shot log file with ALE and import it into the Symphony system. 9. Batch digitize in an online resolution, based on the new shot log file.
25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output This workflow is based on film or video footage shot at 25 fps and planned for HDTV (high-definition television). Different workflows are being developed for this new technology, which includes 25p tape formats, VTRs, and cameras. This workflow presents one possible path. Figure 1-7 shows the offline stage of the workflow, using a Media Composer or Film Composer system with Universal Offline Editing.
1. Source videotape comes either from a telecine transfer or a 25-fps video camera. The telecine process transfers 25-fps film footage at 1:1 (no pulldown). It also creates a shot log (for example, a FLEX file). 2. For telecine transfer projects, convert the shot log file with ALE and import it into Media Composer or Film Composer to create a bin or bins. 3. Batch digitize the footage in an offline resolution, based on the shot log. Use a 25p deck to downconvert HDTV to ITU-R 601 video.
6. For film-originated projects, the telecine process uses the pull list and full color-corrected transfer to create HDTV videotape with selects from the original negative (picture only). The process also creates a new shot log file. 7. Copy the project information from floppy disk to the Symphony online system. Telecine transfer process (picture only) (6) From the offline system Pull list Film shot at 25 fps (7) From the offline system HD 25 HD 25 Proj 8.
Alternative Audio Paths The workflows in this section illustrate four alternative paths for digitizing and synchronizing audio: • NTSC Audio and Video Synchronized During Transfer • NTSC Audio and Video Digitized Separately • PAL Audio and Video Synchronized During Transfer (PAL Method 1) • PAL Audio and Video Digitized Separately (PAL Method 2) The Avid system provides multiple formats for output.
1. The telecine process syncs picture and sound to create NTSC ITU-R 601 video. The process adds 2:3 pulldown, slows the film speed to 23.976 fps (labeled 24 fps), and slows the audio to 44056 Hz or 47952 Hz (digital) or 59.94 Hz (analog). Telecine transfer process Nagra or DAT playback system DAT Sound recording (Nagra or DAT) Film shot at 24 fps Telecine controller and record deck (Step 1) 2. Digitize the footage in the Avid system. Set the pulldown switch in the Digitize tool to 0.99.
NTSC Audio and Video Digitized Separately With this method, you digitize audio and video separately, and then synchronize them in the Avid system. 1. The telecine process creates NTSC ITU-R 601 video. The process adds 2:3 pulldown and slows the film speed to 23.976 fps (labeled 24 fps). For effects work, some footage can be transferred and digitized without pulldown (frame-to-frame). 2. Digitize the audio. If audio was transferred at 29.97 fps, set the pulldown switch in the Digitize tool to 0.99.
PAL Audio and Video Synchronized During Transfer (PAL Method 1) This method uses audio and video synced in the telecine system and transferred to PAL videotape. This method is known as PAL Method 1. It is most commonly used for 24-fps film footage that is intended for PAL TV broadcast. 1. The telecine process syncs picture and sound to create PAL ITU-R 601 video (25 fps). The process adds 4.1% speedup. Telecine transfer process (Step 1) Nagra or DAT playback system DAT 2.
PAL Audio and Video Digitized Separately (PAL Method 2) With this method, you digitize audio and video separately, and then synchronize them in the Avid system. This method is known as PAL Method 2. Telecine transfer process (picture only) 1. The telecine process creates PAL ITU-R 601 video without sound (MOS). The process adds 4.1% speedup. (Step 1) Film shot at 24 fps 2. Digitize the audio (without speedup) in the Avid system. DAT (Step 2) Sound recording (Nagra or DAT) 3.
Audio Transfer Options for 24p PAL Projects When you create a 24p PAL project, you must specify the appropriate audio transfer rate for the project. (This is not necessary for a 25p PAL project because there is no film speedup during the transfer.) The New Project dialog box provides Audio Transfer options that allow you to select either Film Rate or Video Rate.
Planning a DV Project (Windows Only) For more information, see “Compression and Resolutions” on page 499. Media Composer and Film Composer with the DV Option (available on Windows systems only) allows you to record, edit, and output DV media.
device to the custom OHCI driver. For more information on linking a DV device, see the release notes for your Avid system. For information on physically connecting a DV device, see the Avid Symphony and Composer Products Setup Guide for the Windows 2000 Professional Operating System. DV Workflows There are several workflows for systems with the DV Option: • • • Planning a Project You can work in native DV. - Use a FireWire connection to record DV footage directly from a camera or deck.
• You can work in a DV project that will be cut as film. - Create a matchback project. - Use a FireWire connection to record DV footage directly from a camera or deck. - Edit in native DV format. - Use the FilmScribe™ application to output a cut list. DV resolutions and OHCI input and output are not available in progressive projects. • n You can work in an Avid Unity™ MediaNet environment. You can edit in DV while sharing DV footage with other DV systems.
The following illustration shows a possible workflow for a DV project. This workflow uses both DV media and Betacam media as source footage. 2. Connect your equipment. For SDI or analog video, use the Meridien I/O box. For DV video, use the 1394 connection. DV (Step 1) 1. (Option) Import a log file to create a bin. Betacam Log Betacam or Digital Betacam VTR DV camera or deck (Step 2) Source footage: NTSC 30 fps or PAL 25 fps Avid Meridien I/O box 1394 connection 3.
Starting a DV Project When you start a DV project, choose either NTSC or PAL, depending on the format of your media. If your system includes 24p and 25p support, choose either NTSC 30i or PAL 25i. If you are planning to use your footage to create film, choose the Matchback option. For more information about starting a project, see the editing guide or Help for your Avid system. Editing in DV In general, you edit DV footage in the same way you edit any other footage.
Film Project Considerations This section presents information that could be useful when planning film projects that you will edit on an Avid system. Film Shoot Specifications Use the guidelines in Table 1-1 to help you plan for film shoots. Table 1-1 Film Shoot Specifications Element Supported Formats Notes Film type 16mm Use Standard 16mm or Super 16mm. Super 16’s aspect ratio closely matches 16:9.
Table 1-1 Film Shoot Specifications (Continued) Element Supported Formats Notes Audio timecodes 30-fps drop-frame or non-drop-frame Use for NTSC transfer projects, and for generating audio EDLs. 25-fps timecode Use for PAL transfer projects, and for generating audio EDLs in the PAL format. Audio sync to in-camera timecode (Aaton® or Arri® 24-fps timecode) Use for automatic syncing of sound with picture in the Avid system. Clapsticks Use for manual syncing of sound with picture.
Film Dailies Method The film dailies method involves the general procedures shown in Figure 1-14. Specifics, such as tape formats, vary depending on facilities and needs. 1. Prepare work print for the circled (chosen) takes. .................... ..................... .................... ..................... Negative 2. Sync work print with audio mag track, and assemble each take on a roll with ink numbers. (Steps 1 and 2) 3. Screen the film dailies before telecine transfer.
The disadvantage is that the magnetic track and work print require additional facilities, procedures, and costs. Video Dailies Method The video dailies method involves the general procedures shown in Figure 1-15. Specifics, such as tape formats, vary depending on facilities and needs. 1. Prepare film negative for circled (chosen) takes. 2. Transfer reels of negative synced to audio in telecine.
The advantage of working with video dailies and film negative is that you can avoid the cost of work print until the finishing stages, or altogether. The disadvantage is you are limited to the aspect ratio, resolution, and contrast range of video previews. For this reason, video dailies are preferred for television projects, but you can also use this method to economize on a feature film production.
CHAPTER 2 Film-to-Tape Transfer Methods To capture and edit film-originated footage in your Avid system, you must transfer the footage to videotape.
film projector called a telecine (the term loosely translates as “video-film”). The telecine is usually part of a production system that includes audiotape recorders, a controller, and other equipment. After you’ve decided on a telecine facility and have supplied your requirements (see “Film-to-Tape Transfer Guidelines” on page 75 and “Film-to-Tape Transfer Options” on page 76), the telecine facility performs the film-to-tape transfer.
Stage 1: Transferring Film to Video The NTSC film-to-video transfer occurs as a two-part process: the telecine adds extra frames during transfer and, at the same time, slightly reduces the film’s running speed. Frames Versus Fields To understand how the telecine transfers film to videotape, you need to understand the relationship between frames and fields. An NTSC video image consists of 525 horizontal lines of information.
Table 2-1 Ratio of Film to Video Film Video 24 fps 30 fps 4 frames 5 frames (10 fields) The telecine uses a method known as pulldown to create the extra frames. As each film frame moves through the telecine projector, it is held in place (pulled down) while a specific number of fields are recorded on videotape. To transfer four film frames to 10 video fields, the telecine process alternates between creating two and three video fields per film frame (referred to as 2:3 pulldown).
The telecine alternates between capturing odd-numbered and even-numbered fields. For example, B1 and B3 both contain the odd-numbered scan lines of the B film frame. Later in the transfer process, when the Avid system digitizes the fields, it must capture an odd-numbered and an even-numbered field for each frame. When you view the resulting video, you get the impression that you are watching the video at 24 fps even though it is playing at 30 fps (or more precisely, at 29.97 fps).
Maintaining Synchronized Sound In most cases, the sound for your production has been recorded on a digital audio system, such as a DAT (digital audiotape), or ¼-inch tape system, such as a Nagra recorder. You need to synchronize the sound with the picture and make sure they are in sync in the Avid system. You can take one of three basic paths: • Transfer the original sound recording to mag track, sync the mag track to the film work print, and transfer both to videotape through a telecine process.
Stage 2: Digitizing at 24 fps The telecine has converted your film footage into video running at 29.97 fps. Now you’re ready to use the digitizing process to input the material as a 24p NTSC project. During the digitizing process, the Avid system reverses the pulldown procedure to capture the film footage at 24 fps. It removes the extra fields added by the pulldown process to create full-frame, 24p media. The digitize process captures video and audio at the slowed-down speed (0.999).
Now you can edit the material at 24 fps on the Avid system. This approach ensures that all your edits correspond to true film frames so that you see an accurate representation of the finished film. Transferring 24-fps Film to PAL Video If you use a PAL transfer, the film-to-video process also takes place in two stages: • Stage 1: Transfer the film to videotape by speeding up the film rate during the telecine process.
PAL Method 1 With PAL Method 1, you synchronize sound with picture during the telecine process. Stage 1: Transferring Sound and Picture to Videotape Some PAL film-to-tape transfers use pulldown. This method is not currently supported in Avid systems. As with an NTSC film-to-tape transfer, the telecine process creates two video fields for each film frame.
n Select this option in the Film Settings dialog box. For more information, see“Selecting Settings” on page 127 and the editing guide or Help for your Avid system. You must digitize audio along with video at the PAL rate of 25 fps if you want to use audio that was transferred along with picture during the telecine process. You set the Audio Transfer rate as Video Rate (100+%) in the New Project dialog box. For more information, see “Audio Transfer Options for 24p PAL Projects” on page 52.
1. Digitize the picture to create 24p media. 2. Digitize the sound at the film rate of 24 fps. When you created the project, you set the Audio Transfer rate as Film Rate (100%) in the New Project dialog box. For more information, see “Audio Transfer Options for 24p PAL Projects” on page 52. In most cases, you will choose to edit at 24 fps. The sound will maintain source quality (44.1 kHz and 48 kHz) and will play in sync with 24-fps video. PAL Method 2 is used primarily for film projects.
Displaying Media While Editing When you click the Play button while editing a clip or a sequence (sometimes referred to as Edit Play), the system separates (interlaces) the progressive frames into fields and does the following: Choose your preference for playback in the Film Settings dialog box. For more information, see the editing guide or Help for your Avid system. • On the Source, Record, Playback, or pop-up monitor, the system displays the footage at 23.
Displaying Media During a Digital Cut The Digital Cut tool lets you output multiple formats at various play rates, all from 24p and 25p media. When you click the Play Digital Cut button, the system displays the sequence as described in the previous section, depending on your choice in the Digital Cut tool. For more information, see “Choosing Output and Timecode Formats for 24p and 25p Projects” on page 356.
n PAL film-to-tape transfers that use pulldown are not currently supported in Avid systems. Film-to-Tape Transfer Options This section describes options for transfer quality and various screening and editing aids that you can request during the transfer process, based on the considerations of budget and available facilities. Transfer Quality The quality of the film-to-tape transfers depends upon several options for the telecine transfer.
For more information on FTFT, see “Relinking Clips by Key Number” on page 249. You can use the Film-Tape-Film-Tape (FTFT) feature to perform two separate telecine processes for a project: • Perform a one-light or best light transfer to obtain the most material for the initial edits. • After editing is complete, perform a timed, fully color-corrected transfer of the clips that will be used in the final cut.
• Film-to-Tape Transfer Methods 16:9 wide screen format: The Avid system supports the 16:9 wide screen display format. You can either shoot your footage by using a 16:9 lens or transfer the footage anamorphically to display a larger area of the film aspect ratio during offline and online editing. Also, this aspect ratio lets you create media that takes advantage of new 16:9 monitors that conform to SDTV and HDTV standards.
CHAPTER 3 Logging When you import shot log files or log directly into a bin, you provide the Avid system with frame-accurate clip information used to digitize the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.
Preparing Log Files for Import Preparing log files for importing into a bin can involve one or more of the following methods: • Convert a log file generated by a telecine or other film-to-tape transfer system, as described in “Using Avid Log Exchange to Convert Log Files” on page 80. This is the most accurate method for providing the Avid system with frame-accurate clip information for digitizing the transferred source tapes.
When you are converting an ATN file that contains multiple sections to an ALE file, multiple ALE files are created. The Avid Log Exchange window displays only the first ALE file created. The succeeding ALE files are given the same file name with incremental numbering. For example, the file Nations1.atn is converted to Nations1.ale, Nations1_2.ale, Nations1_3.ale, and so on. The converted output files are stored in the folder containing the original input file.
5. Depending on the type of file you are opening, one of the following occurs: - If the file type is recognized by the ALE utility, the file appears in the Avid Log Exchange window. - If the file does not contain the Windows line ending format, then the Line Endings dialog box appears. Choose an option from the following table: Click To Display & Save Open the file in the Avid Log Exchange window and change the file to the Windows format.
7. Choose Clean from the Options menu if you want Avid Log Exchange to clean the ALE output file to eliminate overlapping timecodes for clips. By default, Clean is selected. When you choose Clean, the utility removes the end timecode from any clip that overlaps the start of the next clip. 8. If you chose Clean, you can also choose Relaxed from the Options menu to prevent deleting events that come earlier in the transfer. Relaxed is not set by default.
10. (Option) Choose the original file from the Window menu if you want to convert the file again using different options. 11. Choose Close from the File menu. If you made changes in the editor, a message box appears. 12. Click Yes.
The converted file is stored in the same folder as the original log file. Using Drag-and-Drop Conversion for Log Files (Windows) Use this shortcut to convert any type of file into an ALE file. To convert a log file by using drag-and-drop conversion: 1. Check the options that are set in the ALE utility (see “Converting Log Files with Avid Log Exchange (Windows)” on page 81). The current options are used when you perform drag-and-drop conversion. 2. Create a shortcut for the ALE utility. 3.
6. Depending on the type of files you are converting, one of the following occurs: - If the file type is recognized by the ALE utility, a message box appears, indicating the conversion was successful. - If the file type is not recognized, the Choose File Type dialog box appears. Select the type of the file you are converting and click OK. A message box appears, indicating the conversion was successful. - If the file type is an ALE file, the ALE Convert Type dialog box appears.
To convert a file: 1. In the Finder, open the Applications folder on the Avid drive. Open the Utilities folder and locate the Avid Log Exchange application inside the folder labeled ALE f. 2. Double-click the Avid Log Exchange icon to start the application. The Avid Log Exchange dialog box appears. Files you can convert Files you can generate Clean option Track selection Convert button For specific information on the various file types shown here, see Appendix C. Quit button 3.
When you select the Clean option, the utility removes the end timecode from any clip that overlaps the start of the next clip. 6. Click the Convert button to open the Select File to Convert dialog box. 7. Open the drive and folder that contain the files you want to convert. Location of the files File to be converted 8. Double-click the input file name. Only one file is converted at a time. Avid Log Exchange stores the converted file in the same folder as the original input file.
Input file Converted file The original file name extension is replaced by the extension for the new format. The .ALE files can be imported only into Avid products. Using Drag-and-Drop Conversion for Log Files (Macintosh) To convert a log file by using drag-and-drop conversion: 1. Check the options that are set in the ALE utility (see “Converting Logs with Avid Log Exchange (Macintosh)” on page 86). The current options are used when you perform drag-and-drop conversion. 2.
6. Drag the selected files to the Avid Log Exchange icon and release. The system converts the files to Avid format, adding the .ALE file name extension to the new file names. Creating Avid Logs You can prepare an Avid log on any type of IBM®-compatible or Macintosh computer by using a word processing application or a text editor. To ensure accuracy, you must follow the Avid log specifications described in Appendix C.
Required Information for Logging When logging manually, you should document the following information: • Identify the source tape for each shot. • Document each clip’s name, start timecode, and end timecode. • In the case of NTSC transfer tapes for film projects, you must supply pulldown information in the Pullin column of the bin before you can digitize. This is the minimum information required to digitize successfully.
n The version of MediaLog for your platform (Windows or Macintosh) is included with your Avid system. To order a different version of MediaLog, contact your Avid representative. If you log your source footage by using MediaLog, you can transfer the bins directly to the Avid system for batch digitizing by moving the bin files. You can also import the logs by using the same procedure as you would for other Avid-compatible log formats, as described in “Importing Shot Log Files” on page 94.
Transferring Bins (Macintosh) To transfer bins from MediaLog: 1. Save the MediaLog bins to a floppy disk. If your MediaLog folders are available through a server or other networked source mounted on your desktop, then locate the MediaLog folder there instead. 2. Quit the Avid application. 3. In the Finder, open the project folder where you want to store the MediaLog bins. This folder is usually located inside the Avid Projects folder on the Avid drive. 4.
source material. For information about batch digitizing, see “Batch Digitizing from Logged Clips” on page 235. Double-Checking the Log Files When importing shot logs for video, the Avid system compares the video duration to the video out minus the video in. When importing film shot logs, the system compares the key number out minus the key number in. Open the Console window by choosing Console from the Tools menu. For more information, see the editing guide or Help for your Avid system.
To import shot log files into a bin: 1. If you have created Import settings for importing shot log files, select the Import setting that you want to use from the Settings scroll list. See “Creating and Using Import Settings” on page 287. 2. Open the bin in which you want to store the imported files. Click anywhere in an open bin to select it, or create a new bin for the shot log import. 3. Choose Import from the File menu. The Select Files to Import dialog box appears.
Macintosh Directory pop-up menu Source file list Show pop-up menu 4. Choose Shot Log from the Files of Type pop-up menu (Windows) or Show pop-up menu (Macintosh). 5. Click the Options button to open the Import Settings dialog box, if you want to select options for combining events on import. For information on Import settings, see “Import Settings Options” on page 289. 6.
Setting the Pulldown Phase For information about the pulldown process, see “Transferring 24-fps Film to NTSC Video” on page 64. If you are logging or digitizing 24-fps sources (film-to-tape transfers, media downconverted from 1080p/24 footage, or both), you can set the pulldown-to-timecode relationship for a transferred tape in the Film Settings dialog box.
Four film frames A B C D n Five NTSC video frames (10 fields) A1 odd A2 even B1 odd B2 even B3 odd C1 even C2 odd D1 even D2 odd D3 even A B X C D This setting is not available in matchback projects. However, you can modify the pulldown phase after you log it. See “Entering Pulldown Information” on page 113.
For information about fixing an incorrectly logged sync point, see “Modifying the Pulldown Phase After Digitizing” on page 253. The pulldown-to-timecode relationship might vary from tape to tape, or within the same tape, depending on how the footage was transferred.
Tips for Logging Preroll, Logging Timecode, and Naming Tapes Observe the following important guidelines for preroll, timecode formats, and naming of tapes when logging prior to digitizing. Logging Preroll Be sure to leave adequate preroll with continuous timecode prior to IN points when logging your tapes. The recommended minimum preroll is 2 seconds for Betacam playback, 5 seconds for 3/4-inch U-matic playback, and 6 seconds for DV playback.
name as TAPE, Tape, and tape on three different occasions, all three names will appear. This can cause significant problems in keeping track of clips when batch digitizing, redigitizing, and generating an EDL. Choose a case convention and maintain it throughout a project. n If you want your Avid system to consider master clips as coming from the exact same tape, you should try to choose that tape name from the Select Tape dialog box.
3. Press Ctrl+N (Windows) or Command+N (Macintosh). A new tape name text box appears. 4. Type the new tape name. 5. Press Enter (Windows) or Return (Macintosh) to register the tape name. 6. Press Enter (Windows) or Return (Macintosh) or click OK to close the Select Tape dialog box.
Logging with an Avid-Controlled Deck For information about connecting a compatible deck to your system, see the setup guide for your Avid system. When you log with a compatible tape deck controlled from within your Avid system, you can automate part of the logging process by using buttons to enter frame-accurate timecode information from the deck. This method is more accurate than manual entry because timecodes are transferred directly from tape to the bin.
n If you forget to connect and turn on the power to the deck before opening the Digitize tool, you can reinitialize deck control after turning it on by choosing Check Decks from the Deck Selection pop-up menu. 4. If the Digitize tool is not currently in Log mode, click the Digitize/Log Mode button until the LOG icon appears. 5. Select a deck from the Deck Selection pop-up menu. For more information, see “Selecting a Deck in the Digitize Tool” on page 158. 6. Insert your tape into the deck.
New tape name List of tapes Show Tapes option For guidelines when naming tapes, see “Naming Tapes” on page 100. 7. Provide the system with a tape name in one of the following ways: t Select the name of the tape from the list in the Select Tape dialog box and click OK. t Click New if the tape is not in the list. A new tape name line appears in the dialog box. Type the new name and click OK. The tape name is displayed in the Digitize tool.
n Mark IN If you want to pause the deck while you enter a clip name and comments, see “Pausing the Deck While Logging” on page 107. t If you want to cue your source tape to the start or end point: Use the deck controls in the Digitize tool to cue your source tape to the start or end point. Click a Mark IN button or the Mark OUT button in the lower right of the Digitize tool.
t Log Clip If you want to log using timecode: Type a timecode for the clip’s IN point, OUT point, or duration in the timecode text boxes next to the corresponding icon. Then enter the mark by pressing the Go To IN or the Go To OUT button, which scans the tape forward to the mark, or by pressing Enter (Windows) or Return (Macintosh). To log the clip into the bin, click the Log Clip button in the upper left of the Digitize tool.
3. When you reach the point where you want to start the clip, click the Mark IN button in the upper left of the Digitize tool or press the F4 key. The Mark IN button changes to the Mark OUT button and the deck continues to play. Mark IN Mark OUT 4. When you reach the point where you want to end the clip, click the Mark OUT button in the upper left of the Digitize tool or press F4 again. The Mark OUT button changes to the Log Clip button, and the deck pauses. 5.
