Avid® Products Getting Started Guide m a k e m a n a g e m ove | m e d i a ™ Avid ®
Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software.
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Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Who Should Use This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 About This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 If You Need Help . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Restoring Help from the Taskbar (Windows Only). . . . . . . . . . . 38 Resizing the Application (Windows Only) . . . . . . . . . . . . . . . . . 39 Using Alt+Tab (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . 39 Finding Information Within the Help . . . . . . . . . . . . . . . . . . . . . . . . . 39 Using the Contents List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Using the Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
About Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Reviewing Basic Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Customizing Your Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Tutorial: Starting a Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 Starting the Application (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Shuttling with the Mouse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Marking IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94 Tutorial: Getting Ready to Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96 Viewing Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tutorial: Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Making the First Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 Using Digital Audio Scrub to Locate a Specific Frame of Audio . . 122 Splicing an Audio Clip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Playing a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 Confirming the Duration . . . . . . . . . . . .
Overwriting with the Three-Point Edit . . . . . . . . . . . . . . . . . . . . . . . 150 Changing the Order of Clips in a Sequence . . . . . . . . . . . . . . . . . . 151 Removing Footage from a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Removing Footage and Closing the Resulting Gap . . . . . . . . . . . . 152 Removing Footage and Retaining the Resulting Gap . . . . . . . . . . 153 Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating the Picture-in-Picture Effect. . . . . . . . . . . . . . . . . . . . . . . 175 Repositioning the Image . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176 Adjusting a Parameter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Adding Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Adding Background Images. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 Rendering the Effect . . . . . . . . . . . . . . . . .
Chapter 10 Finishing Your Sequence (Symphony Only) . . . . . . . . . . . . . 197 Finishing Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Using Finishing Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Real-Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Selecting and Correcting Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Color Effect . . . . . . . . . . .
Restoring from a Backup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Quitting and Shutting Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Figures 14 Figure 1 Command Palette Tabs . . . . . . . . . . . . . . . . . . . . . . . . . 141 Figure 1 Command Palette Tabs (Continued) . . . . . . . . . . . . . . .
Tables Table 1 Mark Points for Tutorial Clips. . . . . . . . . . . . . . . . . . . . . .146 Table 2 Media Objects and Files . . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide This guide provides information about how to get started using your Avid system. It presents the essential features of the system; most chapters also contain hands-on tutorials so you can practice what you learn. n The documentation describes the features and hardware of all models. Therefore, your system might not contain certain features and hardware that are covered in the documentation.
Using This Guide • The main body of the guide presents introductory material on various aspects of your workflow, followed in most chapters by a tutorial section. Work through the tutorial for guided hands-on experience with your Avid system. • A detailed Index helps you quickly locate specific topics. This guide should get you started with your Avid system. For more information, see the Help and the Avid Symphony Editing Guide or the Avid Media Composer and Film Composer Editing Guide.
Symbols and Conventions Avid documentation uses the following symbols and conventions: Symbol or Convention Meaning or Action n A note provides important related information, reminders, recommendations, and strong suggestions. c A caution means that a specific action you take could cause harm to your computer or cause you to lose data. w A warning describes an action that could cause you physical harm. Follow the guidelines in this document or on the unit itself when handling electrical equipment.
Using This Guide Symbol or Convention Meaning or Action Right-click Quickly press and release the right mouse button (Windows only). Drag Press and hold the left mouse button (Windows) or the mouse button (Macintosh) while you move the mouse. Ctrl+key k+key Press and hold the first key while you press the second key. If You Need Help If you are having trouble using your Avid system, you should: 1. Retry the action, carefully following the instructions given for that task in this guide.
Related Information Related Information The following documents provide more information about Avid’s products: • Avid Symphony Release Notes for the Windows 2000 Operating System or Avid Symphony Release Notes for the Mac OS X Operating System or Avid Media Composer and Film Composer Release Notes for the Windows 2000 Operating System or Avid Media Composer and Film Composer Release Notes for the Mac OS X Operating System These release notes include important information you should read before installing
Using This Guide • Avid Symphony Editing Guide or Avid Media Composer and Film Composer Editing Guide These guides provide complete information on all editing tasks, such as viewing and marking footage, editing, and trimming transitions. • Avid Symphony Effects Guide or Avid Media Composer and Film Composer Effects Guide These guides describe techniques for using digital video effects, titles, third-party plug-in effects, mattes, keys, and layering options.