Logging with Non-Avid-Controlled Decks You can use the Digitize tool to log clips directly into a bin from a source that is not controlled by your Avid system. For example, you can log clips from a deck that is not connected to the system, or from handwritten or printed log information for a tape that was previously logged but is not currently available. To log clips directly into a bin from a non-Avid-controlled deck: 1. If there is a deck connected to the system, eject the tape from the deck.
Digitize/Log Mode button Mark IN button Channel Selection buttons Message bar Clip Name text box Clip Comment text box Timecode display Clear IN button Clear OUT button Deck controls Deck Selection pop-up menu Clear Memory button Source Tape Display button Mark OUT button Mark IN button Mark Memory button Go to Memory button 8. Click the Source Tape Display button. A dialog box appears. 9. Click Yes to open the Select Tape dialog box. 10.
15. Type the end timecode in the Mark OUT text box. c For NTSC film-to-tape transfer or footage downconverted from 1080p/24, you must log the correct pulldown phase. See “Setting the Pulldown Phase” on page 97 “Entering Pulldown Information” on page 113. 16. Click the Log Clip button. Log Clip The clip is logged into the bin. The clip name, which is automatically named and numbered by the system, is highlighted in the bin and ready to be renamed. 17.
For information on digitizing long clips to multiple files, see “General Settings” on page 140. • Each reel of film can be logged as a separate clip, and will correspond to a single master clip, only if the video transfer of the film reel has continuous pulldown (NTSC format), and continuous timecode (NTSC and PAL). If the film reels for your project do not meet this condition, then you must log each take on a reel of film as a separate clip, which will correspond to a single master clip.
specific headings you want to add from the Bin Column Selection dialog box. 3. You can also track custom information for the job by creating a custom heading. To create a new heading, type a name that describes the information in the headings bar at the top of the bin. For more information on customizing bin views, see the editing guide or Help for your Avid system. Entering Pulldown Information For information about importing a log file, see “Importing Shot Log Files” on page 94.
prevents inaccuracies in cut lists and matchback EDLs. If you are importing a log generated during the telecine transfer, the pulldown information is automatically included in the bin. Start timecode Pullin column (information required for NTSC) If you do not have a transfer log, or if the transfer log is incorrect, you need to add the information manually. If you log clips by using the Digitize tool, the Avid system uses the A frame as the default pulldown phase. You might need to edit this value.
correspondence between your digital media and the original 24-fps footage (24p projects only). To do this, you must indicate whether the sync point at the start of each film clip transferred to tape is an A, B, C, or D frame, as described in this section. In most cases, the sync point is the A frame.
- If the timecode changes from the first to the second field, the fields came from a C frame. The following illustration shows a keypunch on the A frame. Notice where the timecode changes. Four film frames A B C D Five NTSC video frames (10 fields) A1 odd A2 even B1 odd B2 even B3 odd C1 even C2 odd D1 even D2 odd D3 even A Timecode change B Timecode change X Timecode change C Timecode change D 4.
To modify the pulldown phase directly in the Pullin column: 1. Click the Text tab to display all bin information. 2. Click the cell that you want to modify. 3. Click the cell again. The pointer changes to an I-beam. 4. Type the pulldown phase and press Enter (Windows) or Return (Macintosh). To modify the pulldown phase for multiple clips: 1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to modify. 2. Choose Modify from the Clip menu. 3.
3. Choose the correct pulldown phase for timecodes ending in 0 or 5 from the pop-up menu. 4. Click OK. The pulldown phase for each selected clip is changed, based on the pulldown phase you selected for 00:00:00:00. The Pulldown Phase setting also appears in the Film Settings dialog box (24p projects only). You can override that setting with the Modify Pulldown Phase dialog box. The selection in the Film Settings dialog box remains the same.
Entering Key Numbers To add key numbers: t Highlight the KN Start column, then type the key number for the sync point at the start of the clip by using one of the following formats: - Keykode™ Format: Type a two-character manufacturer and film type code, a six-digit prefix for identifying the film roll, a four-digit footage count, a two-digit frame offset, and then press Enter (Windows) or Return (Macintosh).
Entering Additional Timecodes (Option) Consider the following when you enter additional timecodes: • n Logging In one of the Aux TC columns (that is, Aux TC1 through Aux TC5), type an auxiliary timecode that syncs with the video timecode logged in the Start column. You can enter up to five auxiliary timecodes. Supported timecodes depend on your project: 30-fps for NTSC (drop-frame or non-drop-frame) and 25-fps for PAL.
Entering the Ink Number (Option) To enter ink numbers: 1. Open the Film Settings dialog box by clicking Film in the Settings scroll list of the Project window. 2. Make sure the correct options are selected for ink number format and ink number display, and click OK. n You can log different ink number formats in the same project as long as you change the ink number setting to the appropriate format before you log each type.
There are two ways to modify clip information before digitizing: • You can modify the information directly by clicking in a column and by entering the new information one field at a time. • You can use the Modify command to change selected groups of clips all at once. For more information, see “Modifying Clip Information” in the editing guide or Help for your Avid system. For information on modifying the pulldown phase, see “Entering Pulldown Information” on page 113.
4. Choose the Export setting by doing one of the following: t If you have previously created an Export setting for exporting shot log files, choose the setting from the Export pop-up menu. Then, go to step 9. For information on creating Export settings, see “Customizing Export Settings” on page 390. t If you want to review or edit Export settings, go to step 5. 5. Click Options. The Export Settings dialog box appears. 6. Select either Avid Log Exchange or Tab Delimited as the file type. 7.
Logging
CHAPTER 4 Preparing to Digitize Digitizing is the process of creating digital media from videotape or audio input.
Preparing the Hardware for Digitizing Your source material can originate from a videotape, a digital audiotape (DAT), a compact disc (CD), an in-house router, a tuner, or straight off-the-air, with the proper hardware configuration. n n For information on connecting your equipment, see the setup guide for your Avid system. Whenever you connect a new DV device (camera or deck), the Avid system automatically links the device to the custom OHCI driver.
Getting Information About Striped Drives Avid maintains a set of tables on the Web containing information about striping drives. To get information about striped drives: 1. Go to www.avid.com and access the Customer Support Knowledge Center. For more information, see the release notes supplied with your Avid system. 2. Click the Documentation tab. 3. Click the Drive Striping Tables link.
Media Creation Settings The Media Creation dialog box allows you to set the video resolution and to select drives for digitizing, creating titles and motion effects, importing, and performing audio and video mixdowns. You also set drive filtering in the Media Creation dialog box. n c You can also choose a video resolution and select drives directly in the Digitize tool, the Save Title dialog box, the Select Files to Import dialog box, the Audio Mixdown dialog box, and the Video Mixdown dialog box.
2. If necessary, click the Drive Filtering tab. 3. Select an option, as described in Table 4-1: Table 4-1 Drive Filtering Options Option Description Filter Based on Resolution Prevents the Avid system from digitizing media to drives that do not have sufficient speed to play the media. Drives affected by this option are unavailable when you try to access them with the Digitize tool. n Drive filtering does not verify the drive speed when you select a drive while rendering effects.
4. Click OK to save your settings. c The Avid system will not prevent you from using non-Avid drives, but their reliability cannot be assured. Choosing a Video Resolution and Drives To choose a video resolution and drives in the Media Creation dialog box: You can also open the Media Creation dialog box by choosing Media Creation from the Tools menu. 1. Double-click Media Creation in the Settings scroll list of the Project window. The Media Creation dialog box appears. 2.
n Clicking Apply to All sets your chosen video resolution for all four tabs. Your settings are not saved until you click OK. 4. Choose a video drive and an audio drive. To choose the same drive for both audio and video, click the Single/Dual Drives button. If you are working with the Digitize tab, you can select a drive group.
Digitize Settings: General Tab Table 4-2 describes the options in the General tab of the Digitize Settings dialog box. Table 4-2 Digitize Settings: General Tab Option Description Stop deck after digitize Select this option to stop the deck when the digitize operation is complete. Pause deck after digitize Select this option to pause the deck when the digitize operation is complete. Preroll Method Choose one of four methods from the pop-up menu.
Table 4-2 Digitize Settings: General Tab (Continued) Option Description Force unique clip name Select this option if you want the Avid system to automatically assign a clip name based on the bin’s name and to make sure this name, or another name you choose, is not already used by any other object in the bin. Activate bin window after digitize Select this option if you want the Avid system to change the focus from the Digitize Tool window to a bin window after digitizing is complete.
Table 4-2 Digitize Settings: General Tab (Continued) Option Description Ask before discarding a canceled clip When this option is selected, the system queries whether you want to keep or discard the incomplete clip after you click the Trash icon. If you do not select this option, the system discards canceled clips without querying. Ask for name when a new tape is seen This option is selected by default.
- If there is not enough control track for preroll, the system adjusts the specified preroll time to accommodate the amount of valid control track available. After the system adjusts the preroll to the individual shot, it will return to using the user-specified preroll time until it needs to adjust the time again. - If the adjusted preroll time is too short to sync lock at the IN point, the system does not digitize the shot and displays an error message.
system does not use timecode, it might occasionally digitize the wrong frames if there is a problem with the control track. • Standard Control Track: The Avid system uses the control track to determine the preroll point. If there is a break in the control track, the system stops digitizing and displays an error message. Use this method if you know the control track is continuous or if you want to determine if there are breaks in the control track. To set the preroll method: 1.
Deselect this option if you plan to digitize the entire tape as a single clip by digitizing to multiple media files. To select settings for digitizing across timecode breaks: 1. Double-click Digitize in the Settings scroll list of the Project window. The Digitize Settings dialog box appears. 2. Click the General tab. 3. Select the preroll method (see “Selecting the Preroll Method” on page 134). 4. Select the option “Digitize across timecode breaks.” 5.
Table 4-3 Option Digitize Settings: Media Files Tab Description Digitize to a single file, 2 GB When this option is selected, digitizing stops when the digitized media limit occupies 2 gigabytes (GB) of storage space on the media drive. Digitize to multiple files. Maximum (default) digitizing time: n minutes When this option is selected, the system writes digitized video to multiple files across multiple drive partitions. Select this option if clips might exceed the 2-GB file size limit.
Table 4-3 Option Digitize Settings: Media Files Tab (Continued) Description During digitize, clip is (Windows only) When this option, also known as “chunking,” is updated in MediaManager. selected, the digitized media is sent in segments so that workgroup Segment length: users can begin accessing and using the media as soon as possible. For more information, see the Avid Unity MediaManager Setup and User’s Guide.
4. Indicate the maximum digitizing time. You can accept the default or enter a different time limit in the text box, based on the following explanation: Before digitizing, the system goes through a process of preparing the drives. This process is called preallocation. With the “Digitize to multiple files” option selected, the length of the preallocation process depends on the number of minutes indicated in the text box.
NTSC-EIAJ format standard (used primarily in Japan), deselect NTSC Has Setup. • Preserve Specific VBI Lines: Only choose this option if you have a specific need for preserving information in the Vertical Blanking Interval of digitized frames. For more information, see Appendix D. This setting is off by default.
For information about film-to-tape transfer methods, see Chapter 2. • (NTSC only) Picture Transfer Rate allows you to specify the type of film-to-tape transfer that you digitize: - Without pulldown: Choose this option when working with 24-fps footage that has been transferred MOS (roughly translated as “without sound”) to 30 fps by speeding up the film, and the audio has been brought into the Avid system separately at 100% of the actual speed.
you begin digitizing. See “Setting the Pulldown Switch” on page 162. For NTSC projects, you can mix footage transferred with pulldown and footage transferred without pulldown (video rate). You can also mix sound transferred at 0.99 (with pulldown) and 1.00 (without pulldown). • (PAL only) You define the Audio Transfer Rate in the New Project dialog box when you create a 24p PAL film project. (It is not needed for a 25p PAL project because there is no film speedup during the transfer.
• Audio Source Tape TC Rate allows you to specify the digital audiotape (DAT) timecode format: either 30 fps or 29.97 fps (NTSC only). This timecode format must conform to the timecode format on your original DAT tapes. This setting is active when digitizing audio only. • Set Pulldown-to-Timecode Relationship allows you to set a default pulldown phase for a 24p NTSC project. See “Setting the Pulldown Phase” on page 97.
For information on setting Deck Preferences, see “Setting Deck Preferences” on page 151. c You must manually configure the appropriate hardware connections before Deck Configuration settings can take effect. For more information, see the setup guide for your Avid system. To configure a deck or multiple decks: 1. Double-click Deck Configuration in the Settings scroll list. The Deck Configuration dialog box appears. 2.
n Channel refers to the signal path for deck control, whether directly through a serial port or through a V-LAN® VLXi system connected to a serial port. Direct serial port connection allows one deck for each channel, while a V-LAN VLXi system provides multiple decks. 3. Choose one of the following from the Channel Type pop-up menu, depending upon your system configuration. For more information on V-LAN equipment, contact your Avid sales representative.
5. Click OK to close the Channel dialog box. A dialog box appears with a question asking if you want to automatically configure the channel now. 6. Click Yes if you want to automatically configure the channel. A new channel appears in the display area of the Deck Configuration dialog box, along with the autoconfigured deck. n Do not autoconfigure a DV camera or deck. Not all DV devices respond to the Auto-configure command.
7. If you did not autoconfigure the deck, click the channel box to select it. 8. Click Add Deck to open the Deck Settings dialog box. n With a deck already connected to the system, you can click the Autoconfigure button to bypass the Deck Settings dialog box and automatically configure a deck with the default settings. 9. Select settings based on your deck. For information on Deck settings, see “Deck Settings Options” on page 149. 10.
12. (Option) Select the “Verify configuration against actual decks” option if you want the system to check the deck configuration against the decks physically connected to the system. The system checks the deck configuration after you click Apply in the Deck Configuration dialog box and when you start the Avid application. A message warns you if the configuration does not match the deck. 13. Type a name in the Configuration Name text box to name the deck configuration.
Table 4-4 describes the Deck Settings options. Table 4-4 Option Suboption Deck Settings Options Description Name Type your custom name for the tape deck. The default name matches the deck type. Description Enter notes about the deck. Notes Displays configuration information, supplied by Avid, about the deck you have selected. Not all decks include this information. Deck Type Choose your manufacturer and model from the pop-up menus.
Table 4-4 Option Deck Settings Options (Continued) Suboption Description Switch to search (seconds): n When this option is selected, the system switches out of fast forward or rewind when it is within the specified number of seconds of the target timecode. By default, the system switches to search mode when it is 25 seconds from the target timecode. Deleting Deck Configuration Elements You can delete deck configuration elements to remove or replace them.
Table 4-5 describes the Deck Preferences options. Table 4-5 Option Deck Preferences Options Description When the deck contains no You choose the timecode format (Drop Frame or Non-drop Frame) for tape, Log as: logging clips when no tape is in the deck. When a tape is in the deck, the system automatically uses the existing timecode format on the tape. See “Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode” on page 153).
Table 4-5 Deck Preferences Options (Continued) Option Description Stop key pauses deck This option defines the function of the space bar (stop key) on the keyboard. Select this option to map the space bar to the Pause button on the deck. Deselect this option to map the space bar to the Stop button. If the videotape heads are down in “Stop key pauses deck” mode, pressing the space bar brings up the heads and pauses the deck.
Drop-frame (DF) timecode is designed to match the NTSC scan rate of 29.97 frames per second (fps). Two frames of timecode are dropped every minute except for the tenth minute. No video frames are actually dropped. Drop-frame timecode is indicated by semicolons between the digits; for example, 01;00;00;00. Non-drop-frame (NDF) timecode tracks NTSC video at a rate of 30 fps and is indicated by colons between the digits; for example, 01:00:00:00.
You set the default starting timecode in the General Settings dialog box (see the editing guide or Help for your Avid system). In both cases, you can choose drop or non-drop. You can change the starting timecode of a sequence or, for NTSC projects, the type of timecode. See the editing guide or Help for your Avid system. Entering Capture Mode Capture mode provides you with the Digitize tool and the controls you need to capture your footage in digital form.
Setting Up the Digitize Tool The Digitize tool provides controls for cueing, marking, and logging footage, and specifies digitizing parameters such as source and target locations. Deck control in the Digitize tool operates in the same way as in the deck controller. To open the Digitize tool: 1. Do one of the following: t Click a bin to activate it and choose Capture Mode from the Bin menu. (For more information, see “Entering Capture Mode” on page 155.) t Choose Digitize from the Tools menu. 2.
Digitize/Log Mode button Digitize indicator Trash Toggle Source button Telecine monitor Record button Channel Selection buttons Video and Audio Input pop-up menus Message bar Subclip Status indicators Clip Name text box Resolution pop-up menu Clip Comment text box Color/Monochrome Selection button Single/Dual Drive Mode button Time remaining on target drives Target Drive pop-up menus Deck controls Deck Selection pop-up menu Source Tape Display button When you are working in a 24p NTSC proj
• “Setting the Video and Audio Input” on page 161 • “Setting the Pulldown Switch” on page 162 • “Choosing a Resolution in the Digitize Tool” on page 165 • “Choosing Color or Monochrome in the Digitize Tool” on page 165 • “Choosing a Target Bin” on page 166 • “Selecting the Target Drives” on page 166 • “Interpreting the Time-Remaining Display” on page 169 • “Selecting a Custom Preroll” on page 170 Selecting a Deck in the Digitize Tool The Deck Selection pop-up menu in the Digitize tool c
If a deck name appears in italics in the pop-up menu, the deck has lost power or has been disconnected. Choose Check Decks from the pop-up menu to reestablish deck control. n Once deck control has been properly initialized, it will remain active for all deck controllers throughout the session until you quit the application. To activate playback from an available deck: t n Choose the deck from the Deck Selection pop-up menu. You must have V-LAN VLXi hardware to manage more than one deck at a time.
For information about deck preferences, see “Setting Deck Preferences” on page 151. n For information on tape naming conventions, see “Naming Tapes” on page 100. Preparing to Digitize 2. In an NTSC project, play the tape for a few seconds so that the system can detect the timecode format of the tape (drop-frame or non-drop-frame).
Selecting Source Tracks You can choose the tracks to digitize from the source tape. To select only those tracks that you want to digitize: t Click the Channel Selection buttons in the Digitize tool Channel Selection buttons n When you use an Avid-controlled deck, the TC (timecode) track will be selected by default, and the system will digitize the timecode from the source tape. If you deselect the TC button, the system will digitize with time-of-day timecode.
To set the video input: t Choose one of the following from the Video pop-up menu: Composite, Component, S-Video, Serial Digital, or OHCI (DV Option only). To set the audio input: t n Choose one of the following from the Audio pop-up menu: Analog, AES/EBU, S/PDIF, OHCI (DV Option only), Microphone (two-channel audio only), or Mic w/Phantom Pwr (two-channel audio only). Systems with the DV Option support recording and digital cut of 44.1-kHz and 48-kHz audio only.
When the pulldown switch is off, the button is gray, and a label explains that audio will be digitized (sampled) at the same speed at which it was recorded (1.00). Pulldown button off When the pulldown switch is on, the button is green, and a label explains that audio will be digitized (sampled) at 0.99 percent of its recorded speed (referenced to NTSC video), to match the slowdown rate at which the footage was transferred.
Table 4-6 Film Project Pulldown and Transfer Settings Project (Set in the New Project Dialog Box) Pulldown Switch Setting and Indicator on Source Playback Meridien Speed I/O Box Original sound source synced to NTSC during transfera. 24p NTSC On (0.99) 29.97 fps Picture Transfer Rate: With 2:3 Pulldown NTSC MOS film-to-tape transfer with separate audio. Digital audio (DAT) or analog audio (Nagra) to sync with video in the Avid systemb. 24p NTSC Off (1.0) Audio: 30.
If you are digitizing audio only, make sure to choose the proper audio setup options. For more information, see “Establishing Sync for Audio-Only Input” on page 171 and “Adjusting Audio Project Settings” on page 173. If you have set a digital sync mode in the Audio Project Settings dialog box, the Pulldown button is inactive and a message states that the Pulldown button has no effect.
c If you choose the Monochrome option and you intend to create full-color digital cuts, you will need to redigitize using the Color option before creating the digital cut. Choosing a Target Bin You select a target bin as the destination for the master clips created when you digitize on-the-fly. Alternatively, you select a target bin containing the logged clips you will use to batch digitize your media. To choose a target bin: t Click the Bin pop-up menu in the Digitize tool and make a selection.
separate drives for audio and video. See “Targeting Separate Drives for Audio and Video” on page 167. 2. Choose the specific target drives from the pop-up menus, as described in the following sections. Targeting a Single Drive By default, the Digitize tool targets a single media drive volume for digitizing the audio and video for each clip. Target a single drive when you are digitizing in a single-field resolution, for instance, and playback performance is not an issue.
n To achieve optimal performance, stripe two or more drives. For more information, see “Getting Information About Striped Drives” on page 127. To target separate drives for audio and video: 1. Click the Single/Dual Drives button to display the Dual Drive icon. Two Target Drive pop-up menus appear. The top one is targeted for video and the bottom one is targeted for audio. 2. Choose separate drives for audio and video from each Target Drive pop-up menu.
2. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple drives to include in the digitizing session, or click the All button to select all drives. 3. Click OK to close the dialog box and create the drive group. The group appears in the Target Drive pop-up menu. When you digitize, any clip that exceeds the capacity of a drive (whether that drive is empty or already contains media files) will continue digitizing onto another drive in the group.
Time remaining on the chosen drives You can interpret this display based on the following factors: • Each digitized clip has a maximum file size limit of 2 GB. Any video clip whose media exceeds the 2-GB limit will have more than one media file associated with it. • When you choose another resolution, the time-remaining display adjusts accordingly.
Preparing for Audio Input The Avid system supports direct input of eight channels of audio. Source track assignments are mapped directly to audio tracks in the digitized clips. For example, when you digitize source footage with audio channels 1 to 5, the resulting master clip has matching audio tracks 1 to 5. n n Eight-channel audio input requires the appropriate hardware configuration. For more information, see the setup guide for your Avid system.
house sync source when it is connected to both REF IN on the Meridien I/O box and the audio deck. If there is no reference signal connected, sync is generated from internal timing. c n If you need to synchronize audio with video clips recorded on separate devices in the field, Avid recommends that you connect video reference to both REF IN on the Meridien I/O box and the audio deck for sync. Otherwise, you might experience drifting of the audio during editing.
• If the yellow light blinks during input, the system is not receiving a valid sync signal. Make sure you have a digital sync signal source properly connected to channel 1 or channel 2. The effects of capturing audio without a valid digital sync source can include random noise, silence, or a jittering effect in the audio when played back.