If You Have Documentation Comments n References to the above documentation are noted throughout this guide. The specific names of the documents will not be used and you should use the appropriate document that applies to your particular system. For example, when the text states: “See the appropriate effects guide for more information on this feature,” you should see the Avid Symphony Effects Guide or the Avid Media Composer and Film Composer Effects Guide depending on which system you have.
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Chapter 1 Introduction This chapter sets you up to use this guide and explains how to work through the tutorial sections that teach you the basics of your Avid system.
Chapter 1 Introduction Using the Tutorial Sections The self-paced tutorial sections included in this guide are designed as guided Avid editing sessions, using the basic features of the system. In the tutorial sections, you’re going to edit a 1-minute sequence about a company in Amesbury, Massachusetts that makes small fishing boats called dories. The footage for the sequence is on the Tutorial CD-ROMs that came with your system. The CD-ROMs contain digitized media that is ready for you to use.
What You Need This tutorial takes approximately 4 hours. Before you begin, you need: • An installed Avid system If you have not yet set up your system, see the appropriate setup guide. If you need to install the software, see the appropriate release notes. • The Boat Shop media and project files on the Avid Video Editing Tutorial CD-ROM What You Need The Tutorial CD-ROMs packaged with your Avid system include all files necessary to complete this tutorial.
Chapter 1 Introduction Always turn on the devices in the following order: 1. Fixed-storage drives: Turn on fixed-storage drives before starting the computer. Allow 10 to 15 seconds for the drives to spin up to speed before starting your PC or Macintosh. 2. Other peripheral hardware: Turn on all other peripheral units except the PC or Macintosh.
Installing the Tutorial Files (Windows) Macintosh: Press the Power On key located on your computer. When you start the Macintosh: For information on Macintosh features, such as the desktop and icons, see your Macintosh documentation. - You hear a tone that means the hardware is operational. - The computer goes through a self-check routine. If the Macintosh passes all of its internal logic tests, the smiling Macintosh icon appears.
Chapter 1 Introduction Each CD-ROM has its own installation program and is installed independently of the other CD-ROM. You will need approximately 1 GB of free space available on your external media drive. It takes approximately 30 minutes to install the media files from the CD-ROMs to the external media drive. To install the Avid Video Editing tutorial on a Windows system: 1. Insert the Avid Video Editing (NTSC or PAL) Tutorial Disc 1 of 3 into the CD-ROM drive.
Installing the Tutorial Files (Windows) 3. Click Next. The Choose Destination Location dialog box opens. This allows you to place the Boat Shop project files in the Avid Projects folder. If an Avid Projects folder is not already created, the installation will create one for you. 4. Select the destination location for the project files, and then click Next. The Select a Drive dialog box opens. This allows you to select the drive where you want to store the media files.
Chapter 1 Introduction The Setup Needs Another Disk dialog box opens. The system prompts you to insert Tutorial CD 2. 6. Eject the Avid Video Editing Tutorial (NTSC or PAL) Disc 1 of 3 from the CD-ROM drive. 7. Insert the Avid Video Editing Tutorial (NTSC or PAL) Disc 2 of 3 into the CD-ROM drive. 8. Click OK. The system installs the tutorial media files. When the media files on Disc 2 are copied to the drive, the system prompts you to insert Tutorial CD 3. 9.
Installing the Tutorial Files (Macintosh) Installing the Tutorial Files (Macintosh) The Tutorial CD-ROMs contain all the files you need for the tutorial sections of this guide. The CD-ROMs contain an NTSC version and a PAL version of the tutorial media files digitized at a 20:1 resolution. The tutorial files require two CD-ROMs for NTSC and two for PAL. The installation procedure is the same for installing either type.