Table 4-7 describes the options in the Audio Project Settings dialog box. Table 4-7 Option Suboption Audio Project Settings Options Description Card The type of audio card installed (informational only). Peripheral The type of peripheral audio device attached to the system (audio interface) (informational only). Slot The slot where the audio card is located (informational only).
Table 4-7 Audio Project Settings Options (Continued) Option Suboption Description Sample Rate 44.1 kHz Allows you to choose audio rate settings. The broadcast standard for most high-end video postproduction houses is 48 kHz. Choose the rate based on the requirements of your facility. 48 kHz For information on changing the sample rate for individual sequences and audio clips, see the editing guide or Help for your Avid system.
Table 4-7 Audio Project Settings Options (Continued) Option Suboption Description Input source Analog Allows you to choose a sources for input. AES/EBU S/PDIF OHCI Microphone (Two-channel audio only) Select OHCI for DV input. If you choose OHCI, the Sync Mode is automatically set to DV (DV Option only). Mic w/Phantom A condenser microphone with phantom power draws power Pwr (Two-channel from the audio board.
Table 4-7 Audio Project Settings Options (Continued) Option Suboption Description Convert Sample Rates When Playing Always Allows you to choose whether or not to perform the conversion rate. Never If you choose the option Never, the segments not set at the sample rate chosen in the Audio Project Settings dialog box will play as silence. If you choose Always, the system will attempt to perform a sample rate conversion on-the-fly.
You can also save the Audio Project settings as site settings so that all projects open with the same audio settings. To save the Audio Project settings as a site setting: 1. Choose Site Settings from the Special menu. The Site Settings folder opens. 2. Click the Settings tab in the Project window. 3. Drag the Audio Project Settings icon (or the icon of an Audio Project setting that you created using the Setting option) to the Site Settings folder.
To choose the audio file format: 1. Double-click Audio Project in the Settings scroll list of the Project window. The Audio Project Settings dialog box appears. 2. Choose either OMF (AIFF-C), SDII (Macintosh only), or OMF (WAVE) from the Audio File Format pop-up menu. 3. Click OK. Audio is written in the chosen file format when you: • Digitize audio tracks in Capture mode. • Create new clips by using the Audio Punch-In tool. • Create tone media by using the Audio tool.
Using the Audio Tool For information on output procedures involving the Audio tool, see “Preparing for Audio Output” on page 331. Audio Tool button The Audio tool, along with your hardware’s audio parameters, allows you to do the following in preparation for input: • Check and manage your audio hardware setup. • Check audio levels before digitizing. To open the Audio tool: t Choose Audio Tool from the Tools menu. t Click the Audio Tool button in the Digitize tool.
Table 4-8 Component Audio Tool Components Description Output Control button Displays a panel that contains a single slider control for raising or lowering global audio output. Setup Control button Displays a panel of audio output options for channel assignments, for mixing tracks, and for ignoring audio effects and volume settings. Reset Peak button Resets the current maximum peak measurements. It also stops the playback of the internal calibration tone.
Resizing the Audio Tool You can resize the Audio tool for greater visibility during input and output. For example, when batch digitizing in a busy facility, you can make the tool larger to watch levels from across a room. To adjust the size of the Audio tool: t Click the top or bottom of the tool and drag it to the preferred size. Adjusting the Reference Level The volume unit scale (VU) to the right of the meters is a sliding scale relative to the fixed digital scale displayed on the left.
Digital scale displays corresponding reference value. n n Volume unit scale slides up to display less headroom. Adjusting the reference level requires recalibration of the audio I/O device. For more information, see “Calibrating the Eight-Channel Audio I/O Device” on page 190. If the reference level doesn’t match the hardware calibration setting, the 0 VU entry appears red in the Audio tool.
Choosing a Peak Hold Option The Peak Hold pop-up menu provides two menu items for displaying peak levels in the meters, as follows: Preparing to Digitize • When you choose Peak Hold, the meters display a normal rising and falling volume trail in the meters. This is the default option. • When you choose Infinite Hold, each meter permanently retains a single bar at the peak volume level measured during playback.
Infinite Hold peaks remain during and after playback. To delete the peaks and start over at any time: t Click the RP (Reset Peak) button. To enable either Peak Hold or Infinite Hold: t n Click the PH button and choose an option from the pop-up menu. You can switch between Peak Hold and Infinite Peak and select Reset Peak while playing the audio with the Audio Loop Play button. For a description of the Audio Loop Play button, see the editing guide or Help for your Avid system.
Adjusting Audio Input Levels for Eight-Channel Systems You can use the Audio tool to check the audio input levels. If the input levels are too high (hot) or too low, you need to adjust the output level of your source signal, if possible. c You cannot adjust the input levels for the eight-channel audio I/O device from within the Audio tool. Before you digitize, make sure the audio I/O device is properly calibrated. See “Calibrating the Eight-Channel Audio I/O Device” on page 190.
To adjust global audio input: 1. Open the Audio tool by doing one of the following: t Choose Audio Tool from the Tools menu. t Click the Audio Tool button in the Digitize tool. The Audio tool opens. Show/Hide Input Control button 2. Click the Show/Hide Input Control button (the Microphone icon). The Audio tool expands to display a microphone and a single slider control.
Input slider control 3. Drag the slider to raise or lower the audio input level. Creating Tone Media You can create your own tone media as a master clip for editing directly into sequences. To create tone media: 1. Open a bin. 2. Choose Create Tone Media from the PH (Peak Hold) pop-up menu in the Audio tool. The Create Tone Media dialog box appears.
3. Set the appropriate calibration tone parameters for the project. You can also use the default output tone of –20 dB (digital scale) with a 1000-Hz signal. n If you set the tone media frequency to 0, the system generates random noise. Also, a value of –777 generates a tone sweep. 4. Choose the number of tracks of tone you want to create (up to 8 tracks). 5. Choose a target bin for the tone master clip and a target drive for the tone media file from the pop-up menus. 6. Click OK.
Calibrating the Eight-Channel Audio I/O Device For information about connecting the eight-channel audio I/O device, see the setup guide for your Avid system. You can use the calibration features of the Audio tool to fine-tune the input and output channels of the eight-channel audio I/O device. These adjustments should be made when you first install the system, and should be repeated occasionally thereafter (once a month, for example). Prior to Avid Media Composer and Film Composer Release 10.
Volume Unit scale value To synchronize the audio hardware calibration setting with the audio I/O device, do one of the following: t Change the calibration of the audio I/O device to match the application’s hardware calibration setting value. t Change the application’s hardware calibration setting value to match the calibration of the audio I/O device.
Changing the Audio Hardware Calibration Setting n If you use the default hardware and software settings, you do not need to change the audio hardware calibration settings. n This procedure may not work with some older systems. For more information, see the release notes for your Avid product. To change the audio hardware calibration setting: 1. Double-click Audio Project in the Settings scroll list of the Project window. The Audio Project Settings dialog box appears. 2.
3. Do one of the following: t If the calibration of your audio I/O device does not match the new Hardware Calibration setting value, click Help for procedures on how to calibrate the audio I/O device, or see “Calibrating Input Channels for the Audio I/O Device” on page 193 and “Calibrating Output Channels for the Audio I/O Device” on page 195. t If the calibration of your audio I/O device matches the new Hardware Calibration setting value, click OK. 4.
3. Click OK. 4. Connect a sine wave generator that can produce a 1-kHz tone, +4 dBu @ 0 VU to channel 1 of the audio I/O device. 5. Send a 1-kHz tone into channel 1 of the audio I/O device. 6. In the Audio tool, click the In/Out toggle buttons for channel 1 to display I for input. You should see a level in the meter display. 7. Choose Calibrate from the PH (Peak Hold) pop-up menu in the Audio tool.
8. Adjust the channel 1 input level by inserting a screwdriver into the trim pot on the audio I/O device and turning it until the Audio tool’s on-screen meter reaches 0 VU. The input channel is now calibrated. 9. Repeat this procedure for each input channel of the audio I/O device. To return to the default Audio tool display: t Choose Calibrate from the PH (Peak Hold) pop-up menu.
7. Adjust the audio I/O device trim pots on the output channels (1 and 2) to 0 VU, using the meters of the input channels (7 and 8) as your guide. 8. Repeat this procedure for each channel. Using the Console Window to Check Audio Levels Once you have played back audio through the Audio tool, you can use the Console window to view a list of precise information about the peak levels. To check peak levels in the Console: 1. Open the Audio tool (see “Using the Audio Tool” on page 180). 2.
Preparing for Video Input The Avid system provides a Video Input tool for calibrating composite video, component video, and S-Video. n If you are capturing serial digital video or DV, for example, from a D1, D5, DV, or digital Betacam VTR, you cannot adjust levels by using the video input controls in your Avid system. If you plan to make adjustments at the source deck, information in this section regarding the internal Waveform and Vectorscope monitors might be useful.
Table 4-9 Video Input Tool Components Component Description Input pop-up menu Lets you choose either a Composite, Component, Serial Digital, OHCI (DV Option only), or S-Video input source. You cannot adjust video input for Serial Digital or OHCI. Sliders Let you change the value for each setting. Preset buttons The preset buttons are highlighted when the factory preset levels are displayed. Settings pop-up menu Lets you save the settings for an individual tape each time you calibrate bars.
Preset buttons Sliders • When you click the slider of a lit preset button, the arrow changes to black and the slider moves to the position of the pointer. • When a preset button has a black arrow and you click it, the arrow becomes lit (appears green), and the slider moves to the factory preset level for that parameter. • When you click a lit preset button, the arrow changes to black, and the slider returns to the last manual setting.
Before you calibrate the video input, check the following: • Make sure your monitor is properly calibrated for displaying footage accurately. For more information, see your monitor’s hardware documentation. • If your system’s output settings have not already been calibrated according to house standards, use the procedures described in “Calibrating for Video Output” on page 321. If you are in a facility where this is not necessary, leave the output settings at their preset values.
n n Sync for video input comes from the source selected in the Video Input tool, whether composite, component, S-Video, OHCI (DV Option only), or Serial Digital. The proper source device must be connected to the Meridien I/O box or 1394 connection, as described in the setup guide for your Avid system. You cannot adjust video input for Serial Digital or OHCI. When you digitize audio with video, the audio is always synced to the video source.
The Client monitor displays one of the following types of bars (or a variation of them). Full-field color bars Color bars can be either 75% or 100% of peak levels. Full-field bars (NTSC or PAL) 100% white SMPTE standard split bars SMPTE bars (NTSC only) 75% white Color bars (top 67% of frame) 7.5 black level (NTSC with setup) 100% white (lower 25% of frame) 5.
the Consumer Source button located below the sliders in the Video Input tool. If clicking the Consumer Source button does not improve the video quality, Avid recommends that you purchase a time-base corrector (TBC). For more information, see the release notes for your Avid product. Make sure the deck and TBC support the advanced sync feature. This feature eliminates the one-frame delay that many TBCs introduce. Do not click this button if you have added a time-base corrector (TBC) to the deck.
Waveform Monitor button 7. Open the Waveform monitor by clicking the icon located second from the upper right corner of the tool. NTSC waveform values (IRE) White level at 100 IRE (digital 235) (100% bars) White level at 77 IRE (digital 180) (75% bars) Black level at 7.5 IRE (digital 16) (Black level falls at 0 IRE for NTSC-EIAJ) Line slider PAL waveform values (volts) White level at 1 V (digital 235) (100% bars) Black level at 0.3 V (digital 16) Line slider 8.
Table 4-10 Parameter/ Video Standard a Black level (setup) Video Standard: NTSC NTSC-EIAJ PAL White level (gain) Video Standard: NTSC NTSC-EIAJ PAL Luminance Settings for Video Input SMPTE Bars Full-Field Bars at 75% or 100% Signal Level Adjust Line slider to approximately 190 Adjust Line slider to approximately 150 Adjust Black slider to place black level at: Adjust Black slider to place black level at: 7.5 IRE 0.0 IRE NAb 7.5 IRE 0.0 IRE 0.
11. Adjust the Sat and Hue sliders (composite or S-Video) or the RY Gain and BY Gain sliders (component) until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. n c There is no hue adjustment for PAL video. If you incorrectly selected or deselected the 100% Bars button, the factory presets for Saturation or RY and BY Gain will be incorrect. Adjusting these controls in this condition results in oversaturated or undersaturated video.
2. Accept the default name (matching the tape name), or type a new name for the settings. c If you do not use a name that matches the tape name, the system will not recall the setting automatically the next time you load the tape. 3. Click OK. Whenever you batch digitize or choose a tape name during digitizing, the system recalls the saved settings as follows: n c • The system looks for a Tape setting with the same name as the tape. If the setting exists, the system recalls it.
Saving a Custom Default Setting for the Video Input Tool You can create a default setting that is recalled by the system whenever you load a new tape or when there is no Tape setting that matches a loaded tape. Whenever you mount a new tape that does not have its own setting, the system will recall these default settings. To create a customized default Video Input tool setting: 1. Choose Video Input Tool from the Tools menu. The Video Input tool opens. 2.
To adjust video levels for tapes without color bars: t Find a series of frames in the footage that includes black areas. Blacks should fall around 7.5 IRE for NTSC, 0 IRE for NTSC-EIAJ, or 0.3 V for PAL on the Waveform monitor. Blacks should not seem flat and lacking detail. t Find a series of frames in the footage that includes white areas. (Bright, well-lit regions work better than white objects.) Whites should peak at around 100 IRE for NTSC and NTSC-EIAJ, or 1.
Select options in the Digitize Settings, General Settings, and Film Settings (24p and 25p projects only) dialog boxes. (See “Selecting Settings” on page 127.) Configure your deck or decks using Deck Configuration and Deck Preferences settings. (See “Configuring Decks” on page 144 and “Setting Deck Preferences” on page 151.) Set up the Digitize tool for video resolution and color compression. (See “Setting Up the Digitize Tool” on page 156.
CHAPTER 5 Digitizing When you digitize, you convert source material from videotape into master clips that contain reference information. You also create associated media files that contain the digital audio and video.
Before You Begin Digitizing Depending upon your immediate needs, use the following guidelines for working through this chapter based on a chosen digitizing method: • If you want to add locators, create subclips, or log errors to the console during digitizing, see “Special Digitizing Procedures” on page 213. • If you have no logs and want to begin digitizing right away, see “Digitizing and Logging at the Same Time” on page 219.
Table 5-1 lists the Function keys that are available when the Digitize tool is active. Digitize mode overrides any other functions mapped to these keys. c Digitizing on-the-fly can cause incorrect pulldown and stuttering playback. Do not use the F1 or F2 keys for digitizing 24-fps film that has been transferred to NTSC video unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 97.
Logging Errors to the Console Window The Console window is useful for logging errors that occur during the digitizing process. To open the Console window: t n Choose Console from the Tools menu. For more information about the Console, see the editing guide or Help for your Avid system Consider the following when choosing whether to log errors to the Console during digitizing: For more information on Digitize settings, see “Redigitizing Your Material” on page 243.
Creating Subclips On-the-Fly For information about creating subclips after digitizing, see the editing guide or Help for your Avid system. Subclips are marked sections of a longer master clip that you can view and edit like any other object in a bin. This section describes a shortcut method for creating subclips on-the-fly during digitizing. The maximum number of subclips you can generate while digitizing a clip is 100.
c For NTSC film-to-tape transfers, you must log the correct pulldown phase before you create subclips. For more information, see “Entering Pulldown Information” on page 113. Adding Locators On-the-Fly For more information on specific uses for locators, see the editing guide or Help for your Avid system. Locators mark a single frame within a clip or sequence so that you can attach a note or find the frame at a later time.
To add a locator to a frame while digitizing: t Watch the playback of the footage in the Edit monitor and press one of the locator keys when you see the appropriate shot or frame. Adding Clip Names and Comments On-the-Fly The Avid system’s Annotate feature allows you to type clip names and comments during the digitizing of a clip. This information is saved in the clip Name and Comments columns in the bin. You can add comments about such things as color correction or directions for editing.
Controlling Decks from the Keyboard You can use the J-K-L keys to control a deck from the Digitize tool, Digital Cut tool, and Deck Controller window. The J-K-L keys work the same as they do in the Source and Record monitors as shown in the following table. Press To K Stop the deck. L Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed. J Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal speed. K+L Shuttle the deck at 0.25x normal speed.
Mapping the Record Button You can map the Record button from the Command palette to a key on the keyboard or to a button on a JL Cooper Media Control Station (MCS3). This allows you to start digitizing by pressing a key or by pressing a button on the MCS3. n The Record button works for either the Digitize tool or the Audio Punch-In tool, depending on which tool is active. n The Record button is in the Play tab of the Command palette.
c Digitizing on-the-fly and autodigitizing can cause incorrect pulldown and stuttering playback. Do not use these methods for digitizing 24-fps film that has been transferred to NTSC video unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 97. • Autodigitizing. This method requires the least amount of supervision and effort, but usually calls for more digitizing time and drive storage space.
Digitizing from a Mark IN to a Mark OUT Digitizing from a mark IN to a mark OUT lets you specify exactly where to begin and end digitizing. You can specify both marks, or only a mark IN or a mark OUT, and the system enters the other mark on-the-fly.
t Type a timecode for the clip’s duration in the text box next to the Duration mark (below the mark OUT) in the format HH:MM:SS:FF. The system automatically calculates the appropriate timecode for the corresponding mark IN, mark OUT, or duration. 4. Click the Record button in the Digitize tool, or press the F4 key. The Digitize tool automatically rewinds the tape to the preroll point before the IN point of the clip, and the tape begins to play.
This method is useful if you do not need a precise mark IN, but do need to stop at a precise OUT point, for example, just before a timecode break.
3. (Option) Click the triangular opener in the Digitize tool to display the Name and Cmnt text boxes, if you plan to enter clip names or comments during digitizing. Triangular opener (Click to display comments.) 4. Use the deck controls in the bottom left corner of the Digitize tool to locate the position on the tape where you want to start digitizing.
Digitizing begins within a few frames, and the timecode for the clip’s IN point appears. The Digitize indicator, to the right of the Record button, flashes on and off. The message bar displays a message that your Avid system is digitizing. 6. While the system is digitizing, you can type a clip name in the Name text box.
10. If you did not enter a clip name while digitizing, type it now while the clip name is highlighted in the bin. If you return to the Digitize tool and begin another clip, the default clip name remains in the bin until you change it. In some circumstances, the digitized material might exceed the 2-GB media file size limit. In such a case, set up the Digitize tool to digitize to multiple media files. For more information, see “General Settings” on page 140.
Before you begin autodigitizing entire tapes: For more information on Digitize settings, see “Digitize Settings Dialog Box” on page 131.
Digitizing from a Non-Avid-Controlled Deck If you have a deck that cannot be controlled directly by the system, you can digitize with manual deck control. To digitize with manual deck control: 1. Enter Capture mode and set up the tools, as described in Chapter 4. 2. Click the Toggle Source button in the Digitize tool until the Deck Offline icon appears to disable the deck controls and leave only the Tape Name display. Toggle Source button n Digitizing The TC button also disappears.
3. Click the Tape Name display to open the Select Tape dialog box and identify the source tape. You can select the option “Show other project’s tapes” to display the tape names and associated project names for all bins that have been opened in the current session. n Because the media file database does not open when you start your Avid system, tape names of all online media files do not appear automatically.
Digitizing with Time-of-Day Timecode When you digitize with an Avid-controlled deck, you can digitize your footage with time-of-day timecode rather than source timecode. To digitize with time-of-day timecode: 1. Enter Capture mode and set up the tools, as described in Chapter 4. 2. When selecting tracks, deselect the TC button. 3. Digitize by using any of the techniques described in “Digitizing On-the-Fly” on page 223.
To prepare for digitizing with external timecode: 1. Choose Digitize from the Tools menu. The Digitize Tool window opens. 2. Click the Toggle Source button until the External Timecode icon appears. Toggle Source button TC Source pop-up menu 3. Choose LTC Input from the TC Source pop-up menu. The menu contains two other choices: - Internal: Uses internal system timecode. - Auto Detect: Detects LTC input by default.
n If you notice that your digitized material is consistently one or more frames off, use the Latency for External Timecode Mode option in Digitize settings dialog box to fix the problem. See “Digitize Settings Dialog Box” on page 131. Digitizing to the Timeline You can digitize footage directly from tape to a sequence loaded in the Timeline in one step, bypassing several steps such as organizing and reviewing clips, marking edit points, and performing edits. To digitize to the Timeline: 1.
6. Mark the source material that you want to digitize by using the Digitize tool logging controls. For a description of the controls, see “Logging with an Avid-Controlled Deck” on page 103. 7. (Option) Mark an OUT point based on the following: t If you are recording to the middle of a sequence in the Timeline, mark both IN and OUT points for frame accuracy. t If you are recording to the end of a sequence, you can mark just an IN point and then mark the OUT point later on-the-fly. 8.
To patch tracks when digitizing to the Timeline: 1. In the Digitize tool, click and hold the Track Selector button for the track (video or audio) that you want to patch. 2. From the pop-up menu, choose the track to which you want to patch the digitized footage. For example, if you want to digitize video footage to track V2, click and hold the red V button in the Digitize tool and choose V2 from the pop-up menu. The Track Selector panel in the Timeline displays the resulting patch.
Digitizing Video Without Pulldown into a 24p NTSC Project Film-to-tape transfers that were made without using pulldown can be digitized directly into a 24p project. This feature is useful when special effects are generated on a frame-to-frame basis to tape and need to be integrated into a 24p project. Before digitizing the footage, choose Video Rate from the Film to Video Transfer pop-up menu in the Film Settings dialog box.
n When you capture footage from an NTSC film-to-tape transfer with pulldown, the playback flickers in the Client monitor during digitizing because the system is dropping occasional frames due to the pullin process. The footage will play back smoothly in the Avid system, however, once the pullin conversion is complete.
The triangle points to the right, and the deck control and logging controls close. Preparing Settings for Unattended Batch Digitizing Unattended batch digitizing allows you to digitize a large number of clips with minimal supervision by selecting Digitize settings that avoid a pause in the digitize process. To prepare for unattended batch digitizing: 1. Double-click Digitize in the Settings scroll list of the Project window. 2.
on page 132. For information on the Media Files settings, see “Selecting the Preroll Method” on page 134. For information on the Edit options, see “Digitizing to the Timeline” on page 232. Table 5-3 Digitize Settings: Batch Tab Option Description Optimize for disk space. When this option is selected, the system digitizes only the exact amount of material in the master clips plus any additional handles. The tape will pause and preroll independently for each master clip that is batch digitized.
Table 5-3 Digitize Settings: Batch Tab (Continued) Option Description Eject tape when finished. When this option is selected, the tape ejects as soon as the last shot from that tape has been used. This adds to efficiency since you can do other tasks while the tape is being used and yet still be alerted at the moment the tape is no longer needed. n Log errors to the console and continue digitizing.