Chapter 1 Introduction 7. Click OK. The system installs the tutorial media files. 8. When the installation is complete, click Quit. The installation program copies the following folders to your system: • Boat Shop project folder: This folder contains the project and bins you need for the tutorial and is copied into the Avid Projects folder on your hard drive. • OMFI MediaFiles folder: This folder contains the media files you need for the tutorial and is copied to a media drive.
Electronic Licensing Electronic Licensing To accept your Avid product license electronically: 1. Read the License Agreement, then click the Accept button or the Decline button at the bottom of the screen. The agreement appears the first several times you start the application. After several starts, a new button appears at the bottom of the screen. 2. If you do not want to see the license agreement again, click the Accept and Don’t Show Again button. A dialog box opens. 3.
Chapter 1 Introduction • Make use of additional training resources provided by Avid whenever possible, such as classes and instructional videotapes. For more information, contact Avid at 800-867-2843. • Check the following Avid Web site for listings of courses, schedules, and locations: www.avid.com/education Using Help You can get help and background information for tasks, windows, dialog boxes, and screen objects through your Avid Help system.
Using Help Getting Help for Windows and Dialog Boxes The Help system provides you with context-sensitive Help for windows and dialog boxes, such as tools and settings. To get Help for windows and dialog boxes: 1. Make sure the Avid application is active. 2. Position the mouse pointer anywhere in the window or dialog box for which you want help. 3. Press the F1 key (Windows) or the Help key (Macintosh) on the keyboard.
Chapter 1 Introduction Keeping Help Available (Windows Only) When you access a Help topic and then return to the Avid application, the Help browser disappears behind the Avid system. To keep Help available, you can use one of the methods in the following topics: • Restoring Help from the Taskbar (Windows Only) • Resizing the Application (Windows Only) • Using Alt+Tab (Windows Only) Restoring Help from the Taskbar (Windows Only) You can restore the Help from the taskbar at the bottom of the screen.
Using Help Resizing the Application (Windows Only) To resize the application and leave Help available: 1. With Help active, click the purple Help title bar and drag it to the top of the screen. 2. Click in the Avid application. The Help browser disappears behind the Avid system. 3. Click the Restore button in the top right corner of the application. The application shrinks slightly and reveals the Help browser behind it.
Chapter 1 Introduction Using the Contents List The Contents button provides a list of topics covering the entire Help system. To view the Contents list using the Contents button, do one of the following: t Select Help > Avid Symphony or Media Composer Help, and then click the Contents button. t From a Help topic, click the Contents button. To display a topic, double-click the topic title in the Contents list. n The Contents displays only the top-level topics.
Using Help Using the Search Feature The Search button lets you search the entire Help system for words or phrases, and then lists topics that include those words or phrases. To search for topics using the Search button: 1. Select Help > Avid Symphony or Media Composer Help, and then click the Search button (or click the Search button from a Help topic). 2. In the text box, type the word or phrase that you want to find. You can type up to three words, not including invalid words like “the” or misspellings.
Chapter 1 Introduction Printing Help Topics You can print a Help topic if you need to refer to it during a complicated procedure or for reference later. To print a Help topic: 1. Open or click the topic to make it active. 2. From the browser menu select File > Print, or click the Print button in the browser toolbar. 3. Select the print options. 4. Click OK (Windows) or Print (Macintosh). (Windows only) Right-click and select Print to print a topic.
Using Online Documentation • Avid Products Getting Started Guide (this book) • Avid Media Composer and Film Composer Help system The books are PDF files. You can view them with the Adobe Acrobat Reader, which you can install from the CD-ROM. The online version of the books enables you to: n • Navigate through books using bookmarks and hyperlinks. • Speed up information retrieval by performing keyword searches. • Annotate the books with your own notes.
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Chapter 2 About the Avid System This chapter provides a general overview of the capabilities of the Avid systems. It introduces basic concepts along with some tips for the beginning user in the following sections: • About the Avid System • Editing Basics • Project Workflow • Behind the Scenes About the Avid System The Avid system streamlines the editing process by combining the traditional tools of postproduction, the creative control of digital editing, and the simplicity of the user interface.
Chapter 2 About the Avid System About Avid Symphony Symphony is Avid’s uncompressed finishing system offering uncompromising quality, performance, and capability for the creation of television programs and commercials. Three uncompressed streams make it the ideal tool for finishing your most demanding program types. It places all the tools you need right at your fingertips—from audio finishing to color correction, from keying to scratch removal to complex matte creation.
About the Avid System The nonlinear editing process is not new to film. In fact, you will discover many familiar terms and procedures of film editing preserved in this system. At the same time, Film Composer introduces random access to footage and the ability to easily create multiple versions of a cut.
Chapter 2 About the Avid System About 25p Media The 25p format is primarily for use in countries where PAL video is standard. When you transfer 25-fps film footage to 25-fps PAL video, no modifications are necessary due to matching frame rates.
Editing Basics cutting or dubbing the footage. Instead, your source tapes are digitized into media files that can be played just like the original tapes. When you edit, you work with these images and sounds (objects) with great freedom, creating data files that refer to the media files and to your original source tapes. You can make changes, and the entire sequence is immediately updated. This is the primary benefit of nonlinear editing.
Chapter 2 About the Avid System • Segment mode: the editing controls for moving, deleting, marking, and editing segments in the Timeline • Sequence: an edited composition that includes audio and video clips and rendered effects • Source clip: the smallest media object that contains all the information necessary to reference footage • Source/Record mode: a mode composed of a Source monitor that displays source clips, a Record monitor that displays the assembled sequence, and controls for making basic
Project Workflow Starting a Project Starting a project involves the following steps: 1. Turn on your equipment in a prescribed order and start the Avid software. 1. Turn on and start your Avid system. 2. Select or create a new project: the job that will result in one or more finished sequences. 2. Select or create a project. 3. Create and organize bins. 3. Create and organize bins. 4. Back up the project. 4. Back up your project on a regular basis.
Chapter 2 About the Avid System Preparing to Edit Preparing to edit involves the following steps: 1. Import your shot logs into the bins, or log the material manually to create source clips. 2. Digitize your analog footage, creating media files and master clips. 1. Import shot logs into the bin. 2. Digitize footage, creating master clips and media files. 3. Work with bins and clips to organize your source material for easy access during editing. 3. Sort and organize clips in the bins. 4.
Project Workflow Editing a Sequence Editing a sequence involves the following steps: 1. View your clips in advance and mark IN points and OUT points, or create subclips based on selected portions of your master clips. 1. Screen, mark, and subcatalog footage. Source Record monitor monitor 2. Build your sequence in Source/Record mode, which provides nonlinear editing controls with Source and Record monitors, and in the Timeline. 5. Screen and continue editing as necessary. Timeline 2.
Chapter 2 About the Avid System Finishing a Sequence (Symphony Only) Finishing a sequence involves the following steps: 1. Batch digitize your clips at a 1:1 resolution (uncompressed). 1. Batch digitize at an uncompressed rate. 2. In Finishing mode, you can sweeten audio, make any color corrections, add a chroma or luma key effect, repair dropouts, or add complex matte creations. 2. Adjust color, add key effects, and repair dropouts. 3. Link to Avid’s family of products or third-party applications.
Project Workflow Generating Output Generating various forms of output based on your sequence involves selecting among several options: 1. Export and exchange material for audio sweetening or graphics enhancement in a thirdparty application, or for incorporating into a multimedia project. 1. Export and exchange material for import into third-party applications. 2. Record the final sequence as a digital cut as NTSC or PAL, with 16:9 or 4:3 screen ratio. Or 3.
Chapter 2 About the Avid System Behind the Scenes Every time you work and make changes to a project it’s backed up and saved to a folder. The Avid Attic Folder The Avid system saves copies of your current project and its bins at regular intervals and whenever you save or close a project or bin. These auto-save files are stored in the Avid Attic folder in the Avid application folder.
Chapter 3 Starting a Project The Project window provides controls in five different display modes for structuring and viewing important information about your current project. These include a display of bins and folders associated with the project, a list of all settings, and basic information about the format of the project and use of system memory, hardware, and project usage.