Batch Digitizing Clips To batch digitize clips: 1. Make sure you selected the proper Digitize settings and set up the capture tools, as described in Chapter 4. 2. Open the bin that stores the clips you want to digitize. 3. If you are redigitizing media from a project created on a different Avid system, only reuse settings that originate on systems that use the Meridien video I/O board. For projects from other Avid systems, check the Video settings for each tape.
Handle length options appear only when a sequence is selected. n If the clips that you want to batch digitize are not highlighted in the active bin, Batch Digitize appears dimmed in the Clip menu. 6. Select options in the dialog box: For more information on handle lengths when redigitizing, see “Redigitizing Sequences” on page 244.
For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, batch digitizing will fail if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00. 7. Click OK. If you have not loaded a tape, the system prompts you to insert the first tape. 8. Insert the tape into the tape deck and click Mounted. A dialog box appears. 9.
Redigitizing Your Material Redigitizing is the process of capturing previously digitized source footage based on existing clips and sequences. Redigitizing uses the batch-digitizing process and does not require extra logging time because the clip information for such things as source tracks, timecodes, and compression settings already exists in the bin.
Redigitizing Master Clips and Subclips The procedure for redigitizing master clips and subclips is identical to the process for batch digitizing logged clips. See “Batch Digitizing from Logged Clips” on page 235. Although the procedure is the same, the result is slightly different, as follows: • Master clips are linked to entire media files and serve as sources for subclips and sequences.
Saving Two Versions of a Sequence When Redigitizing To save the original version of your sequence before redigitizing, you can create a duplicate. For example, use this method if you create a sequence at a low resolution to save storage space and want to redigitize the sequence at a higher resolution while retaining the first version. Avid recommends this method if you intend to use the Decompose feature. To make a duplicate of the sequence: 1.
To use Decompose: 1. Activate the bin that stores the sequence and select the sequence. 2. Choose Decompose from the Clip menu. The Decompose dialog box appears. 3. To preserve clips that already have existing media files, select the option “Offline media only.” Do not select this option if you plan to decompose and redigitize the entire sequence. 4. Select other options for the types of clips to decompose: digitized, imported, or all clips in a group edit. 5.
6. (Option) Select “Extend handles beyond master clip edges” to allow the handles to extend before the beginning and after the end of the original master clip. When you batch digitize, deselecting this option prevents digitizing across a discontinuous timecode error.
The Batch Digitize dialog box appears. 6. To preserve clips that already have existing media files, select the option “Offline media only.” Deselect this option if you plan to redigitize the entire sequence. 7. (Option) Select all clips in a group edit. 8. Click the Handle Length text box and type the number of additional frames you want to digitize at the heads and tails of the new master clips. This provides enough overlap to allow for trimming and transition effects.
For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, batch digitizing will fail if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00. 10. Click OK. The system prompts you to insert the first tape. 11. Insert the tape into the tape deck if you have not already done so. 12.
and need only an EDL, you do not need to batch digitize the footage. Just import the new shot log, relink to the offline items, and then create the EDL. Relinking by key number eliminates the need for the telecine transfer facility to match the timecode and pulldown of the second transfer to the timecode of the first transfer. n For more information about relinking, see the editing guide or Help for your Avid system. To relink clips by key number: 1.
information, see “Batch Digitizing from Logged Clips” on page 235.) 7. Select the duplicated sequence and the new clips. 8. Choose Relink from the Clip menu. The Relink dialog box appears. 9. Choose “Key Number (KN Start) - picture only” from the Relink By pop-up menu. 10. Select the option “Relink all non-master clips to selected online items.” 11. (Option) If you did not batch digitize the original clips, select “Allow relinking to offline items.” 12.
Deselect this option if you know the new clips were digitized with a different project name. Also, if the sequence does not relink to the new clips, try deselecting the option and relinking again. 13. Click OK. The new clips are linked to the sequence. If you duplicated the offline sequence, the offline sequence is still linked to the original clips. If you did not duplicate the sequence and you need to relink to the original clips, follow this procedure: 1. Duplicate the sequence. 2.
Modifying the Pulldown Phase After Digitizing You can also determine the correct pulldown phase from the original tape. See “Entering Pulldown Information” on page 113. If you have digitized film-originated clips (NTSC transfer only) that seem to stutter, the problem could be an incorrectly logged pulldown phase. The pulldown phase is the video frame at which the master clip starts: A, B, X, C, or D. You log this pulldown phase in the Pullin column of a bin.
No movement A B X D Incorrect sequence A B C D Correct sequence Step backward (either one frame from the B frame or two frames from the X frame) to locate the correct A frame. Note the last digit of its timecode. Timecode for all A frames in the clip will start either with this digit or this digit plus 5. For example, if the A frame has the timecode 1:00:10:20, timecode for all A frames in the clip will end in either 0 or 5. c.
To modify the clip information: 1. In a bin, select the clip you want to modify and press the Delete key. The Delete dialog box appears. 2. Deselect the option “Delete master clip(s)” and select “Delete associated media file(s).” 3. Click OK. The original media file is deleted. 4. Make sure the clip is still selected. Press Ctrl+Shift and choose Unlink from the Clip menu. The clip information is unlinked and you can modify the clip information. 5.
Digitizing During the Film-to-Tape Transfer You can digitize directly from film during the film-to-tape transfer process by using Telecine Slave mode with VTR record emulation. The Avid system emulates a record VTR, which eliminates the need to digitize from videotape after the transfer is complete. However, you should always transfer to at least one tape format at the time of the transfer in case any of the footage needs to be redigitized.
1. Prepare work print for the circled (chosen) takes. 2. Sync work print with audio mag track, and assemble each take on a roll with ink numbers. 3. Screen the film dailies before telecine transfer. .................... ..................... .................... ..................... Negative (Steps 1 and 2) Work print .................... Mag track (Step 3) Screening 4. Mount and transfer the rolls directly to disk with Telecine Slave mode. 5.
To enable VTR emulation: 1. Make sure the telecine controller is connected properly. For installation procedures, see the VTR emulation section in the setup guide for your Avid system. 2. Choose Serial (COM) Ports (Windows) or Serial Ports (Macintosh) from the Tools menu. The Serial (COM) Ports tool opens. 3. Choose a serial port from the VTR Emulation pop-up menu that matches the telecine controller’s serial port cable connection. 4. Click the Close button (Windows) or Close box (Macintosh).
Selecting VTR Emulation Settings The settings in the VTR Emulation Settings dialog box affect how the Avid system simulates a deck. Select the VTR Emulation settings in the following order: 1. Emulation Type (required) 2. Device Code (required) 3. Edit Delay (required) 4. (Option) Runup When you select the VTR Emulation settings, do one of the following: t If your telecine controller has the ability to create setup files for individual decks, make a setup file for the Avid system VTR emulation.
Table 5-4 describes the VTR Emulation Settings options. Table 5-4 VTR Emulation Settings: Telecine Emulation Option Description Emulation Type Allows you to choose Telecine Record Emulation, Play Emulation, or Direct Record Emulation. Device Code Allows you to select the device code that identifies the VTR that the Avid system will emulate. The telecine controller adjusts to this choice. The default value is a Sony PVW-2800, which performs all the common play and record functions.
Table 5-4 VTR Emulation Settings: Telecine Emulation (Continued) Option Description Edit Delay Adjusts how much time the controller gives the Avid system to get ready before digitizing begins. The edit delay is also referred to as edit offset and trim. The Edit Delay value in the VTR Emulation Settings dialog box must match the telecine controller’s Edit Offset setting.
2. Choose Telecine Record Emulation from the Emulation Type pop-up menu. See Table 5-4. 3. Choose the type of deck you want to simulate from the Device Code pop-up menu. See Table 5-4. 4. Choose the appropriate number of fields from the Edit Delay pop-up menu. See Table 5-4. 5. (Option) Type the appropriate number of frames in the Runup (frames) text box. See Table 5-4. 6. Click OK.
3. Select “AutoDelete clips shorter than,” and choose a length from the pop-up menu that represents the length of clips to be deleted. All master clips and subclips shorter than the set length will be automatically deleted. n The head and tail clips created during an autosequence are 1 second longer than the length you choose for the “AutoDelete clips shorter than” option. 4. Click OK. Setting the Default Tape Timecode Format To set the default tape timecode format: 1.
The Digitize tool displays additional buttons used in Telecine Slave mode.
Table 5-5 describes the Digitize tool controls used in Telecine Slave mode. Table 5-5 Telecine Slave Mode Controls Control Description Telecine monitor Allows you to view the virtual tape sequence to check the recording progress Telecine Slave Mode icon Indicates the Avid system is simulating a record VTR that responds directly to the controls from the telecine controller. Digitize indicator Flashes red during the digitizing process.
Choosing a Source Tape Name When you choose a source tape name, you are naming the virtual tape sequence. The virtual tape sequence appears in the selected bin when you enter Remote mode and begin digitizing. You will also notice that a HEAD CLIP and TAIL CLIP appear in the bin. These two clips act as markers for the beginning and end of the virtual tape sequence.
n If digitizing does not begin, make sure the VTR Emulation serial port is set correctly. See “Selecting the VTR Emulation Serial Port” on page 257. 4. (Option) While the Avid system is digitizing, you can type clip names in the Name text box. Press the Tab key after typing a clip name to enter comments about the clip in the Comment text box. c n Do not begin typing in the Name or Comment text box until after preroll has begun.
To format and set the virtual tape timecode: 1. Click the LOC/REM button in the Digitize tool to enter Remote mode for the first time after setting up a virtual tape. The Set Tape Timecode dialog box appears. 2. Type the starting timecode in the Start text box. 3. Type a length for the virtual tape (in hours and minutes) in the Length text boxes. 4. Do one of the following: Digitizing t Click OK to begin digitizing. t Click Cancel to return to local mode.
CHAPTER 6 Multicamera Planning and Digitizing Your Avid system’s multicamera editing tools allow you to incorporate multiple camera angles easily into the nonlinear editing process. This chapter describes workflows and digitizing for multicamera projects. Techniques for editing multicamera projects are described in the editing guide and Help for your Avid system.
Developing a Postproduction Model As the name indicates, multicamera production multiplies the amount and complexity of source material you manage in a project. As a result, comprehensive postproduction planning is essential to avoid the hazards of mismatched shots, takes, and entire reels during digitizing and grouping. This section presents a postproduction model that can help you organize your material.
• The second digit indicates the source that feeds the reel. For example, if there is a line feed or director’s cut (a switched version of the show), this source is designated with a 0 (zero), so that reel 10 is the first reel of the line feed. Reel 11 is the first reel recorded on ISO (isolation) camera 1, and so forth. Each set of reels, then, forms a decimal group, called a tape load. Each load is traditionally referred to by its prefix.
Production Paths for Video Productions For videotaped production, often two sets of reels are recorded during production: a set of online masters and a set of offline work tapes. The online masters remain untouched until editing of the final show master begins. Clips from the offline work tapes are digitized, and then are used for editing and generating an EDL or digital cut for review.
Production Paths for Film Productions For multicamera television productions shot on film, the most common picture path is described in “Video Dailies Method” on page 61. This involves simultaneously transferring the camera rolls to both a set of offline tapes (3/4-inch cassettes, for example) and a set of online tapes (such as Betacam or 1-inch).
For workflows that include multiformat output, see “Planning a 24p or 25p Project” on page 36. Facilities and formats might vary. The basic model can apply to any multicamera production in which high-quality output is the goal. Managing Audio The multicamera editing tools allow you to patch channels of audio from any source clip to any track during editing.
Record Dialog & audience Digitize Line 10 Online edit Video only Ch 1: Dialog Ch 2: Music & FX Ch 3: Audience L Ch4: Audience R D2 Cam 1 Dialog & effects 11 Cam 2 Dialog & audience 12 Video & audio Video only EDL generates the final mix. Offline edit Cam 3 Dialog & audience 13 Video only Cam 4 Audience L Audience R 14 Video & audio Digitize and patch selected channels.
Record: Transfer: 1” Track 1: Dialog Ch 1: Dialog Track 2: Audio TC Track 3: Audience L Ch 2: (Clear) Ch 3: Audience L Track 4: Audience R Ch 4: Audience R Online masters Address track: Audio TC Telecine Finished program: Offline work tapes (four channels) Ch 1: Dialog D2 Ch 2: Music & Effects EDL EDL generates the final mix. Ch 3: Audience L Ch 4: Audience R Patch and edit selected tracks. Digitize all tracks.
Digitizing Workflow The organization of the digitize bins helps to avoid slowing the system with large bins. It also keeps editing resources free of clutter. To use the digitize bins: 1. When you are ready to digitize, create one bin for each tape (for film productions, usually each day’s worth of takes will fit onto a single dailies tape). This keeps bins to a manageable size.
The following illustration uses the numbering scheme and production plan described in previous examples to show the video path for the first tape load you digitize. Line 10 Cam 1 3. Gather all multigroups into one bin for easy access. 11 2. Gather each tape load into one bin, sort by name, create groups, then create a multigroup. Cam 2 12 Cam 3 13 Cam 4 14 1. Digitize each reel separately.
For television productions shot on film, scenes are often referred to as Scene A, B, C, and so forth. When the film is transferred to tape for offline editing, you can import the log of the transfer and batch digitize the reels, as shown in the following illustration. Cam A Reel 001 Cam B 2. Gather takes into one bin, sort by name, then group. Reel 002 3. Gather appropriate groups into one bin for each act. Cam C Reel 003 Cam X Reel 004 1. Digitize each reel separately.
• Log and digitize all takes in advance: This is similar to the previous method, except that you save less storage space by digitizing portions of all takes. • Autodigitize entire reels: This method allows you to bypass the logging procedure, but requires the most storage space. Film productions generally use one digitizing method: import the log from the telecine transfer and use this to batch digitize.
Autodigitizing Tips The following tips apply to autodigitizing entire reels: For more information on digitize settings and deck settings, see “Selecting Settings” on page 127 and “Setting Deck Preferences” on page 151. • Select the “Digitize across timecode breaks” option in the General tab of the Digitize Settings dialog box before digitizing. • Select the “Log errors to the console and continue digitizing” option in the Batch tab of the Digitize Settings dialog box.
With a large multicamera production, you can plan the use of drives in advance, based on the number of drives available, the chosen resolution, and the length of each reel. Consider the following example: • You have a four-camera production yielding two tape loads (approximately 30 minutes per tape). • You want to autodigitize at 20:1 video resolution. • You need to digitize 2-channel audio at 44.1 kHz from camera 1 and camera 4. • For storage, you have four 9-GB drives.
Checking the Bins Before gathering the digitized clips into bins for grouping, you should open the bins in each tape load or take and compare the clips for inconsistencies. You can take steps to conform the bins now and avoid problems during grouping and editing, as described in the following sections. Replacing Missing Clips After grouping, if you find one bin has fewer clips than the others in the tape load or take, the ISO reel or camera might have been stopped during a particular take.
To eliminate extra clips: 1. Compare timecodes among bins until you isolate the unique clips. 2. Load the clips into the Source monitor, and compare timecodes with a line script, if available. 3. If the clips are useless, delete them and their media until you have the same takes in each bin. Checking Audio and Image Quality Check the Audio column to make sure the audio was recorded on the correct channels, from the correct source reels, at the correct sample rate (in kHz).
CHAPTER 7 Importing Files When you import files, the system converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. Any corresponding media files are stored on a target drive that you specify.
Preparing to Import Files Before you begin the import process, make sure the system and the files are ready for import as follows: • To read about issues and tips for mixed-resolution projects, see “Working with Mixed-Resolution Projects” on page 286. • For graphics file and OMFI (Open Media Framework® Interchange) file import, prepare the files in advance according to specifications described in Appendix A.
n To reimport imported graphics at a higher resolution, use the Batch Import feature, which maintains links to the original master clips and sequences. For more information, see “Reimporting Files” on page 312. Creating and Using Import Settings You can create one or more sets of import parameters and save them as an Import setting. For example, you can create one setting for importing QuickTime® files and another for importing files from AudioVision®.
Custom setting name column 2. Click Import. 3. Choose Duplicate from the Edit menu. 4. Name the setting by clicking the Custom setting name column, by typing a name, and by pressing Enter (Windows) or Return (Macintosh). 5. Double-click the new Import setting. The Import Settings dialog box appears. 6. Select the appropriate options. See “Import Settings Options” on page 289. 7. Click OK. Once you create a new import setting, you can choose the setting whenever you import a frame, clip, or sequence.
Modifying an Existing Import Setting To modify an existing Import setting: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Double-click an Import setting. The Import Settings dialog box appears. 3. Select the appropriate options, as described in the following section. 4. Click OK. Import Settings Options The following illustration shows the default settings for the Image tab.
Table 7-1 describes the options available in the Image tab of the Import Settings dialog box. Table 7-1 Import Settings Options — Image Tab Option Suboption Description Aspect Ratio, Pixel Aspect 601, non-square Select this option to import images with the dimensions used by the Avid system: 720 x 486 (NTSC) or 720 x 576 (PAL). Also use this option for 720 x 540 images, or for other images that fit the 4:3 aspect ratio.
Table 7-1 Option Suboption Import Settings Options — Image Tab (Continued) Description Maintain, square Select this option for an image that was created in a squarepixel environment, such as a graphics application. Use this option primarily for icons, logos, and other graphics that cannot be resized and are not intended to fill the entire screen. The system fills the rest of the screen with video black. If the image has an alpha channel, this black will be keyed out in the alpha channel.
Table 7-1 Option Suboption File Field Order Import Settings Options — Image Tab (Continued) Description This section allows you to select the temporal field ordering (sometimes referred to as field dominance) of the media you are importing. When the field ordering of the imported media matches the field ordering of the project format, no special processing is required. For more information, see “Field Ordering in Graphic Imports and Exports” on page 492.
Table 7-1 Import Settings Options — Image Tab (Continued) Option Suboption Description Alpha Use Existing Select this option to import the image, using the existing alpha channel information. Invert Existing Select this option to reverse the black and white elements of the alpha channel if they differ from the matte key requirements of the system: a white background, a black foreground, and a gray transparency blend between the two.
Table 7-1 Option Autodetect Sequential Files Suboption Import Settings Options — Image Tab (Continued) Description Select this option if you are importing sequential files and you want the system to recognize that a sequence of connected files is present and to automatically import the whole sequence. When this option is deselected, the system does not automatically import a whole sequence of files that have sequential extensions. You can then select any single file for import.
Table 7-2 describes the options available in the OMFI tab of the Import Settings dialog box. Table 7-2 Import Setting Options — OMFI Tab Option Description Use the source file’s resolution. Select this option to maintain the source file’s resolution. The system disregards the resolution setting in the Select Files to Import dialog box as well as resolution set in the Import tab of the Media Creation dialog box. Use the current import resolution.
Table 7-3 describes the options available on the Shot Log tab of the Import Settings dialog box. Table 7-3 Import Setting Options — Shot Log Tab Option Description Maintain events as logged. Select this option to maintain all events as originally logged. Combine events based on scene and automatically Select this option to combine all the events for a create subclips. scene into a single master clip and then link the master clip to subclips that represent the original events for that scene.
Table 7-3 Import Setting Options — Shot Log Tab (Continued) Option Description Combine events based on camera roll and automatically create subclips. Select this option to combine all the events from a camera roll into a single master clip and then link the master clip to subclips that represent the original events for that camera roll. To use this option, you must have camera roll numbers logged in a camera roll column in the bin for a film project.
manage graphics from multiple sources and streamlines the reimporting process because all graphics will point to the same original path. For information on using the drag-and-drop method, see “Using the Drag-and-Drop Method to Import Files” on page 302. To import files: 1. If you have created one or more Import settings, select the Import setting that you want to use from the Settings scroll list (see “Creating and Using Import Settings” on page 287). 2.
Macintosh Directory pop-up menu Source file list Show pop-up menu Single/Dual Drives button Resolution pop-up menu Video and Audio - Drive pop-up menus 4. Choose an import file type from the Files of Type pop-up menu (Windows) or the Show pop-up menu (Macintosh) to display only files of the chosen file type in the source file list: t Choose Shot Log to import Avid Log Exchange (.ALE) files containing clip information to a bin. For more information about Avid log specifications, see Appendix C.
n t Choose OMFI to import files that have been saved in the OMFI file format, such as sequences transferred from an effects or digital audio workstation. t Choose CamCutter to import clips recorded with Editcam™ or Editcam-station products. See “Importing Editcam Files” on page 310. t Choose AAF to import files that have been saved in the AAF file format. t (Windows only) Choose MetaSync™ Files to import XML files that have been created by MetaSync Manager. These files must use the .
6. Use the Look In pop-up menu (Windows) or the Directory pop-up menu (Macintosh) to locate the folder containing the source files. 7. Choose a resolution for the imported media from the Video Resolution pop-up menu (Windows) or the Resolution pop-up menu (Macintosh). See “Working with Mixed-Resolution Projects” on page 286. 8. Click the Single/Dual Drives button and choose a destination drive for the imported file from the pop-up menu. 9.
Using the Drag-and-Drop Method to Import Files To import one or more files by using the drag-and-drop method: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Select the setting you want to use for import. Select either the default Import setting or one you have created. To view or modify the parameters, double-click the setting. For more information, see “Creating and Using Import Settings” on page 287. 3. Open the bin in which you want to store the imported files.
Importing Single-Layer Photoshop Graphics A single-layer graphic is a graphic that was created on a single layer or a layered graphic that was flattened in Photoshop. The Avid system imports this kind of graphic as a matte key or master clip, depending on the format of the Photoshop file. • If the graphic uses a transparent background or an alpha channel, the Avid system creates a matte key. • If the graphic uses a background color, the Avid system creates a master clip.
n You can import multilayered graphics created in Photoshop 6.0 or later. Understanding Multilayered Graphics Import When you import a multilayered graphic, you can import each layer as a separate object (a matte key or master clip). You can then manipulate individual layers like any other matte key or master clip. You can also import the graphic as a flattened image, or select the layers to import. For example, a graphic artist might create a collage of still images, with a layer of text.
The Avid system imports each layer as an individual matte key with alpha channel. In this example, the graphic uses a background image, so the system creates the background image as a master clip. (If the graphic used a transparent background, the background layer would be imported as a matte key.) The following illustration shows the layers as they appear in a bin.
Note the following: • Graphics must be RGB 8 or 16 bits, or grayscale. • Layer order and layer names are preserved during import. • Hidden layers are imported as matte keys. • Opacity is converted to Foreground level in the Matte Key effect. • Text and shape layers are rasterized (converted from vector-based to bitmap) during import. Not all layer options and types are supported for import (see Table 7-4 and Table 7-5).