Chapter 3 Starting a Project About Avid Projects and Avid Users Folders Avid Projects and Avid Users folders allow you to move whole projects or selected project and user settings between systems by copying and moving files on your desktop. When you create a new project or user, the system creates the following files and folders: 58 • When you create a new user, the system creates three items: a user profile file, a User settings file, and a user folder containing the two.
Copying Project Information Your settings are initially set to the default values. As you work, the files maintain current settings, or are adjusted to your use, while the project folder fills with bin files. Copying Project Information The Avid system allows you to copy a project from one Avid product to another, such as from an Avid Media Composer system to an Avid Symphony system.
Chapter 3 Starting a Project Copy the Site Settings folder to: Macintosh HD/Application/Avid product/Settings The next time you see the Select User and Project dialog box, the new project will appear in the project scroll list. New User settings will appear in the user list. Using the Bins Display Bins are windows that contain titles, thumbnails (small pictures that represent clips), and information about the material you digitize. These editable files are called master clips.
About Trash From the Bins list you can examine the number, names, size, and location of bins, and you can also open bins. Dotted bin icons next to bin names indicate bins that are currently open; solid icons indicate closed bins. About Trash Avid stores deleted bins in the Trash. The Trash icon is located in the Project window and only appears when you delete a bin. You can use the Trash to retrieve bins you deleted in error, or empty the Trash to create more disk space.
Chapter 3 Starting a Project Using the Settings Display From the Settings display, you can view, select, open, and alter various User, Project, and Site settings, as described in this section. To view the Settings display, click the Settings tab in the Project window. The Settings scroll list appears.
About Settings About Settings Three types of settings are displayed in the Settings scroll list: • User settings are specific to a particular editor. User settings reflect individual preferences for adjusting the user interface in your Avid system. Individual User settings are stored in each user folder within the Avid Users folder on your internal hard drive in \Program Files\Avid\Symphony or \Program Files\Avid\Media Composer (Windows), or in Macintosh HD/Users/Shared (Macintosh).
Chapter 3 Starting a Project Double-click each setting in the Settings scroll list of the Project window to view the following dialog boxes: • • Bin settings define general system functions related to bins, including: - Parameters of the Auto-save function - Maximum number of bin backup files stored in the Avid Attic folder General settings define fundamental system defaults, including: - Starting timecode for sequences edited in your Avid system - Setup default for either American NTSC or NTSC-EI
Customizing Your Workspace For example, you can create an Audio workspace that opens the Audio Mix tool and Audio tool. This workspace will also open a customized Timeline (with enlarged audio tracks and rubberbanding displays). You can also link this workspace to a Settings window with customized options selected. You do this by creating a setting and giving it the same name in the Project window as the name of the workspace.
Chapter 3 Starting a Project Tutorial: Starting a Project In this tutorial, you start your Avid system, create a user, and select a project. Before starting this procedure, make sure you have installed the Tutorial files (see “Installing the Tutorial Files (Windows)” on page 29 or “Installing the Tutorial Files (Macintosh)” on page 33). Starting the Application (Windows) To start the Avid system on a Windows system, do one of the following: t Double-click the desktop shortcut icon.
Starting the Application (Macintosh) For this tutorial, you will use the Boat Shop NTSC or Boat Shop PAL project (along with its settings file) that you installed into the Avid Projects folder in “Installing the Tutorial Files (Windows)” on page 29. Starting the Application (Macintosh) To start the Avid system on a Macintosh system, do one of the following: t Double-click the desktop shortcut icon. t Select Go > Applications, and then double-click the Avid application icon.
Chapter 3 Starting a Project Opening a Project To open a project, you create a new user and select an existing project. Creating a User To create a new user: 1. Click the New User button in the Select User and Project dialog box. The New User dialog box opens. 2. Type your name and click OK. The Select User and Project dialog box reopens with your name highlighted in the list of users.
Opening a Project Selecting a Project To select a project: To get help for the Project window, press Ctrl+Shift and click in the Project window. (Macintosh only) 1. Select Boat Shop NTSC or Boat Shop PAL from the Avid Projects list and click OK. The Project window opens. It lists the bins, or storage areas, created to hold the clips and sequences you will need for this tutorial. 2. Double-click the icon to the left of Source Clips to open the bin.