Table 7-4 Support for Photoshop Layer Options Layer Option Supported Notes Blending Mode No To preserve the blending mode (Dissolve, Multiply, and so on), merge the layer into another layer that does not use a special blending mode. Only normal mode is supported Opacity Yes The imported layer’s Level is set to the opacity specified in Photoshop. You can adjust opacity levels with the Foreground Level control in the Effect Editor Layer Group Partial Layer grouping is ignored.
Table 7-5 Layer Option Supported Pattern Layer Yes Adjustment Layer No Support for Photoshop Special Layer Types (Continued) Notes Adjustment layers include Levels, Curves, Color Balance, Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient Map, Invert, Threshold, and Posterize. Importing Multilayered Files To import a multilayered Photoshop file: 1. Prepare the Photoshop graphic for import, as described in “Understanding Multilayered Graphics Import” on page 304. 2.
- If you select a single file, and the number of layers exceeds the number of tracks supported, the following message box appears. - If you select multiple files, the following message box appears: 4. In the message box, do one of the following: n t Click Sequence of Layers if you want to preserve all layers. If the number of layers exceeds the number of tracks supported, the Avid application creates a sequence that contains the number of tracks supported.
Select the layers you want to import and click OK. If you select more than 24 layers, the additional layers will be imported but will not be included in the sequence. The Avid application displays messages as it creates media for each layer. At the end of the process, the objects are displayed in the bin you have selected. n The matte keys will be edited into the sequence as downstream keys. In the Effect Editor, to access parameters such as Position, deselect the Downstream Key option.
n a. From the desktop, select the FieldPak by selecting the FieldPak drive letter (Windows) or FieldPak volume name (Macintosh). b. Open the bin folder on the FieldPak. c. Select the CamCutter bins or select the .spl files to be imported. The Outakes.bin contains clips that were discarded by the Editcam operator. These clips are generally not imported, but can be. 5. Ignore the field specifying video resolution to be imported. 6. Ignore the field regarding video and audio drive selection. 7.
• The FieldPak has limited performance and is used only to record and play back clips. If multiple streams of video are required to perform advanced effects, it is possible that the data cannot be supplied fast enough for proper operation. If this situation occurs, you can do one of the following: t Render the effects (see the effects guide or Help for your Avid system). t Consolidate the sequence to a valid media drive (see the editing guide or Help for your Avid system).
The Batch Import command allows you to reimport the imported files while automatically linking the new imported material with the original master clips and sequences. When you play your sequence after reimporting the files, the new imported material plays in your sequence. When you reimport a media file, the entire media file, including all tracks, is reimported.
Selected Clips section Video Resolution pop-up menu Import Target section Video Drive pop-up menu Import Options section Audio Drive pop-up menu Selected Clips Section The Selected Clips section shows the clips you selected for import. The caption at the top of the section summarizes the total number of clips shown and how many of them were found and are available to be imported. Clips displayed in black were found and will be imported.
not found. If you select one or more clips and click Skip This Clip, the clips are removed from the list and are not imported. Import Target Section The Import Target section allows you to choose a resolution and destination drives. • Video Resolution pop-up menu: Allows you to choose a video resolution. • Video Drive and Audio Drive pop-up menus: Allow you to choose a destination drive for the media files. To choose the same drive for both audio and video, click the Single/Dual Drives button.
Starting the Reimport Process To reimport imported files: 1. Mount any removable media drives that held the original graphics. 2. Open the bin, and select the imported master clips and sequences that you want to reimport. 3. Choose Batch Import from the Clip menu. A message box appears. 4. Click one of the following: t Offline only: Reimports only the selected imported master clips that are missing their media files. t All clips: Reimports all the selected imported master clips.
c. Navigate to the location of the source file. If you select more than one clip displayed in red, the system attempts to find the rest of the clips in the same folder as the first clip and then, if not found there, in folders that maintain the same relationship with the first clip’s folder. When the clips are found, they are displayed in black. 7. Choose a video resolution for all the reimported files from the Video Resolution pop-up menu. 8.
Importing Files
CHAPTER 8 Generating Output The Avid system provides tools for generating output for individual tracks or entire sequences to various videotape or audiotape formats. In addition, you can generate an edit decision list (EDL) for use in an online suite and a cut list for creating film negatives. You can also use VTR emulation for direct playback or recording of sequences by using an edit controller in an analog editing suite.
• Establish a sync source for output, as described in “Establishing Sync for Output” on page 320. • Calibrate and adjust video output levels, as described in “Calibrating for Video Output” on page 321. • Calibrate and adjust audio output levels, as described in “Preparing for Audio Output” on page 331. • Decide whether you want to generate stereo or mono audio. • Mix down multiple audio tracks, if necessary, as described in the effects guide or Help for your Avid system.
Your Avid system supports LTC (longitudinal or linear timecode) output. The LTC OUT connector on the Meridien I/O box provides SMPTE or EBU timecode that you can use as a sync source for decks with built-in synchronizers or to stripe a destination tape. You can also use LTC to record non-drop-frame timecode for downstream encoding. See “Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding” on page 361.
adjusting and conforming output signals to house standards, as described in “Advanced Video Output Calibration” on page 327. Using the Factory Preset Buttons The preset buttons in the Video Output tool show the status of each Calibration setting as follows: • When the Video Output tool opens the first time you run the application, all preset buttons are lit (green), with the factory presets loaded for each slider.
The Video Output tool opens. n Up to three output signals are active at once: Composite, Serial Digital, and either Component or S-Video. You can record your output to any of these devices, or all at once if you record manually. For more information, see the setup guide for your Avid system. 2. Select the output format and display the appropriate controls: n - For global controls (H Phase), click the Global Controls button. - For composite output, click the Out 1: Composite button.
The Video Output tool displays the appropriate parameters for the chosen video format, as described in Table 8-1. Table 8-1 Video Format Output Parameters Parameter Video Formats Description Black All formats, except Serial Digital A measurement of luminance in the video signal that is referenced to the blackest point in the visible picture. Also known as setup or pedestal. Color bars are used to set the black level.
Table 8-1 Video Format Output Parameters (Continued) Parameter Video Formats Description SC Phase Composite and S-Video Subcarrier phase: The color burst portion of a composite or S-Video signal used to synchronize the timing of two or more video signals. H Phase All formats See “Adjusting Phase Controls” on page 328. n Sync for output comes from reference input (REF) on the Meridien I/O box.
Table 8-2 Parameter/ Video Standard a Black level (setup) Luminance Settings for Video Output SMPTE Bars Full-Field Bars at 75% Signal Level Full-Field Bars at 100% Level Adjust Black slider to place black level at: Adjust Black slider to place black level at: Adjust Black slider to place black level at: 7.5 IRE 0.0 IRE 0.3 V 7.5 IRE 0.0 IRE 0.3 V Adjust Video/Y Gain slider to place white level at: Adjust Video/Y Gain slider to place white level at: 100 IRE 100 IRE 1.0 V 100 IRE 100 IRE 1.
n Output settings are Site settings, available to all users and all projects on the system. Advanced Video Output Calibration Advanced users and site engineers can use the following procedures to fine-tune output signals by using various test patterns and phase control. You can also adjust output by using the passthrough signal from an input device. Using Test Patterns The expanded Video Output tool provides a pop-up menu of test patterns you can use to calibrate the system output.
To add test patterns to the list: 1. Find or create a PICT file for a chosen pattern. n You can create your own test pattern files by digitizing the pattern from videotape and by exporting it as a PICT file. You can improve the accuracy of the image by correcting colors and removing errors in a third-party application such as Adobe Photoshop. 2. Place the file in either the NTSC or PAL folder, which is located in one of the following folders: - (Windows) drive:\Program Files\Avid\Media Composer\ Sup
Phase (subcarrier phase) controls for timing two or more signals based on the color burst portion of a composite or S-Video signal. Click the Composite/S-Video button to display these controls In most situations, you do not need to calibrate the horizontal phase or subcarrier phase of the output signal.
5. Save the input calibration settings as the system Default setting, as described in “Saving Video Input Settings” on page 206. 6. Choose Video Output Tool from the Tools menu. The Video Output tool opens. 7. Choose Digitize Tool from the Tools menu. The Digitize tool opens. With the Digitize tool active, the input signal passes through to the output channels. 8. Choose an output format in the Video Output tool.
12. Save this setting with an appropriate name by choosing Save As from the Settings pop-up menu in the Video Output tool, typing a name, and clicking OK. The Video Output setting, a Site setting, will apply to all users and all projects on the system. The Video Input setting you saved and named Default will be recalled each time a new tape is loaded for digitizing in the current project only.
Setting the Calibration Tone The Audio tool provides an internal calibration tone that you can customize and play as a reference signal on a digital cut. You can use the recorded reference signal for calibrating the digital cut audio at another site. The default tone playback is –20 dB (digital scale) with a 1000-Hz signal. In some cases, you might need to customize the signal.
To check the adjusted tone level in the meters: t Switch the In/Out toggle buttons to O for Output. Calibrating Global Output Levels You can use the meters and a master attenuator (output control slider) in the Audio tool to make global level adjustments for output from the Avid system. These adjustments affect levels for all output tracks to both the speakers and to record devices. c You should leave this setting at the factory preset of 0 dB.
Output Control button Setup Options panel In/Out toggle buttons Peak Hold pop-up menu Reset Peak button Setup Control button Bypass Effects buttons Output Control slider (Master attenuator) Stereo Mix Tracks pop-up menu Track number displays Output Options pop-up menu Channel assignments 3. Click the Setup Control button to open the Setup Options panel. 4. Choose a type of output from the Output Options pop-up menu.
5. (Option) Depending on your type of output, you can make additional adjustments: - By default, Stereo Mix directs the mixed tracks to output channels 1 and 2. - By default, Direct Out maps all audio tracks in numerical sequence to existing output channels. To remap a track to any channel click the channel assignment display and choose another channel.
8. Watch the levels in the meters, and adjust the master attenuator to the level that you want. n To adjust levels for individual tracks, you must use the Audio Mix tool or the Audio Gain Automation tool. 9. Close the Audio tool. Adjusting Output on Two-Channel Audio Systems You can use the Audio tool to make adjustments to audio output parameters for output from your Avid system. c You should leave the output level at the factory preset of 0 dB.
Show/Hide Setup Control button Setup Options panel Show/Hide Output Control button IN/OUT toggle buttons Peak Hold pop-up menu Output Control slider (master attenuator) Mix Mode Selection pop-up menu 2. Click the Show/Hide Output Control button (the Speaker icon) to display the master attenuator (slider). 3. Click the Show/Hide Setup Control button to open the Setup Options panel. 4.
6. Click the In/Out toggle buttons above the meters to display O for Output. 7. Play back one of the following sources of reference audio: t Choose Play Calibration Tone from the Peak Hold pop-up menu. t Play back a representative sequence or clip containing audio. 8. Watch the levels in the meters, and adjust the master attenuator to the level that you want. n To adjust levels for individual tracks, you must use the Audio Mix tool. 9. Close the Audio tool.
• If you intend to perform insert-edit recording, you must stripe the record tapes (record black and timecode for the entire duration of the tape) in advance (prestriped tape). For complete instructions on recording a frame-accurate digital cut, see“Using the Digital Cut Tool” on page 342. n The Avid system supports LTC output for recording onto tapes. For more information, see “Establishing Sync for Output” on page 320.
prepare it as a separate sequence that you can record by using the Digital Cut tool. For more information on creating sequences, see the the editing guide or Help for your Avid system. • If your recording does not need to be frame accurate, you can manually record direct output of bars and tone from your Avid system. To manually record bars and tone: 1. Open the Video Output tool and the Audio tool by choosing them from the Tools menu. 2.
To enable assemble editing: 1. Double-click Deck Preferences in the Settings scroll list of the Project window to open the Deck Preferences dialog box. Assemble-editing option 2. Select the option “Allow assemble edit for digital cut.” 3. Click OK. Once assemble editing is enabled, you select additional options in the Digital Cut tool when you are ready to record, as described in “Recording a Digital Cut to Tape (Remote Mode)” on page 348.
Using the Digital Cut Tool The Digital Cut tool provides controls when you record a sequence to tape. The Digital Cut tool has the following operating modes: • Remote mode allows you to control the record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. See “Recording a Digital Cut to Tape (Remote Mode)” on page 348. • Local mode allows you to manually control the record deck by using the controls on the deck.
• Select the tracks to record to on the tape (Enable Track button – Remote mode only). • Add black at the end of a digital cut. If your Avid system includes support for 24p and 25p projects, the Digital Cut tool displays a section where you can choose your output format and title format. For more information, see “Choosing Output and Timecode Formats for 24p and 25p Projects” on page 356.
Sequence Track buttons Play Digital Cut button Preview Digital Cut button Halt Digital Cut button Enable Track buttons Deck control area Output formats area (Systems with 24p support only) Deck controls Deck Selection pop-up menu Timecode text boxes Selecting a Deck in the Digital Cut Tool The Deck Selection pop-up menu in the Digital Cut tool contains a list of all decks that were connected to the system, powered up, and initialized when you opened the Digital Cut tool.
The Deck Selection pop-up menu also lists three commands: • Adjust Deck opens the Deck Settings dialog box. Changes you make apply to the selected deck. For information on Deck settings, see “Deck Settings Options” on page 149. • Auto-configure allows you to automatically configure the selected deck with the default deck settings for that deck. • Check Decks helps to reestablish deck control if the power to your decks was off or the decks were disconnected when you opened the Digital Cut tool.
3. Select the options that you want for the digital cut. See “Using the Digital Cut Tool” on page 342. 4. Select the audio tracks and topmost video track that you want represented in the digital cut preview by using the Sequence Track buttons. The track display in the Digital Cut tool varies according to the tracks existing in the sequence. 5. Click the yellow Preview Digital Cut button.
5. (Option) Choose another font, font size, or font color from the pop-up menus. n The menus display all currently available fonts, as determined by the contents of the Fonts folder. n (Windows only) The Fonts folder is in the Windows Control Panel. For information on adding fonts to your system, see the Microsoft Windows Help. 6. Click Import Picture to import an available graphic file to use as a custom background. The Select File dialog box (Windows) or Directory dialog box (Macintosh) appears.
n The best resolution for imported PICT files is 720 x 486 for NTSC and 720 x 576 for PAL. The resolution cannot be changed after importing. Recording a Digital Cut to Tape (Remote Mode) Recording in remote mode allows you to control your record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. To record a digital cut to tape: 1. Load a sequence into the Record monitor.
Sequence Track buttons Play Digital Cut button Preview Digital Cut button Halt Digital Cut button Enable Track buttons Deck control area (remote) Output formats area (Systems with 24p support only) Deck controls Deck Selection pop-up menu Timecode text boxes 3. (DV Option only) Choose one of the following from the Target Device pop-up menu: t Choose Meridien to output a DV sequence to a composite, component, or serial digital device connected to the Meridien I/O box.
4. Select or deselect the Entire Sequence option based upon the following: t Select the Entire Sequence option if you want the system to ignore any IN or OUT points and to play the entire sequence from start to finish. t Deselect the Entire Sequence option if you have established an IN point, an OUT point, or both for recording a portion of the sequence. 5. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of the digital cut. 6.
You can change the start timecode to match the record tape by using the Get Clip Info command. For more information, see the editing guide or Help for your Avid system. t Choose Record Deck Time to ignore the timecode of the sequence and to start the recording wherever the record deck is currently cued. t Choose Mark In Time to ignore the sequence timecode. Establish a specific IN point on the record tape by cueing and marking with the deck controls. Timecode text box 10.
n Depending on the system configuration, you might need to use the deck controls in the Digitize tool to review a digital cut. 15. To stop the recording at any time, press the space bar or click the Halt Digital Cut button. n n After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending upon the record deck model. This provides several frames of overlap for the next IN point before control track and timecode break up.
3. (DV Option only) Choose one of the following from the Target Device pop-up menu: - Choose Meridien to output a DV sequence to a composite, component, or serial digital device connected to the Meridien I/O box. - Choose OHCI to output a DV sequence to a DV camera or deck connected through the 1394 connection. 4.
Sequence Track buttons Play Digital Cut button Preview Digital Cut button Halt Digital Cut button Deck control area (local) Output formats area (Systems with 24p support only) Deck controls (disabled) 8. (Option) Select the With Countdown option to record the digital cut, using a countdown. The default countdown is a computer-generated countdown containing the Avid logo. 9.
11. For 24p and 25p projects, choose an output format, as described in “Choosing Output and Timecode Formats for 24p and 25p Projects” on page 356 and “Choosing DSK Title Formats” on page 364. c Make sure you connect the correct deck and black burst generator for the format you chose (NTSC or PAL). 12. Press the Record button on the deck. 13. Click the Play Digital Cut button. The deck plays and records the digital cut. The playback appears in the Record monitor and in the Client monitor.
Choosing Output and Timecode Formats for 24p and 25p Projects When you are working in a 24p or 25p project, you can output multiple formats for NTSC video, PAL video, and audio — all from the same progressive media. You choose the formats you want from the Output Format pop-up menu in the Digital Cut tool. Depending on the format you choose, you also need to: • Choose the timecode to output (see “Choosing the Timecode Format for Output” on page 360).
A brief description of each output format is displayed in the Digital Cut tool. Table 8-3 provides more extensive descriptions. The play rate you choose determines how the digital cut is recorded. For example, if you choose 23.976, you tell the Avid system to slow down the play rate to match that used during an NTSC telecine transfer. Then, when the system records the digital cut, it adds the pulldown frames and re-creates a telecine transfer to an NTSC videotape.
Table 8-3 24p and 25p Project Output Options (Continued) Digital Cut Tool Menu Choice (Playback Speed) Target Project or System Pulldown Indicator on Meridien I/O Output Format and Recording Media Box 25 (PAL) PAL TV; video screenings Off (1.00) Picture and sound to PAL tape; sound to DAT or mag tape The following information describes what happens when you choose each of these options: • 23.976 (NTSC): Plays back the sequence at 23.976 fps (film rate).
pulldown needs to be removed to have an exact frame-to-frame relationship between the film and video. • 24 (PAL): Plays back the sequence at 24 fps. This playback rate tells the system to record audio at the film rate. For 25p projects, audio is slowed down 4 percent. Video, when output to tape, can be used only for reference because, to maintain sync, the system replicates a pulldown telecine transfer with one extra pulldown field occurring every 12th and 24th frame.
Choosing the Timecode Format for Output If you choose one of the three NTSC output formats, you need to indicate the timecode format for output: drop-frame or non-drop-frame. n For information on connecting decks, see the setup guide for your Avid system. For information on timecode, see “Understanding Drop-Frame Timecode and Non-Drop-Frame Timecode” on page 153.
To choose the timecode format for output: t In the Digital Cut tool, choose either or both of the following: - Drop or Non-Drop from the RS-422 Output pop-up menu - Drop or Non-Drop from the LTC Output pop-up menu Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding You can output drop-frame and non-drop-frame NTSC timecode simultaneously from a 24p or 25p project.
Indicating the Destination Timecode Rate When you select 24 (NTSC) as your output format, the Destination Timecode Rate pop-up menu (labeled Dest. TC Rate) appears. Choose a timecode rate that matches the timecode rate of the recording device, such as a DAT deck. If you choose 29.97 fps as your Dest. TC Rate, the sequence duration displayed in the Timecode Duration display of the Digital Cut tool will be slightly shorter than the duration shown in the Timeline.
Dest. TC Rate pop-up menu Timecode Duration display To indicate the destination timecode rate: t In the Digital Cut tool, choose 29.97 fps or 30.00 fps from the Dest. TC Rate pop-up menu.
Choosing DSK Title Formats If your system supports 24p and 25p projects, the Title tool allows you to save a title in any of four different formats: 4:3 NTSC, 4:3 PAL, 16:9 NTSC, 16:9 PAL. You can create titles in different formats in 24p, 25p, 25i, and 30i projects.
5. Choose Sequence Time to start the recording at a timecode existing on tape that matches the start timecode of the sequence. 6. Choose Insert Edit from the pop-up menu. This menu only appears if you enabled assemble editing in the Deck Preferences dialog box. For more information about this option, see “Enabling Assemble-Edit Recording” on page 340. 7. Choose a deck from the Deck Selection pop-up menu. See “Selecting a Deck in the Digital Cut Tool” on page 344. 8.
Digital Cuts and Audio You can use one of several tape formats and methods for audio output, but the following are most common: n • Record a digital cut directly to videotape by using analog output. • Record a digital cut directly to DAT or DA-88 by using digital output. • Play the sequence to an audiotape recorder by using analog output. You cannot control some analog audio decks from the Digital Cut tool.
Changing the Default Pulldown Phase for Sequences For more information on film-to-tape transfers, see Chapter 2. During a digital cut to 30-fps NTSC videotape, the Avid system defaults to an A-frame pulldown conversion. If you are appending sequences to the same output tape on which continuous pulldown is required, you might need to change the default pulldown phase (or pullin) to a B frame. A digital cut can begin only on field one of an A or B frame.
Using EDL Manager An EDL (edit decision list) is a detailed list of the edits contained in a sequence, including all the timecode and supported effects information required to re-create the sequence in an online videotape suite. The EDL is organized into a series of chronological instructions called events, which are interpreted by an edit controller that automates the assembly of the videotape master.
n Your system might not include the Matchback option. To purchase the Matchback option, contact your Avid sales representative. If you plan to use matchback, you must select the Matchback option when you first create the project. See the editing guide or Help for your Avid system. n Editors working in a film matchback project for the first time should pay extra attention to duplicate material in the final edited piece.
NTSC video Shot X Shot Y Shot Z The matching film edit point falls within a frame. ................................................................................................................................. Film .................................................................................................................................
• The matchback information applies to the picture only. You must generate a separate list (an EDL, for instance) for conforming the audio source tapes. • Be sure to remove unwanted match frames (add edits) from your sequence before generating the cut list. Otherwise, the calculation of matchback frames will include these edits. For more information, see the editing guide or Help for your Avid system.
Using VTR Emulation VTR emulation supports the following options: n • Direct record emulation allows you to perform a quick record (also known as a crash record) while using an edit controller. This feature allows you to digitize the media being sent to your Avid system immediately without setting up parameters like IN and OUT points. An example of this type of recording would be capturing data from a direct feed such as a satellite link.
To open the VTR Emulation Settings dialog box: t Double-click VTR Emulation in the Settings scroll list of the Project window. The VTR Emulation Settings dialog box appears. Table 8-5 describes the VTR Emulation settings options for record emulation and play emulation. Table 8-5 VTR Emulation Settings: Record and Play Emulation Option Description Emulation Type Use Direct Record Emulation when you want to perform a quick record (also known as crash record).
Table 8-5 VTR Emulation Settings: Record and Play Emulation (Continued) Option Description Device Code Select the device code that identifies the VTR that the Avid system will emulate. The edit controller adjusts to this choice. The default value is a Sony PVW-2800, which performs all the common play and record functions. You do not need to change the device code value unless your edit controller does not recognize the VTR emulator or you want to emulate a specific VTR.
3. Choose Serial (COM) Ports (Windows) or Serial Ports (Macintosh) from the Tools menu. The Serial (COM) Ports tool (Windows) or Serial Ports tool (Macintosh) opens. 4. Select the appropriate port from the VTR Emulation pop-up menu. 5. Close the Serial (COM) Ports tool (Windows) or Serial Ports tool (Macintosh). The system saves the setting as a Site setting, effective for all projects. 6. Choose VTR Emulation from the Special menu when you are ready to use the system for playback.
Using VTR Emulation with PAL Projects When you use VTR emulation with a 24p PAL project with separate audio and video (Method 2), the timecode display above the monitors might be different from the timecode seen by the edit controller. To display video timecode above the monitors that matches the timecode seen by the edit controller: t Choose TC 25 from the Tracking Information menu.
3. Choose Serial (COM) Ports (Windows) or Serial Ports (Macintosh) from the Tools menu. The Serial (COM) Ports tool (Windows) or Serial Ports tool (Macintosh) opens. 4. Select the appropriate port from the VTR Emulation pop-up menu. 5. Close the Serial (COM) Ports tool (Windows) or Serial Ports tool (Macintosh). The system saves the setting as a Site setting, effective for all projects. 6. Choose VTR Emulation from the Special menu when you are ready to use the system for recording.
n The recorded media is not recorded into your sequence. Your sequence is used only to give the edit controller a timecode reference. Instead, the recorded media generates a master clip that is placed in the bin you selected from the Bin pop-up menu in the Record tool. 12. Using the controller, mark IN and OUT points. 13. Control recording from the controller.
CHAPTER 9 Exporting and Exchanging Material You can export and exchange material with another system, another application, or another platform. Your Avid video-based editing system provides tools for exporting clips and sequences in various formats or for transferring projects and media between systems.
• Exporting as a QuickTime Movie • Exporting as an AVI File (Windows Only) • Installing the Avid Codecs for QuickTime or AVI on Other Systems • Exporting from a Third-Party QuickTime or AVI Application • Exporting Tracks as Audio Files • Exporting as a Graphic File • Transferring a Project Between Avid Systems • Transferring Media to and from a Video Server • Sending Material Out for Review Understanding Export You can export material directly from your Avid system to many supported f
• n You can use the export process to convert audio media files from one supported audio format to another. Your Avid system supports the AIFF-C, SDII- (Macintosh only), and WAVE formats. If you plan to transfer the exported files to another Avid system or third-party application, see “Transferring a Project Between Avid Systems” on page 460.
tracks in advance for faster export, unless you need to preserve the multiple-track information. For more information about mixing down audio tracks, see the editing guide or Help for your Avid system. • If your sequence contains audio clips with different sample rates, use the Change Sample Rate dialog box to ensure that all the clips have the same sample rate. See the editing guide or Help for your Avid system. You can also use OMFI or AAF to change the sample rate.
Exporting Frames, Clips, or Sequences This section provides the basic steps for exporting frames, clips, or sequences. More specific information is provided in the following sections: For information on using the drag-and-drop method, see “Using the Drag-and-Drop Method to Export Frames, Clips, or Sequences” on page 387.
the IN point to the end of the clip or sequence. Make sure Use Marks is selected in the Export Settings dialog box. t n n To export the entire clip or sequence, deselect the options Use Enabled Tracks and Use Marks in the Export Settings dialog box, and make sure the topmost track is monitored. The entire clip or sequence is included when you export as an OMFI or an AAF file or when you send the clip or sequence to cleaner software.
Windows Macintosh 4. Choose a setting from the Export Setting pop-up menu. This setting determines the format of the exported file. The default setting is labeled Untitled. Any custom settings that appear in the Settings scroll list of the Project window appear in the pop-up menu. For information on creating custom settings, see “Customizing Export Settings” on page 390.
n The Avid system supplies you with several templates for Export settings. For descriptions of the templates and their settings, see the Avid Products Collaboration Guide on the Avid Media Composer Products Online Publications CD-ROM. You can download the latest version from the Avid Customer Support Knowledge Center. For information on accessing the Knowledge Center, see the release notes for your Avid system. 5.
n c Your Avid system saves the intermediate movie that it makes for some formats in a temporary folder. Make sure the temporary folder is on a drive with plenty of space. You can view and change the location of the temporary file in the General Settings dialog box, which you access from the Settings scroll list. If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.
4. Export the frame, clip, or sequence by dragging the clip or sequence you want to export to the location (folder or drive) where you want to store the file. To select multiple objects, Ctrl+click (Windows) or Shift+click (Macintosh) the objects and drag the objects to the folder or drive. n During a drag-and-drop export, your Avid system saves an intermediate file in a temporary folder. Make sure the temporary folder is on a drive with plenty of space.
Table 9-1 Available Avid Applications for AvidLinks Export Avid Application Output File Format AudioVision OMFI Sequence or master clip Digidesign® Pro Tools OMFI Embed Audio in Sequence or master clip OMF Interchange file Options Supported Media Objects External Audio Files (native AIFF-C only) Media Illusion (Composition) OMFI Media Illusion (Video) OMFI Avid|DS (Composition) OMFI Sequence only Convert to 1:1a Master clip only Sequence only a. Media Illusion Release 6.
5. (Option) Change the file name. Keep the default file name extension the same. 6. Select the destination folder for the file. 7. Click Save. The file is exported and appears at the chosen destination. Customizing Export Settings In addition to selecting preset templates, your Avid system allows you to customize and name your Export settings. Use the following procedures to customize your Export settings.
Creating a New Export Setting You can also create a new setting during the export process. See “Exporting Frames, Clips, or Sequences” on page 383. To create a new Export setting: 1. Click the Settings tab in the Project window. The Settings scroll list appears. 2. Click Export. 3. Choose Duplicate from the Edit menu. 4. Name the setting by clicking the custom name column, typing a name, and pressing Enter (Windows) or Return (Macintosh).
Export Settings Dialog Box Options Table 9-2 describes the options in the Export As pop-up menu and points to the appropriate section for more information. Table 9-2 Export As Option Export Settings Dialog Box Options Description OMF 1.0 OMF 2.0 Select one of these options to export an OMFI composition for transfer to a third-party workstation that supports OMFI. You can choose to export composition only or embed the video and audio. See “Exporting OMFI and AAF Files” on page 393.
Table 9-2 Export As Option Export Settings Dialog Box Options (Continued) Description Graphic Select this option to export a single frame, a series of frames, or a file type that supports multiple frames as a graphic file. Choose a file type from the pop-up menu. See “Exporting as a Graphic File” on page 451. For information about supported file types, see Appendix A.
can be very effective for importing animation or audio files created on proprietary platforms. c To avoid errors and incompatibilities when you import and export OMFI files, observe the recommendations in Appendix A. Exporting Through AAF Advanced Authoring Format (AAF), is a cross-platform, multimedia file format that allows interchange of media and composition information between AAF-compliant applications.
consolidated media files, as well). You can consolidate media during the export (see “Exporting as an OMFI or an AAF File” on page 395) or before the export (see the Help or the editing guide for your Avid system). Method 2: Compositions with Embedded Media The Avid system can export an OMFI or an AAF file that contains all the editing information for the selected master clip or sequence along with the video and audio media files for that master clip or sequence.
The Export Settings dialog box appears. 6. Choose OMF 1.0, OMF 2.0, or AAF from the Export As pop-up menu. 7. Select options as described in Table 9-3 on page 397.
8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box appears. Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file. 10. (Option) Change the file name. In most cases, keep the file name extension the same. 11. Click Save.
Table 9-3 Option Export Settings Dialog Box OMFI and AAF Settings Options (Continued) Suboption Description AAF Select this option if the application to which you are exporting supports AAF. Include All Video Tracks in Sequence Select this option to include all video tracks from the sequence in the OMFI or the AAF file. The Video Details tab appears. Include All Audio Tracks in Sequence Select this option to include all audio tracks from the sequence in the OMFI or the AAF file.
Table 9-3 Export Settings Dialog Box OMFI and AAF Settings Options (Continued) Option Suboption Description Destination Folder: Set Click Set to select the drive and folder to which you want to copy the media files. Target Drive for Consolidate: Select the drive where you want to save the consolidated media files. Handle Length: xx Frames Enter the number of frames you want to use as handles for consolidated clips.
Table 9-3 Option Export Settings Dialog Box OMFI and AAF Settings Options (Continued) Suboption Description SD2 (Macintosh only) Select SD2 to link to audio tracks in the Sound Designer II (SDII or SD2) format, for export to AudioVision or another product that supports the SDII format. SDII audio media cannot be embedded in an OMFI or AAF file. The converted files are located in a folder labeled Exported Audio Media at the top level of the drive with the most available space.
You can create settings in advance. See “Customizing Export Settings” on page 390. 4. Choose a setting from the Export Settings pop-up menu. If you want to create a new setting, choose Untitled. 5. Click Options. The Export Settings dialog box appears. 6. Choose MPEG-1 or MPEG-2 from the Export As pop-up menu. 7. Do one of the following: n t Select Use Marks if you are exporting a marked sequence. t Select Use Enabled Tracks if you are exporting specific tracks in a sequence.
Low rates process more quickly, but produce lower quality; high rates process more slowly, but produce higher quality. 9. Select the aspect ratio. 10. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box appears. Name the setting by typing a name in the Setting Name text box, and click OK. 11. In the Export As dialog box, select the destination folder for the file. 12.
Using cleaner You can use Discreet™ cleaner software to turn clips and sequences into streaming files. To use cleaner with your Avid system, install either of the following on your Avid system: n • cleaner EZ (from the CD provided by Avid) • cleaner 5 or later If you have cleaner 5 or later installed on your system, you do not need to install cleaner EZ. The cleaner application provides you with many settings options.
n You can use Avid ProEncode™ to manage the encoding process. ProEncode works with your Avid application to create a QuickTime reference movie and to distribute it to multiple workstations for simultaneous creation of different output formats. For information about ProEncode, contact your Avid representative or visit the Avid Web site. Creating Files for a DVD If you plan to output your sequence to a DVD, use the Create DVD command from the File menu.
4. Choose one of the following commands from the Function pop-up menu: - Export MPEG2 and WAV Files: Use this command if you want to export your sequence in a format that can be used by a DVD authoring package such as DVDit! by Sonic Solutions. - Create DVD Volume on Disk: If you don’t have DVD writing hardware attached to your Avid system, you can use this command to create a DVD volume. Then you can move the DVD volume to a system that has DVD writing hardware and software.
7. (Option) Click Modify to make any changes to the export setting in the Export Settings dialog box. 8. Click OK to start the export. A progress indicator shows your progress. n The length of export depends on the length of the media you are exporting. For example, it might take more than 1 hour to export a 3-minute sequence. During the creation process, the system renders all effects and creates MPEG-2 files from the video media. The system also creates .wav files from the audio media.
Exporting Video in DV Stream Format Use the DV Stream format when exporting video that will be combined or processed with other DV-formatted media. This option requires a video track. To export in DV Stream format: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 381. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 383. 3. Choose Export from the File menu. The Export As dialog box appears.
7. Select options as described in Table 9-4.
Table 9-4 Export Settings Dialog Box (DV Stream Options) Option Description Use Marks When you select this option, the system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option. Use Enabled Tracks When you select this option, the system uses tracks that are enabled in the Timeline. To export the entire clip or sequence, deselect this option.
The DV Export Settings dialog box appears. 9. Select a video format and an audio format. For compatibility with DV cameras that require unlocked audio, deselect Locked. 10. Click OK. 11. In the Export Settings dialog box, do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box appears. Name the setting by typing a name in the Setting Name text box, and click OK. 12.
Exporting as a QuickTime Movie Table 9-5 describes the three basic methods for QuickTime export. Table 9-5 Choosing a QuickTime Export Option Option Description Same as Source This option is available when you choose QuickTime Movie from the Export Settings dialog box. When you select this option, the system copies the media files directly with no resolution change. This method is fast and creates output that uses the same quality as your source files.
Exporting QuickTime Reference Movies A QuickTime reference movie is a QuickTime movie that contains composition information but no movie data. Instead, the movie contains pointers to the original media in the OMFI MediaFiles directory on local or network media drives. Because the QuickTime reference movie does not contain media, the file is much smaller than a QuickTime movie, usually only a few kilobytes per file.
The Export Settings dialog box displays the QuickTime Reference options. 6. Select options as described in Table 9-6 on page 414. 7. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box appears. Name the setting by typing a name in the Setting Name text box, and click OK. 8. In the Export As dialog box, select the destination folder for the file.
9. (Option) Change the file name. In most cases, keep the file name extension the same. 10. Click Save. The file is exported and appears at the chosen destination. c If a power failure or mishap occurs during the export process, the entire file is unusable. You need to repeat the export process. QuickTime Reference Export Options Table 9-6 describes the QuickTime Reference options in the Export Settings dialog box.
Table 9-6 Export Settings Dialog Box QuickTime Reference Options (Continued) Option Description Fill Spaces with Black When this option is selected, blank spaces in video tracks are filled with black in the QuickTime movie. Because QuickTime movies do not recognize blank spaces, it is a good idea to select this option. When this option is deselected, a QuickTime movie might interpret spaces in the video track as gray or as the background of the player.
Table 9-6 Export Settings Dialog Box QuickTime Reference Options (Continued) Option Description Add Shares for Media Drives When this option is selected, the system creates a new drive share for referenced media files stored on unshared network drives. The drive share is hidden; that is, other users do not see the shared drive when browsing your computer. You do not need to select this option when media is stored on the same drive as the QuickTime reference movie.
You can create settings in advance. See “Customizing Export Settings” on page 390. 4. Choose a setting from the Export Settings pop-up menu. If you want to create a new setting, choose Untitled. 5. Click Options. The Export Settings dialog box appears. 6. Choose QuickTime Movie from the Export As pop-up menu. n If you installed additional QuickTime Export formats, they appear in the pop-up menu with tildes (~) before their names.
7. Select Same as Source to use the resolution of the source file or select Custom to customize your settings. n Using Same as Source results in the fastest export and is usually the best choice for a movie that will be processed by another application. See “Exporting as a QuickTime Movie” on page 411. 8. Select the remaining options as described in Table 9-7 on page 419. To change the codec (compressor/decompressor) used for compression, click Format Options.
QuickTime Movie Export Options Table 9-7 describes the QuickTime Movie options in the Export Settings dialog box. Table 9-7 Option Suboption Export Settings Dialog Box QuickTime Movie Options Description Use Marks When this option is selected, the system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, mark the entire clip or deselect this option.
Table 9-7 Export Settings Dialog Box QuickTime Movie Options (Continued) Option Suboption Description Video Format Width x Height This option sets the width and height of the clip. Size to Fit: This option sizes to fit the specified width and height. You can type in values or choose from the predefined values in the Fast menu. n The values in the Fast menu suggest a typical use for each size. For example, 320 x 240 (Internet video, large).
Table 9-7 Option Export Settings Dialog Box QuickTime Movie Options (Continued) Suboption Description File Field Order These options allow you to specify how the system will order the fields from an interlaced video project. For 24p or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. Odd (Upper Field First): Select this option if you are in a PAL project.
Table 9-7 Option Suboption Pixel Aspect Ratio Export Settings Dialog Box QuickTime Movie Options (Continued) Description The pixel aspect ratio allows you to apply a scaling to the video: square, 4:3 non-square, or 16:9 non-square. Values for the pixel aspect ratio allow you to control the display format without modifying the source file. This feature creates metadata — additional data that is stored with the QuickTime movie.
Table 9-8 Option QuickTime Movie Format Options Suboption Description Animation For high-quality, lossless compression (in which no picture information is lost). Video Settings Compressor Uses a run-length-encoded (RLE) scheme to encode each pixel, resulting in a file that is 70% to 95% the size of the uncompressed file. At maximum quality, this is a lossless compression (in which no picture information is lost). See the description of the Quality option in this table.
Table 9-8 Option QuickTime Movie Format Options (Continued) Suboption Description Avid Meridien Compressed For compression compatible with Avid products. Allows fast import. See “Using Avid Codecs for QuickTime” on page 429. n For export at the same resolution as your current clips, select Same as Source instead of Custom. See “Exporting as a QuickTime Movie” on page 416. Avid Meridien Uncompressed For 1:1 resolution. Allows fast import. See “Using Avid Codecs for QuickTime” on page 429.
Table 9-8 Option QuickTime Movie Format Options (Continued) Suboption Description Intel Indeo Video 4.4 For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. Files do not export at 720 x 540 and 720 x 486 frame sizes, even though these sizes are listed.
Table 9-8 Option QuickTime Movie Format Options (Continued) Suboption Description Planar RGB For high-quality, lossless compression (in which no picture information is lost). Results in large files. Encodes each image plane separately, using a run-length-encoded scheme. Used primarily to support Photoshop files, which are usually stored using a planar run-length algorithm. PNG Portable Network Graphics, used to replace GIFSM as a bitmap still-image format for newer Internet browsers.
Table 9-8 Option Suboption Colors QuickTime Movie Format Options (Continued) Description Select the colors that you want included in the exported file. The selections vary according to the codec you use. Some codecs have only one color setting. If you select the Sorenson codec, Millions of Colors is selected automatically. Do not select the option Millions of Colors +. This option creates an alpha channel that is not used for export from your Avid system.
Table 9-8 QuickTime Movie Format Options (Continued) Option Suboption Description Size Export Size Settings QuickTime allows you to set a size, but Avid recommends you set the size in the Width and Height text boxes of the Export Settings dialog box. Both settings have the same effect, and the QuickTime size setting overrides the Avid size setting. Settings Compressor Choose a sound compression setting for your export, along with other options.
Using Avid Codecs for QuickTime You can use the following Avid codecs when exporting QuickTime files from your Avid system or from third-party applications for import into an Avid system: • Avid Meridien Compressed • Avid Meridien Uncompressed • Avid ABVB NuVista The Avid codecs create encapsulated media files for export of high-resolution files that are readable within QuickTime applications. The two Avid Meridien codecs enable fast import to current Avid products.
6. Choose QuickTime Movie from the Export As pop-up menu. 7. Select Custom. 8. Click the Format Options button. The Movie Settings dialog box appears. 9. Click Settings in the Video area. The Compression Settings dialog box appears. 10. Choose Avid Meridien Uncompressed or Avid Meridien Compressed from the Compressor pop-up menu. 11. Click the Options button. The Quality slider does not affect your settings.
12. Choose the settings you want and click OK. For Color Input, select the color levels of the source media. If you are exporting from an Avid editing system, use ITU-R 601. 13. Click OK in the Compression Settings dialog box. 14. Click OK in the Movie Settings dialog box. The Export Settings dialog box reappears. 15. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box appears.
17. (Option) Change the file name. In most cases, keep the file name extension the same. 18. Click Save. The file is exported and appears at the chosen destination. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. Exporting with the Avid ABVB NuVista Codec for QuickTime To export a clip or sequence with the Avid ABVB NuVista Codec for QuickTime: 1.
10. Choose Avid ABVB NuVista from the Compressor pop-up menu. 11. Adjust the Quality slider. The Avid ABVB/NuVista Codec Configuration dialog box appears. The Quality slider does not affect your settings. 12. Select the appropriate format for the media you want to create: NTSC or PAL. 13. Select the appropriate board set for the media: - NuVista (Macintosh systems with the NuVista video board) - ABVB (Macintosh systems using the Avid Broadcast video board) 14.
18. Click OK. 19. Click OK in the Movie Settings dialog box. The Export Settings dialog box reappears. 20. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box appears. Name the setting by typing a name in the Setting Name text box, and click OK. 21. In the Export As dialog box, select the destination folder for the file. 22. (Option) Change the file name.
3. Choose Export from the File menu. The Export As dialog box appears. You can create settings in advance. See “Customizing Export Settings” on page 390. 4. Choose a setting from the Export Settings pop-up menu. If you want to create a new setting, choose Untitled. 5. Click Options. The Export Settings dialog box appears. 6. Choose AVI from the Export As pop-up menu. 7. Select AVI options as described in Table 9-9 on page 437. 8. Select an AVI codec by clicking the Codec Options button.
9. Select the compressor you want, and click Configure to further configure the codec. For more information, see Table 9-10 on page 440. 10. Click OK to close the Video Compression dialog box and to return to the Export Settings dialog box. 11. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box appears.
AVI Settings Options (Windows Only) Table 9-9 describes the AVI settings options in the Export dialog box. In the Video Format tab, you can also select further options by clicking the Codec Options button. Table 9-9 Option Suboption Export Settings Dialog Box AVI Settings Options (Windows Only) Description Use Marks When this option is selected, the system uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export.
Table 9-9 Export Settings Dialog Box AVI Settings Options (Windows Only) (Continued) Option Suboption Description Custom Width x Height This option allows you to set the width of the clip; at this time you can only select a height of 486. Scale to Fit: This option will size to fit the specified width and height. Crop/Pad: Crop/Pad never scales or resizes frames. If necessary, the system adds black lines to the top and bottom to achieve the correct size.
Table 9-9 Option Export Settings Dialog Box AVI Settings Options (Windows Only) (Continued) Suboption Description Sample Rate Select this option to select the sample rate. Project Rate: The native rate of the chosen audio media (44.1 kHz or 48 kHz). 22.050 kHz: Half the sample rate of 44.1-kHz media. 11.025 kHz: One quarter the sample rate of 44.1-kHz media. Sample Size Select this option to select the sample size.
AVI Video Compression Dialog Box Options (Windows Only) Table 9-10 describes the AVI Video Compression dialog box options. The list of codecs varies, depending on your platform and the version of Windows installed. Table 9-10 AVI Video Compression Dialog Box Options (Windows Only) Option Suboption Description Compressor Microsoft Video 1 Select this option when you create files that will play with Video for Windows. Click Configure to open the Configure dialog box.
Table 9-10 Option Suboption AVI Video Compression Dialog Box Options (Windows Only) (Continued) Description Key Frame Every n frames Select this option to have the system use keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. This option is not available for the Avid Codec for AVI or for uncompressed files. Data Rate n KB/sec Select this option to set a specific data rate for the compressed file, in kilobytes per second.
7. Click the Codec Options button. The Video Compression dialog box appears. 8. Choose Avid AVI Codec from the Compressor pop-up menu. 9. Click the Configure button. The Avid AVI Codec Configuration dialog box appears. 10. Select the appropriate format for the media you want to create: NTSC or PAL.
11. Select the appropriate board set for the media: Interlaced or Progressive. 12. Choose a resolution from the Resolution pop-up menu. 13. Click Close. 14. Click OK to close the Video Compression dialog box and return to the Export Settings dialog box. 15. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box appears.
AVI movie from a third-party application such as Adobe After Effects for use on an Avid system, you should have the appropriate Avid codec installed on the system running the third-party application. Use the following techniques to copy the codecs to other systems: • Copy the Avid Codec for QuickTime to other Windows or Macintosh workstations where you are using QuickTime compatible applications.