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Chapter 4 Digitizing This chapter discusses the digitizing process and related tools. Digitizing is described in the following sections: • Selecting Settings • About the Digitize Tool • About the Audio Tool • About the Video Input Tool • Digitizing Preparations Check List • About Digitizing Selecting Settings A number of settings have a direct bearing on the digitizing process.
Chapter 4 Digitizing • Deck Preferences include various options for source deck, sync mode, preroll, drop/non-drop-frame preference, and deck control. • Deck Configuration Settings allow you to establish deck control parameters for a single deck or for multiple decks. You can manually configure the deck or use the Autoconfigure option.
About the Digitize Tool The Digitize tool has the following options: • Audio Input pop-up menu allows you to select Analog, AES/EBU, or S/PDIF. • Audio Tool button opens the Audio tool. • Bin pop-up menu lets you select a target bin as the destination for the master clips created when you digitize on-the-fly. You can also select a target bin containing the logged clips you will use to batch digitize your media.
Chapter 4 Digitizing 74 • Record to the Timeline allows you to digitize footage directly from tape into a sequence loaded in the Timeline in one step. Recording to the Timeline works best when you are digitizing on-the-fly. • Red Record button begins the digitizing process. • Resolution pop-up menu next to the Bin pop-up menu lets you select a video resolution including an uncompressed resolution to digitize three uncompressed streams of media.
About the Audio Tool About the Audio Tool For more information on the Audio tool, see “Audio tool:setting up” in the Help index. The Audio tool controls parameters for audio input and output. To open the Audio tool, select Tools > Audio Tool or click the Audio Tool button in the Digitize tool. The Audio tool opens. Click the Output and Setup buttons to fully open the Audio tool.
Chapter 4 Digitizing • n 76 Meters dynamically track audio levels for each channel as follows: - Meters show green below the target reference level (the default reference level is –14 dB on the digital scale). - Meters show yellow for the normal headroom range, above the reference level to approximately –3 dB. - Meters show red for peaks approaching overload, between –3 dB and 0 dB. - Thin green lines at the bottom indicate signals below the display range.
About the Video Input Tool About the Video Input Tool For more information on the Video Input tool, see “Calibrating:for video input” in the Help index. Input The Video Input tool controls parameters for incoming video. To open the Video Input tool, select Tools > Video Input Tool or click the Video Input Tool button in the Digitize tool. The Video Input tool opens. Click the Internal Waveform Monitor and Vectorscope Monitor buttons to fully open the Video Input tool.
Chapter 4 Digitizing • Preset buttons are lit when the factory preset levels are displayed. When you click a lit Preset button, it dims and the slider returns to the most recent manual level setting. • Settings pop-up menu lets you save the Site settings for an individual tape each time you calibrate bars. • Sliders let you change the value for: Black, Y Gain, Saturation, and Hue. • Vectorscope Monitor button lets you adjust hue and saturation. Digitizing Preparations Check List 1.
About Digitizing 6. Set up the Compression tool for video resolution and color compression (for more information, see the appropriate editing guide and “Compression tool:setting up” in the Help index). 7. Use the Audio tool to set the audio input levels. 8. Use the Video Input tool to set the video input levels; save your video settings for future use.
Chapter 4 Digitizing • Autodigitizing. This method requires the least amount of supervision and effort, but usually calls for more digitizing time and disk storage space. It involves playing each source tape from a cue point near the beginning and letting the system digitize the entire tape, automatically naming and entering each long clip into the bin. Batch Digitizing For more information and procedures, see “Batch digitizing” in the Help index.
Chapter 5 Getting Ready to Edit Before starting an editing session, you need to understand how to organize and manipulate your clips.
Chapter 5 Getting Ready to Edit About Bin Views You can use four views for working with clips in a bin: Brief view, Text view, Frame view, and Script view. The Bin Fast menu displays the same menu as the Bin menu on the toolbar along the top of your screen. • In Brief view, clips are displayed in a database text format that uses columns and rows, with icons representing the various objects. Brief view displays only five standard columns of information about your clips and sequences.