The following table describes the codecs: Codec Description AvidQTCodec.qtx Avid ABVB NuVista Codec for QuickTime AvidQTAVJICodec.qtx Avid Meridien Compressed Codec for QuickTime AvidQTAVUICodec.qtx Avid Meridien Uncompressed Codec for QuickTime 3. Install the codecs in the other workstation in the following folder: C:\Winnt\System32 Copying the Avid Codecs for QuickTime to Another Macintosh System (Macintosh) To copy the Avid Codecs for QuickTime to another Macintosh system: 1.
2. Copy the codec extensions to a floppy disk or network server. 3. On the system where the QuickTime compatible application resides, copy the codec extensions to the System folder. A dialog box asks if you want to install the file in the Extensions folder. 4. Click OK. 5. Restart your system. The codecs are installed. n If you are having trouble opening or playing the export in a third-party application, increase the memory allocated to the program.
The installer installs AvidAVICodec.dll in the following folder: C:\Winnt\System32 A message asks if you want to restart your computer. 8. Click Yes and then click Finish. Downloading Avid Codecs for QuickTime The Avid Codecs for QuickTime for your system (Windows or Macintosh) are included on the installation CD-ROM as part of the standard installation.
Exporting from a Third-Party QuickTime or AVI Application To export files from a QuickTime compatible application or from an AVI compatible application on a Windows system for import (or reimport) into your Avid system: 1. Make sure the applicable codec is installed on the workstation. See “Installing the Avid Codecs for QuickTime or AVI on Other Systems” on page 443. 2. Conduct the export procedure according to the procedures used by the particular software. 3.
t Click the clip or sequence in a bin. 3. Choose Export from the File menu. The Export As dialog box appears. You can create settings in advance. See “Customizing Export Settings” on page 390. 4. Choose a setting from the Export Settings pop-up menu. If you want to create a new setting, choose Untitled. 5. Click Options. The Export Settings dialog box appears. 6. Choose Audio from the Export As pop-up menu. The Export Settings dialog box displays the Audio options. 7.
Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file. 10. (Option) Change the file name. In most cases, keep the file name extension the same. 11. Click Save. The file is exported and appears at the chosen destination. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.
Table 9-11 Option Suboption Export Settings Dialog Box Audio Settings Options (Continued) Description SD2 (Macintosh (Macintosh only) Select this option to export audio tracks in the only) Sound Designer II (SDII or SD2) format, which is compatible with Pro Tools and other third-party applications. Sample Rate AIFF-C Select this option to export audio tracks in the industry-standard AIFF-C format, which is compatible with many third-party sound editing and multimedia applications.
You can create settings in advance. See “Customizing Export Settings” on page 390. 3. Choose a setting from the Export Settings pop-up menu. If you want to create a new setting, choose Untitled. 4. Click Options. The Export Settings dialog box appears. 5. Choose Graphic from the Export As pop-up menu. The Export Settings dialog box displays the Graphic options. 6. Choose a format from the Graphic Format pop-up menu. Use Table 9-12 on page 453 to make your selection. 7.
t To create a new settings file, click Save As. The Save Export Setting dialog box appears. Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file. 10. (Option) Change the file name. In most cases, keep the file name extension the same. 11. Click Save. The files are exported and appear at the chosen destination.
Table 9-12 Export Settings Dialog Box Graphic Format Settings Options (Continued) File Type Parameters Description Cineon Blackpoint (Windows) Black Point (Macintosh) This option allows you to adjust a film exposure value that corresponds to filming a 2% black card. Values can be between 0 and 1022. The default value of 0 is adequate for most uses. Whitepoint (Windows) White Point (Macintosh) This option allows you to adjust a film exposure value that corresponds to filming a 90% white card.
Table 9-12 Export Settings Dialog Box Graphic Format Settings Options (Continued) File Type Parameters Description JPEG Quality This option controls the output file size and quality. Higher values produce better images but larger file sizes. Conversely, lower values reduce the image quality but result in smaller file sizes. Baseline This option is selected by default. To see if this option is required, see the documentation that came with your JPEG-supported applications.
Table 9-12 Export Settings Dialog Box Graphic Format Settings Options (Continued) File Type Parameters Description PICT Create MacBinary header This option creates a file with a MacBinary header. This option allows you to save the file in the Pixar® format. Pixar PNG MacBinary is a file format for representing all the information in a Macintosh file in one binary file. It is a compact file format, useful for storing a Macintosh file on a non-Macintosh system for later retrieval.
Table 9-12 Export Settings Dialog Box Graphic Format Settings Options (Continued) File Type Parameters Description Targa Color Depth This option controls how images are saved. The 5-bit option saves data in Targa 16 format. The 8-bit option saves data in Targa 24/32 format. Compression This option controls the size of the file on disk. Disabling compression creates larger files on disk. Color Depth The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files.
Table 9-12 File Type Parameters XWindows YUV Export Settings Dialog Box Graphic Format Settings Options (Continued) Description This format was developed by the MIT X Consortium, and is supported by many X Window System™ applications on workstations and some personal computers. Format This option controls the video format of saved images. If set to NTSC, NTSC video format (720 x 486) is used. If set to PAL, PAL video format (720 x 576) is used. Images are either padded with black or cropped.
Table 9-13 Export Settings Dialog Box Graphic Export Settings Options (Continued) Option Description Width x Height This option sets the width and height of the clip. Scale to Fit: This option sizes to fit the specified width and height. Crop/Pad: This option instructs the system not to scale or resize the frames. If necessary, it adds black lines to the top and bottom of the frame to achieve the correct size. Crop/pad never scales or resizes.
Transferring a Project Between Avid Systems This section describes how to move projects and media folders between Avid systems that are running the same release of the application. If you plan to transfer the files to an Avid system running a different release or to a third-party application, see the Avid Products Collaboration Guide for recommended procedures. n The Avid Products Collaboration Guide is included on the Avid Media Composer Products Online Publications CD-ROM.
• Transferring only the project folders and settings files requires minimal storage space. Table 9-14 lists the recommended devices for transferring files between systems. For more information on transfer options and instructions for transferring, see the Avid Products Collaboration Guide.
Transferring a Project and Associated Media Files There are two basic methods for transferring projects with their media files between Avid systems: • Back up the project files and transport the media files on a removable storage device. • Send sequences, clips, or entire projects to a network storage device. To transfer a work in progress and associated media files to another Avid system: 1. (Option) Consolidate the media for the project onto an appropriate drive for transfer to the other system.
n For more information on moving hard drives, removable drives, and striped sets from one system to another, see the Avid Products Collaboration Guide. 5. With the system at the new location turned off, insert or connect the drives and start the system. 6. Copy the project folder and any settings files to the appropriate folder. For more information, see “Transferring Projects, User Profiles, and Site Settings” on page 463. 7. Start the Avid application, open the project, and resume work.
To transfer project files, user profiles, and site settings to another Avid system: 1. On the source system, select the project folder, user folder, or Site Settings file you want to transfer. The default locations are listed in Table 9-15 and Table 9-16. Table 9-15 Default Folder and File Locations (Windows) Folder or File Location Project folder drive:\Program Files\Avid\Media Composer\Avid Projects drive:\Program Files\Avid\Film Composer\Avid Projects User folder drive:\Program Files\Avid\Medi
n The exact location depends on how the Avid application was installed on your system. 2. Copy the files to a floppy disk or a location on a server. 3. On the destination system, copy the project folder, user folder, or Site Settings file to the appropriate location, as listed in step 1. n Do not rename the project folder. The project settings will not link to the project if you rename the project folder.
For information on connecting a video server, see the setup guide for your Avid system. Configuring the Video Server To configure the video server: t Select the following general settings from the video server’s user interface: - Select BVW as the deck protocol. - Select the video server port used for the serial connection. - Select the video I/O settings to match your hardware connections. - Select the audio I/O settings to match your hardware connections.
4. Choose Direct from the Channel Type pop-up menu. 5. Choose a port from the Ports pop-up menu. Make sure that this port corresponds to the port selected for the video server’s serial connection. 6. Click OK. A message appears, asking if you want to Autoconfigure the channel. 7. Click No. n Your Avid system does not currently support the Autoconfigure function for the video server. 8. In the Deck Configuration dialog box, click Add Deck. The Deck Settings dialog box appears. 9.
n You can set up a default bin view that displays the TapeID column. For information on saving a column display as part of a default setting or as a site setting, see the editing guide or Help for your Avid system. 2. In the TapeID column, type the name of the sequence on which you want to perform a digital cut to the video server. The name on the video server is restricted to 15 characters when using the BVW controller setup. The video server will truncate any names longer than 15 characters.
6. Choose Mark In Time from the Record to Tape pop-up menu. 7. Choose a tape name as follows: a. Click the Tape Name display. The Select Tape dialog box opens. b. Click the New button. A New Tape name line appears in the dialog box. c. Type a new name, press Enter, (Windows) or Return (Macintosh) and click OK. 8. Establish time for the IN point in the Mark IN text box. The time for the IN point must be equal to the preroll time. The default preroll time for the video server is 1 second.
Sending Material Out for Review Your Avid system and Avid NetReview™ provide an easy method for obtaining the required reviews and approvals for your material during the production process. Your selected reviewers can access the review material through the NetReview server and can add their comments to the material. You can use the Locators window in your Avid system to view the reviewer comments. For more information about using NetReview, see the Avid NetReview User’s Guide.
b. Add comments to the media using the review tool installed as part of the client software. The review tool stores the reviewer’s comments in the NetReview database. When the reviewer finishes reviewing the media, an e-mail is automatically sent to you that indicates reviewer comments are available. For more information about using the review tool, see the Avid NetReview User’s Guide. 6. Save the review comments to an R&A file on a local drive (Windows) or volume (Macintosh).
2. Do one of the following: t Click the Fast Menu button and choose Import R&A File from the Fast menu. t Choose Import R&A File from the File menu. A dialog box appears. 3. Navigate to the R&A file and select it. 4. Click Open. The comments in the R&A file appear in the Locators window. To open an R&A file using the drag-and-drop method: 1. Choose Locators from the Tools menu. The Locators window opens. 2.
n Comments in the R&A file appear as locators in your Avid system. For more information about using the Locators window, see the editing guide or Help for your Avid system. Using Locator Colors with R&A Files You can select the color for the locators in the next R&A file you open. You can also change the color of the selected locators in the Locators window. By default, your Avid system cycles to the next color on the list each time you open a new R&A file.
Exporting and Exchanging Material
APPENDIX A File Format Specifications To be compatible with a variety of imaging standards, your Avid system can accommodate many file types and formats. For import and export procedures, see Chapter 7 and Chapter 9. This appendix contains descriptions, specifications, and notes for importing and exporting specific file formats. To ensure usability and high quality, the files in some formats require preparation before being imported to the Avid application.
This list briefly describes the supported graphics (image) file formats: File Format Specifications • Alias: Alias PIX image format, developed by Alias Research, Inc. (now Alias|Wavefront, a division of Silicon Graphics Limited) for use with their animation and visualization software. • BMP: Developed by Microsoft Corporation as the standard image file format used by Microsoft Windows.
As feature to save the file in a format that can be imported, such as TARGA, PICT, or TIFF. • Photoshop: Developed by Adobe Systems Incorporated for use with its Adobe Photoshop image-editing software. • PICT: Developed by Apple Computer, Inc. as the format for Macintosh QuickDraw® images. • Pixar: Developed by Pixar for stored pictures. • PNG: Developed by the PNG Development Group originally as an alternative to the GIF image format.
• YUV: Defined by Abekas Video Systems (now Accom, Inc.), the YUV format is the raw data sent to the Abekas® machines. Preparing Graphics Files for Import Before you import a graphics file to your Avid system, you can use third-party image-editing software, such as Adobe Photoshop, to make adjustments such as the following: n • Convert the file to the appropriate size, resolution, and bit depth. • Crop or color-correct an image.
of colors; 24-bit images are displayed in millions of colors; and 32-bit images are displayed in millions of colors with an alpha channel. • Alpha channel: This column states whether or not alpha channel import is supported. An alpha channel determines regions of transparency in the picture when it is keyed over a background. • NA: This notation means Not Applicable For recommended image sizes, see “Screen Resolution for Imported Graphics and Sequences” on page 482. .
Table A-1 Format Default File Name Exten- Bit Depth Support sion IFF .iff JPEG .jpg OMFI .omf PCX .pcx Graphics File Import Specifications (Continued) Alpha Channel Support Notes 1-bit to 24-bit color; 1-bit 1-bit to 8-bit alpha grayscale; only 64-color EHB; 4096-color HAM; 262,144-color HAM8; SHAM; A-HAM; A-RES 24-bit color, 8-bit grayscale Dots-per-inch (dpi) information is preserved. Pixel aspect information is saved with image data. No See “OMFI Files” on page 490.
Table A-1 Graphics File Import Specifications (Continued) Format Default File Name Exten- Bit Depth Support sion Alpha Channel Support Notes PICT .pic 2-, 4-, 8-, 16-, and 32-bit Yes Dots-per-inch (dpi) information is preserved. If no dpi is specified, 72 dpi is used. Pixar .pxr 24-bit, 36-bit Yes PNG .png 1-bit to 32-bit Yes QRT .dbw 24-bit No Rendition .6rn 32-bit Yes SGI .
Table A-1 Format Default File Name Exten- Bit Depth Support sion TIFF .tif Wavefront .rla Graphics File Import Specifications (Continued) Alpha Channel Support Notes 8-bit color-mapped; Yes 8-bit or 16-bit grayscale; 24- and 48-bit color; 24-bit color plus 8-bit alpha; 36-bit color plus 12-bit alpha; 42-bit color plus 14-bit alpha; 48-bit color plus 16-bit alpha 32-bit and 64-bit Yes XWindows .xwd 1-, 2-, 4-, 8-, 16-, 24-, and 32-bit No YUV 24-bit No .
These numbers describe the recommended width and height, in pixels, to create a source image that will be displayed full-screen after import. Using these dimensions helps minimize distortion after conversion to the Avid application native resolution. An image with smaller dimensions will take up less of the screen or will be distorted, while an image that exceeds these dimensions might appear distorted. Avid recommends an image resolution of 72 pixels per inch.
Table A-3 provides information for progressive media (24p NTSC, 24p PAL, and 25p projects).
Table A-5 provides information for DV media (30i and 25i projects). Table A-5 Graphic Import Frame Sizes: DV Resolution Frame Size (Pixels) DV 25 720 x 480 (NTSC) 720 x 576 (PAL) Resolution DV 50 Frame Size (Pixels) 720 x 480 (NTSC) 720 x 576 (PAL) Animation Files Your Avid system supports the following animation file formats: • ERIMovie: Developed by Elastic Reality, Inc. (now a division of Avid Technology, Inc.) for quick playback of rendered movies on Silicon Graphics, Inc. platforms.
Table A-6 shows animation file import specifications. Table A-6 Format ERIMovie Animation File Import Specifications Default File Alpha Name Exten- Bit Depth Channel Support Support Notes sion .mov or 24-bit Yes .eri packed and 32-bit raw movie files (Macintosh only) .pcs PICS Animation Sequenced image Various files File Format Specifications 2-, 4-, 8-, 16-, and 32-bit QuickTime for Windows also uses the .mov file name extension.
Table A-7 shows the QuickTime file import and export specifications. Table A-7 QuickTime File Import and Export Specifications QuickTime files QuickTime File Import and Export Specifications Notes QuickTime import and export requires QuickTime software. For supported versions of QuickTime, see the release notes for your Avid system. • (Windows only) QuickTime software is installed when you install your Avid application.
Table A-7 QuickTime File Import and Export Specifications QuickTime alpha QuickTime File Import and Export Specifications (Continued) Notes To save a QuickTime movie with alpha channel in a third-party QuickTime application, use the Avid Codec for QuickTime or a codec that supports a color depth or “millions +.” The Avid application does not support matte key or alpha channel for QuickTime export; it does import alpha channel when one exists.
Table A-8 AVI File Import and Export Specifications Resolution AVI File Import and Export Specifications (Continued) Notes Use Export settings to specify the compression ratio of an AVI file for export. For quick export of files using the Avid Codec for AVI, select “Use Source Compression” in the Export Settings dialog box.
Audio File Formats This list briefly describes the supported audio file formats: n • Audio Interchange File Format (AIFF-C): Format for audio files developed by Apple Computer, Inc. • (Macintosh only) Sound Designer II (SDII or SD2): Native format of the Sound Designer II application developed by Digidesign, Inc., a division of Avid Technology. Inc. • Wave Format (WAVE): Format for audio files developed jointly by Microsoft and IBM.
Table A-9 OMFI File Import Specifications OMFI File Import Specifications Notes Resolution For optimum import speed and quality, export or render the file from the source application at the resolution you want, and then import the file into the Avid application at that resolution. For more information, see Table 7-2 on page 295. Frame or Edit rate You must import sequences and clips to projects that have the same edit rate (29.97 fps for NTSC, 25 fps for PAL, 24 fps for film).
Table A-9 OMFI File Import Specifications (Continued) OMFI File Import Specifications Notes Avid MCXpress™ for Windows NT files If you are importing OMFI compositions from Avid MCXpress for Windows NT, you might receive an error if the sequence includes video or audio effects. If this happens, create a cuts-only version of the sequence in Avid MCXpress and export it again. You cannot import video media from Avid MCXpress for Windows NT; if you import a composition, you must redigitize the media.
• Progressive or still frame: The upper and lower fields in the frame originated at the same instant of time, or are coherent with each other, as shown in the following illustration. f1 Dashed lines = Field 1 Solid lines = Field 2 f2 Field 1 & Field 2 Time Frame Unit • Upper field is first: The upper field in the frame (odd-numbered lines, when the frame lines are numbered starting from 1) occurs temporally before the lower field, as shown in the following illustration.
• Lower field is first: The lower field in the frame (even-numbered lines) occurs temporally first, as shown in the following illustration. This arrangement is termed “lower field first” (or “upper field second”). f2 f1 Field 1 Field 2 Time Frame Unit Preventing a Spatial Field Mismatch on Import Table A-10 shows the proper spatial field position for each of the common video formats in Avid systems.
interlaced fields. If the rendering is performed as shown in Table A-10, then the import will be correct. If the spatial positions of the two fields are reversed (for example, the upper field should be a lower field), the import cannot be done without correcting the spatial relationship. In this spatial mismatch situation, the Avid system will convert the upper field to a lower field by deleting the top line of the upper field and replicating the bottom line.
Field Dominance Editing in Avid systems is frame based. All timecode is expressed in frame numbers, and all cuts are at frame boundaries. A raw video stream has no concept of frames (ignoring color framing) until the frame unit is defined. Defining the dominant field for the system defines the “frameness” of the video stream, as shown in the following figure.
APPENDIX B Resolutions and Storage Requirements This appendix describes the different resolutions and lists their specifications. It also explains how to estimate the drive space you will require to store your digitized media.
Compression and Avid Editing Systems When an Avid editing system digitizes and stores video, it employs compression techniques that affect the size of the resulting files and the resolution of the images they contain. The less the data is compressed, the higher the image resolution, and the more drive space the file requires. Large media files at high resolutions can use very large amounts of drive space.
Screen Resolution The screen resolution for the Avid application is different for NTSC and for PAL: • NTSC ITU-R 601 resolution is 720 x 486 non-square pixels covering all the active video. The stored media includes 10 lines of blanking or VITC per frame (5 lines per field). • NTSC DV resolution is 720 x 480 non-square pixels covering all the active video. • PAL ITU-R 601 resolution is 720 x 576 non-square pixels covering all the active video.
Mixing Resolutions In a single sequence, you can mix resolutions within a group, but you cannot mix resolutions from different groups. Avid Resolutions Table B-1 lists the five groups of Avid resolutions.
Table B-2 DV Resolution Groups NTSC 30i Projects PAL 25i projects DV 25 4:1:1 DV 25 4:1:1, DV 25 4:2:0 DV 50 4:2:2 DV 50 4:2:2 You can mix NTSC DV resolutions (DV 25 and DV 50), or you can mix PAL DV resolutions (DV 25 and DV 50). However, you cannot record a digital cut to a DV deck with mixed DV resolutions. You need to perform a mixdown first. You can record mixed DV resolutions to an SDI or to an analog deck.
• You can exchange material between projects with a minimum of redigitizing. • You can develop material among workstations at different resolutions and bring the material together for a final cut without redigitizing. For any limitations concerning playback with mixed resolutions, see the release notes for your Avid system.
Video Streams Whenever you have more than one video track, or a transition effect on a single track, you have two streams of data (“dual streams”). Some effects create a second stream. When you render effects, you combine two streams into one. Two streams demand a significantly higher throughput than one stream. Sometimes, drive striping is required to accommodate two streams, even though a single stream at the same resolution would not require striping.
Table B-3 Field Size Resolution (Pixels) 15:1s 4:1s 2:1s 20:1 10:1 3:1 2:1 1:1 Resolution Specifications: Interlaced Fields per Frame Quality 352 x 248 (NTSC) 1 352 x 296 (PAL) Offline 352 x 248 (NTSC) 1 352 x 296 (PAL) Offline 352 x 248 (NTSC) 1 352 x 296 (PAL) Online 720 x 248 (NTSC) 2 720 x 296 (PAL) Offline 720 x 248 (NTSC) 2 720 x 296 (PAL) Offline/online Maximum storage with enough image detail to make basic editing decisions (you can check lip sync on a medium shot) A good
Table B-4 Frame Size Resolution (Pixels) 35:1 28:1 14:1 3:1 2:1 1:1 Resolution Specifications: Progressive Quality 720 x 496 (NTSC) 720 x 592 (PAL) Offline 720 x 496 (NTSC) 720 x 592 (PAL) Offline 720 x 496 (NTSC) 720 x 592 (PAL) Offline 720 x 496 (NTSC) 720 x 592 (PAL) Online 720 x 496 (NTSC) 720 x 592 (PAL) Online 720 x 496 (NTSC) 720 x 592 (PAL) Online uncompressed Maximum storage with enough image detail to make basic editing decisions Low storage requirements combined with a g
MultiCamera Resolutions Both video (interlace) and progressive projects support multicamera resolutions. The m resolutions cannot be mixed with resolutions in other families. The capture of a multicamera resolution in a video project results in single-field compressed media that has been resized horizontally to 288 pixels wide. Playback decompresses and resizes to 720 pixels wide.
In MultiCamera mode, the progressive media is handled the same as single-field material. The resulting single field is played back like s resolution media, where one field per frame time is presented to the video out device. Pulldown is not perfect during playback in MultiCamera mode.
Table B-7 Resolution Specifications: DV Resolution Frame Size Format DV 25 4:1:1 720 x 480 (NTSC) DV, DVCAM™, DVCPRO DV 25 4:1:1 720 x 576 (PAL) DVCPRO DV 25 4:2:0 720 x 576 (PAL) DV, DVCAM DV 50 4:2:2 720 x 480(NTSC) 720 x 576 (PAL) DVCPRO Although the native NTSC DV frame size is 720 x 480, the Avid system adds six black lines (three at the top and three at the bottom) to match the standard ITU-R 601 NTSC frame size when outputting through the Meridien I/O box.
Estimating Drive Space Requirements You need to choose a resolution that provides adequate picture quality for your project. However, you might be limited by the amount of media drive space available. Before you digitize, estimate your media drive space requirements. To estimate media drive space requirements: 1. Use Table B-3 or Table B-4 and the information in your media drive documentation to select a resolution that is compatible with the drive and striping capacity on your system. 2.
n The figures in the table represent drive space for video material that includes typical variations in image complexity. Actual drive space requirements might vary slightly from these estimates, depending on the overall complexity of the video you digitize and store.
Table B-8 Estimated Storage Requirements: Interlaced Drive Space Needed for 1 Minute of Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media Resolution Audio Tracks Minutes per Gigabyte 15:1s 0 48.5 20.6 MB 206 MB 618 MB 1 38.6 25.9 MB 259 MB 777 MB 2 32.1 31.2 MB 312 MB 936 MB 3 28.2 35.5 MB 355 MB 1.07 GB 4 24.5 40.8 MB 408 MB 1.22 GB 8 16.1 62.0 MB 620 MB 1.86 GB 0 11.6 85.8 MB 858 MB 2.57 GB 1 11.0 91.
Table B-8 Resolution 20:1 10:1 3:1 Resolutions and Storage Requirements Estimated Storage Requirements: Interlaced (Continued) Audio Tracks Minutes per Gigabyte Drive Space Needed for 1 Minute of Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 8 4.7 214 MB 2.14 GB 6.42 GB 0 16.6 60.1 MB 601 MB 1.80 GB 1 15.3 65.4 MB 654 MB 1.96 GB 2 14.1 70.7 MB 707 MB 2.12 GB 3 13.2 76.0 MB 760 MB 2.28 GB 4 12.3 81.3 MB 813 MB 2.
Table B-8 Estimated Storage Requirements: Interlaced (Continued) Audio Tracks Minutes per Gigabyte Drive Space Needed for 1 Minute of Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 4 2.7 365 MB 3.65 GB 10.95 GB 8 2.6 386 MB 3.86 GB 11.58 GB 0 1.9 516 MB 5.16 GB 15.48 GB 1 1.9 521 MB 5.21 GB 15.63 GB 2 1.9 526 MB 5.26 GB 15.78 GB 3 1.9 531 MB 5.31 GB 15.94 GB 4 1.9 537 MB 5.37 GB 16.11 GB 8 1.8 558 MB 5.58 GB 16.
Table B-9 Estimated Storage Requirements: Progressive Drive Space Needed for Minutes per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media Resolution Audio Tracks 35:1 0 36.4 (NTSC) 30.3 (PAL) 27.5 MB 33.0 MB 275 MB 330 MB 824 MB 990 MB 1 30.5 (NTSC) 26.1 (PAL) 32.8 MB 38.3 MB 328 MB 383 MB 983 MB 1.14 GB 2 26.3 (NTSC) 22.9 (PAL) 38.1 MB 43.6 MB 381 MB 436 MB 1.14 GB 1.30 GB 3 23.1 (NTSC) 20.4 (PAL) 43.4 MB 48.
Table B-9 Resolution 14:1 3:1 Estimated Storage Requirements: Progressive (Continued) Drive Space Needed for Minutes per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 8 13.0 (NTSC) 12.0 (PAL) 76.8 MB 83.6 MB 768 MB 836 MB 2.30 GB 2.51 GB 0 14.6 (NTSC) 12.1 (PAL) 68.5 MB 82.6 MB 685 MB 826 MB 2.05 GB 2.48 GB 1 13.6 (NTSC) 11.4 (PAL) 73.8 MB 87.9 MB 738 MB 879 MB 2.21 GB 2.64 GB 2 12.6 (NTSC) 10.7 (PAL) 79.1 MB 93.
Table B-9 Estimated Storage Requirements: Progressive (Continued) Drive Space Needed for Minutes per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 8 3.1 (NTSC) 2.7 (PAL) 320 MB 376 MB 3.20 GB 3.76 GB 9.61 GB 11.3 GB 0 2.4 (NTSC) 2.0 (PAL) 417 MB 500 MB 4.17 GB 5.00 GB 12.5 GB 15.0 GB 1 2.4 (NTSC) 2.0 (PAL) 422 MB 505 MB 4.22 GB 5.05 GB 12.7 GB 15.2 GB 2 2.3 (NTSC) 2.0 (PAL) 427 MB 510 MB 4.27 GB 5.11 GB 12.
Table B-9 Resolution Audio Tracks 8 Estimated Storage Requirements: Progressive (Continued) Drive Space Needed for Minutes per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 1.0 (NTSC) 0.8 (PAL) 10.4 GB 11.9 GB 31.3 GB 35.8 GB 1.04 GB 1.19 GB Estimated Storage Requirements: DV Table B-10 provides information to help you estimate the storage requirements for DV media. n Calculations are approximate.
Maximizing Drive Space If your media drive space is limited or you are digitizing a large amount of source material, follow these suggestions to maximize your usage of the media drive space: For more information on batch digitizing and redigitizing, see “Batch Digitizing from Logged Clips” on page 235. • Digitize only the audio channels required for the edit. • Log in advance. Batch digitize only the footage required for the edit. • Digitize at a lower resolution for editing.
APPENDIX C Avid Log Specifications This section explains the Avid log file format. The Avid application can import logs that meet Avid log specifications. These logs must follow the formatting requirements described in this appendix. Table C-1 lists the log formats that can be imported directly into the Avid application. Use Avid Log Exchange to adapt other log formats so that they meet Avid log specifications.
Understanding Avid Log Specifications This section contains tables that show how to enter headings and data to create an Avid log. The tables use the following conventions: • is surrounded by angle brackets. appear underneath, also in angle brackets. You must enter exactly one of these values. For example, <29.97> is one of the supported values for the FPS heading; to specify that value, type 29.97.
4. Press the Enter key (Windows) or the Return key (Macintosh). Describing an Avid Log File An Avid log is composed of three or four sections, in this order: • Global headings • Standard column headings • Custom column headings (optional) • Data headings The tables in this section adhere to this order. When you create an Avid log, you must follow the order precisely. You can choose not to display a defined heading (including a required heading), except for Name. Name must always be displayed.
Table C-2 Avid Log Global Headings GLOBAL HEADINGS: Global headings are case sensitive and must be spelled exactly as shown. Include all required headings. Other headings are optional but might be necessary for your project. The maximum number of combined global, standard, and custom headings in a log file is 64. Heading FIELD_DELIM [Tab] VIDEO_FORMAT [Tab] AUDIO_FORMAT [Tab] [Enter] or [Return] Required This marks the start of the global headings.
Table C-2 FPS [Tab] Avid Log Global Headings (Continued) <25> <29.97> [Enter] or [Return] [Enter] or [Return] Required Capture rate is 25 fps for PAL and 29.97 fps for NTSC video. Press Enter (Windows) or Return (Macintosh) a second time after entering the FPS value. This marks the end of the global headings. Column Headings The standard column headings appear after the global headings in the Avid log file. You do not enter the data for a column heading along with the heading.
Table C-3 Avid Log Column Headings COLUMN HEADINGS: Column headings are case sensitive and must be spelled exactly as shown. Note that the first five headings are required. Other headings are optional but might be necessary for your project. The maximum number of combined global, standard, and custom headings in a log file is 64. Column [Enter] or [Return] Required Indicates the start of the column headings. Name [Tab] Required Heading for clip name.
Table C-3 Avid Log Column Headings (Continued) Duration [Tab] Heading for timecode Start to timecode End, the length of the video clip. FPS [Tab] Heading for video frames per second rate for digitizing the individual clip (NTSC = 29.97, PAL = 25). If omitted, the global entry applies. IN-OUT [Tab] Heading for duration between clip’s mark IN and mark OUT (if present). Mark IN [Tab] Heading for timecode of clip’s mark IN (if present).
Table C-3 Avid Log Column Headings (Continued) TC 24 [Tab] Heading for 24-fps timecode. TC 25P [Tab] Heading for 25-fps timecode with pulldown. TC 25 [Tab] Heading for 25-fps timecode. TC 30 [Tab] Heading for 30-fps timecode. DESCRIPT [Tab] Heading for description of clip. COMMENTS [Tab] Heading for comments about clip. [Tab] Press the Tab key between each heading. Do not press the Tab key after the last heading. Add any category of information you want.
Table C-4 Avid Log Data Headings DATA HEADINGS: The word Data marks the start of the data for each clip. Data [Enter] Required or [Return] Enter the word Data to mark the start of the logged clip entries. DATA FOR EACH CLIP: Enter a line of data for each clip. Enter the data so that it aligns with its column heading. (The data that goes with the ninth column heading must be the ninth data entry.) Be sure to enter data for all the required values.
Table C-4 Avid Log Data Headings (Continued) [Tab] Under Tape heading. Enter the source videotape ID for this clip only. <29.97> [Tab] Under FPS heading. Enter the video capture rate for this clip only. If omitted, global entry applies. Use 25 fps for PAL video or 29.97 fps for NTSC video.
Table C-4 Avid Log Data Headings (Continued) [Tab] Under COMMENTS heading. Comment on the clip. [Tab] Press the Tab key between each heading. Do not press the Tab key after last heading. Under the headings you created yourself, type the appropriate information. [Enter] or [Return] Press Enter (Windows) or Return (Macintosh) after the last entry for the clip. Do not press Tab after the last entry for the clip.
Windows Heading [Enter] FIELD_DELIM [Tab] TABS [Enter] VIDEO_FORMAT [Tab] NTSC [Enter] AUDIO_FORMAT [Tab] 44kHz [Enter] TAPE [Tab] 001 [Enter] FPS [Tab] 29.
APPENDIX D Preserving Information in the Vertical Blanking Interval You can choose whether or not to preserve 5 lines above each field in NTSC and 8 lines above each field for PAL. These lines can be used to store additional encoded information such as closed captioning, edgecodes or key numbers for film projects, or various interactive or enhanced TV codes.
(5 per field in NTSC and 8 per field in PAL) can be used for carrying additional data. The following table lists the extra vertical blanking lines for both NTSC and PAL: Field Video Raster Extra Line Number Ranges NTSC (5 Lines/Field) PAL (8 Lines/Field) Field 1 16–20 15–22 Field 2 278–282 328–335 Preserving Vertical Blanking Information By default, Avid systems blank these extra lines by overwriting the area with black.
information would have been originally inserted during the telecine process. • Closed-captioning information If you are repurposing a finished sequence for another market, you might want to retain closed-captioning codes that were added after the tape was output from the Avid system. This would allow you to perform some basic editing on the redigitized sequence and not have to reapply the closed-captioning codes afterward.
Using a Partial Wipe Operation to Insert or Delete Vertical Blanking Information A partial wipe can be used to overlay material containing vertical blanking information on lines from one frame over the same lines of another frame. The procedure described in this section is necessary only under the following circumstances: • If you are working on projects developed from a film source. This includes projects based on long-form, episodic, or entertainment material.
a. Quit the Avid editing application. b. Relaunch the application while holding down the F and X keys on the keyboard. The system displays a dialog box that allows you to enable or disable 3D effects for that particular editing session. c. Click Disabled. 7. Edit the duplicated and modified sequence onto the highest track or create a track that rides above all other tracks on the revised master. 8. Apply a vertical wipe effect to the duplicated sequence. 9.
• Effects can modify the color or brightness of the vertical blanking information to make it unreadable by a vertical blanking information reader, or make the signal on those lines unacceptable for certain end uses. See “Effects Can Modify the Vertical Blanking Information” on page 537. • If you use different formats for digitizing and output (for example, SDI input and NTSC analog output), there can be conflicts with respect to black levels and NTSC’s setup.
preserve vertical blanking information, either use 1:1 resolution or experiment by digitizing with vertical blanking on and off to make sure that the picture quality is acceptable for your use. Depending on the compression ratio, the vertical blanking information itself may be distorted. Either use 1:1 compression or experiment with different compression ratios to make sure the vertical blanking information is not unacceptably distorted by the compression.
playing out is done in SDI, then the fact that SDI has no setup while the analog format does can cause the vertical blanking information black level to be below blanking.
Index Numerics 1:1 video defined 498 16:9 format 78, 126 2:3 pulldown transferring film to video with 65 24-fps film transferring to NTSC video 64 transferring to PAL video 70 24p and 25p projects displaying media while editing 74 indicating the destination timecode rate 362 output formats 356 planning 36 starting 32 timecode for output 360 24p media described 30 digitizing without pulldown 235 stored and displayed 73 25i projects starting 32 25p media described 31 stored and displayed 73 30i projects sta
during digitizing 217 Adding locators during digitizing 216 Adjust Deck command (Deck Selection pop-up menu) 158, 345 Adjusting audio input levels 186 Adjusting chrominance settings for video output 326 Adjusting luminance settings for video output 325 Adjusting output on eight-channel audio systems 333 Adjusting phase control for video output 328 Adjusting reference level in the Audio tool 182 Adjusting video levels 197 for tapes without color bars 208 AIFF-C file format brief description of 490 ALE (
Audio sync on input 171 on output 320 with work print 60 Audio tone media creating 188 Audio tool Calibrate mode 194 checking input levels with 186 digital scale, defined 181 features, described 180 Peak Hold option, choosing 184 reference level, adjusting 182 resizing 182 Setup options 180 volume meters, defined 181 volume unit scale, defined 181 Audio Tool command (Tools menu) 180 Audio transfer Info tab 52 Audio Transfer Rate (Film Settings dialog box) 143 Audio-only input establishing sync for 171
Batch Digitize command (Clip menu) 240, 247 Batch Digitize options (Digitize Settings dialog box) 238 Batch Digitize settings 237 Batch digitizing See also Autodigitizing, Digitizing, Redigitizing from logged clips 235 options 241 preparing for 235 procedure 240 Batch Import dialog box 313 Batch importing procedure 316 Best-light transfers defined 76 Bins checking for multicamera 283 displaying film columns in 112 logging directly into 99 preparing for digitizing 212 targeting for digitizing 166 transf
Changing clip information before digitizing 121 Changing default pulldown frame 367 Channel dialog box 145 Channel selection buttons (Digitize tool) 161 Check Decks command (Deck Selection pop-up menu) 158 Check list for preparing hardware before digitizing 126 for preparing to digitize 209 Chrominance settings adjusting for video input 206 adjusting for video output 326 Chunking while digitizing 139 Chyron file format brief description of 476 import specifications for 479 Cineon file format additiona
Countdown display customizing 346 Crash recording See Manual recording Creating Avid log files 90 subclips during digitizing 215, 215 tone media 188 Custom headings in Avid logs 523 Custom preroll selecting 170 Cut lists using FilmScribe to create 371 D D1 VTR calibrating input from 197 recording to 323 Dailies viewing 59 DAT See Digital audiotape Data headings in Avid log file 526 Deck pausing while logging 107 Deck Configuration settings Add Channel options 145 adjusting 144 deleting elements in 151
General Settings (for digitizing) 140 Modify Pulldown Phase 117 QuickTime Reference Settings 414 Select Tape 159 Set Tape Timecode 268 VTR Emulation Settings 373 VTR Emulation settings (Telecine record emulation) 261 Digidesign hardware See Audio I/O device Digital audiotape (DAT) digitizing from 126, 162 Digital Betacam VTR calibrating input from 197 recording to 323 Digital Cut command (Output menu) 342 Digital Cut tool 24p and 25p output formats 356 deck controller in 345 selecting decks from 344 us
tape selection 159 targeting bins 166 targeting drives 167 video input 197 preparing hardware before 126 preserving vertical blanking information Drive filtering options (Media Creation tool) 128 Drive space estimating for audio 510 for rolling titles 510 managing to improve playback performance 535 preserving VITC information 531 setting custom preroll 170 setting only one mark 222 sources for 127 storage guidelines 508 Telecine Slave mode 266 to multiple media files 139 to the Timeline 232 using t
Edit decision list See EDL Edit record emulation 373 Editcam files importing 310 EDL (edit decision list) creating 368 described 368 Eight-channel audio I/O device calibrating 190 Eight-channel audio systems adjusting input on 171 adjusting output on 333, 333 Emulation type option (VTR Emulation settings) 373 Enable Track buttons (Digital Cut tool) 343 Entering additional film data 121 frames-per-second rates for PAL transfers 118 ink numbers 121 key numbers 119 optional timecodes 120 pulldown of the s
Fast Cue option (Deck settings) 150 Fast Frame Display (Special menu) 74 Field dominance described 492 Field ordering 492 FieldPak importing files from 310 Fields versus frames described 65 Files exporting procedure for 383 reasons for 380 using drag-and-drop method 387 importing guidelines for 286 procedure for 298 using drag-and-drop method 302 importing mixed resolutions 286 reimporting 312 specifications for importing graphics 478, 482 specifications for importing OMFI 491 Film columns, displaying
General settings (General Settings dialog box) 140 Global headings in Avid log file 521 Global settings Import 287 Go To Capture Mode command (Bin menu) 155 Graphics (image) files exporting 451 field ordering in 492 import specifications 478, 482 preparing for import of 478 recommended field settings 494 supported formats 476 Grass Valley Group Profile video server 465 Guidelines for film-to-tape transfers 75 for logging 100 for naming tapes 100 H Hard recording See Manual recording Hard subclips 215
Insert-edit recording 339 with pulldown 364 Installing Avid Codec for AVI 446 Avid Codecs for QuickTime 443 Interlaced resolutions graphic import frame sizes 483 specifications for 504 storage requirements for 511 Interlacing 65 ITU-R 601 video standards 498 ITU-R 601 video levels import options 292 J JPEG file format additional Export options for 455 brief description of 476 import specifications for 480 K Key numbers entering 119 formats for 119 relinking clips by 249 Keyboard controlling decks fro
Mark In Time option (Digital Cut tool) 351 Marking tape location using Mark Memory button 108 Master clips redigitizing 244 Matchback option described 368 limitations 370 Maximizing drive space 518 Media Cleaner exporting with 403 Media Composer DV Option workflows 54 Media Creation dialog box 128 Media drive targeting 166 Media files moving between systems 462 multiple, digitizing to 139 Media Illusion, importing materials finished with 312 Media Station XL digitizing with 33, 36 MediaLog transferring
paths for video productions 272 storage tips for 281 tape classification for 270 Multicamera resolutions graphic import frame sizes 484 storage estimates 506 Multiple formats working with 30 Multiple media files digitizing to 139 N Nagra digitizing from 162 Naming tapes 100 Telecine Slave mode 266 NetReview described 470 displaying locator creation information 472 using locator colors with 473 workflow 470 NetReview files described 470 Non-Avid-controlled deck digitizing from 228 logging with a 109 No
Output formats described 30 for 24p and 25p projects 356 P PAL (Phase Alternating Line) video frames-per-second rates for transfers 118 image size compared to NTSC 37 logging and digitizing 220 luminance values 325 PICT resolution 348 transferring film to 70 waveform values 205 PAL Method 1 described 71 workflow 50 PAL Method 2 described 72 workflow 51 Passthrough signals calibrating video output using 329 Patching when digitizing to the Timeline 233 PCX file format brief description of 476 import spe
for video input 197 hardware before digitizing 126 record tapes 338 sequences for export 381 shot log files with MediaLog 91 with text editors 90 to digitize 125 Preroll custom for digital cut 351 custom for digitizing 170 logging 100 method for setting 134 using control track for 134 Preroll option (Deck Settings dialog box) 150 Preset buttons 322 in Video Input tool 198 Prestriped tape 338 Previewing a digital cut 345 Production paths for multicamera editing 271 Profile video server 465 Progressive m
Record button (Digitize tool), mapping 219 Record Deck Time option (Digital Cut tool) 351 Record tapes preparing 338 Recording assemble-edit 340 digital cuts 342 using Local mode 352 using Remote mode 348 manually 339 Redigitizing See also Autodigitizing, Batch digitizing, Digitizing master clips and subclips 244 sequences procedure 244 using Decompose 245 using Decompose during 245 Reference level (Audio tool) adjusting 182 Reimporting files overview 312 procedure 316 Relinking clips by key number 249
redigitizing procedure 244, 247 saving two versions for 244 using Decompose 245 Serial (COM) Ports command (Tools menu Windows) 375, 377 Serial (COM) Ports command (Tools menu) 377 Serial (COM) Ports tool Telecine record emulation 258 Serial digital input calibrating 197 Serial digital output calibrating 323 Serial port output 360 Serial Ports command (Tools menu - Macintosh) 375, 377 Serial Ports tool Telecine record emulation 258 Set Calibration Tone command (Peak Hold pop-up menu) 332 Set Reference
Specifications animation file import 486 AVI import and export 488 Avid log 520 for film shoots 58 graphics file import 478, 482 OMF file import 491 QuickTime import and export 487 Standard headings in Avid log files 523 Storage estimating drive space requirements for 509 estimating for audio 510 for rolling titles 510 guidelines for multicamera 281 managing to improve playback performance 518 maximizing 518 NTSC/PAL equivalency for estimating 510 planning 508 Storage estimates in minutes per gigabyte
brief description of 477 import specifications for 482 Time-base corrector (TBC) with consumer-grade video deck 203 Timecode breaks, digitizing across 136 choosing format for output 360 drop-frame and non-drop-frame described 153 entering 120 external, digitizing with 230 headings in Avid logs 524 indicating the destination rate 362 logging drop-frame and non-drop-frame 100 setting default tape timecode format 263 virtual tape timecode 267 time-of-day, digitizing with 230 Timed (scene-by-scene) trans
V Vectorscope monitor using 205 Vertical blanking information line ranges in 531 preserving 532 problems with preserving 535 Vertical blanking interval preserving information in 531 VHS decks digitizing from 202 recording to 339 Video compression defined 498 Video dailies method defined 59 Video decks See Decks Video input adjusting chrominance settings for 206 adjusting luminance settings for 204 calibrating 200 preparing for 197 setting in Digitize tool 161 setting in Video Input tool 198 sync for 20
recording digital cut to 342 recording to 338 striping requirements for 338 Videotape decks See Decks Viewing dailies 59 Virtual tape timecode 267 VITC (Vertical Interval Timecode) for downstream encoding 361 NTSC 499 PAL 499 VITC information, preserving 531 V-LAN/VLXi 146 Volume meters in the Audio tool, defined 181 Volume unit scale (Audio tool) defined 181 VTR See Decks VTR emulation direct record emulation, described 372 direct record emulation, using 376 enabling 372 play emulation, described 372