About Bin Views • In Text view, clips are displayed in a database text format that uses columns and rows, with icons representing the various objects. You can save various arrangements of columns, text, and objects as customized views using the Bins settings in the Project window and the Bin Fast menu. To enter Text view, click the Text tab. Text tab Bin View pop-up menu To the right of the Bin Fast Menu button in Text view, is a pop-up menu of titles for different Bin views.
Chapter 5 Getting Ready to Edit • In Frame view, each clip is represented by a single picture frame, with the name of the clip. You can play back the footage in each frame, change the size of frames, and rearrange frames in any order within the bin. To enter Frame view, click the Frame tab.
About Bin Views • In Script view, the Avid system combines the features of Text view with Frame view, and adds space for typing notes or script. The frames are displayed vertically on the left side of your screen with a text box to the right of each clip. Clip data is displayed above the text box. To enter Script view, click the Script tab.
Chapter 5 Getting Ready to Edit Controlling Playback There are several ways to play, view, and cue clips. You can: For additional keyboard and userselectable button shortcuts, see the appropriate quick reference card.
Controlling Playback • In the Timeline, the position indicator shows your position within the sequence. It is always in the same position as the position indicator in the Record monitor’s position bar, and works in the same way. You can click anywhere in the Timeline to relocate the position indicator, or you can click the position indicator and drag it through footage at varying speeds.
Chapter 5 Getting Ready to Edit n During playback, the Play button also acts as a Stop button. The Fast Forward and Rewind buttons instantly cue the footage to the next transition between clips. By default, the buttons cue footage to the head frame of the next transition. You can select the following alternatives in the Settings dialog box: n • Stop at Tail Frames • Stop at Locators • Ignore Track Lights To access the Settings dialog box, click the Settings tab in the Project window.
Controlling Playback 3. Go to the start of the clip or sequence by clicking the start of the position bar under the monitor, or by pressing the Home key. 4. To play the clip or sequence, click the Play button under the selected monitor. 5. To stop playback, press the space bar or click the Play button again.
Chapter 5 Getting Ready to Edit Using the Tool Palette The Tool palette provides additional buttons for editing and navigating. Tool palette without text Tool palette with text You can view the Tool palette by clicking the Fast Menu button between the Source and Record monitors. Click the Tool palette and drag it to any other location on the screen for easy access. You can also map additional buttons from the Command palette to the Tool palette (see “Using the Command Palette” on page 139).
Controlling Playback Step buttons Play/Step/Shuttle buttons Home key End key Play button Stop button J-K-L Keys (Three-Button Play) The J-K-L keys on the keyboard allow you to play, step, and shuttle through footage at varying speeds. This feature, also referred to as three-button or variable-speed play, allows you to use three fingers to manipulate the speed of playback for greater control. To shuttle through the footage using the J-K-L keys on the keyboard: 1.
Chapter 5 Getting Ready to Edit Home, End, and Arrow Keys You can use the Home, End, and arrow keys on the keyboard to move through footage when a clip is loaded in a monitor. • The Home key takes you to the beginning of a clip or sequence. • The End key takes you to the end of a sequence. • The Left Arrow key moves the footage one frame backward. • The Right Arrow key moves the footage one frame forward. Using the Mouse You can use the mouse for one-handed control of playback.
Controlling Playback Shuttling with the Mouse To shuttle using the mouse: 1. Do one of the following: t Load a clip or sequence into the Source or Record monitor. t Select a clip in a bin in Frame view. 2. Do one of the following: Mouse Shuttle button t Press the semicolon (;) key to activate mouse control for shuttling. t Activate the buttons on the Command palette by selecting Active Palette at the bottom of the Command palette.
Chapter 5 Getting Ready to Edit Marking IN and OUT Points You can mark IN and OUT points for your clips in advance, which provides several advantages: • You can quickly build a sequence by splicing the marked clips into place one after another. • You can use the process of rough-cut or storyboard editing, which allows you to instantly splice several prepared clips into a sequence (see “Storyboarding” on page 145).
Creating Subclips You can also create subclips while digitizing as described in “Subclips:creating on-the-fly” in the Help index. You can create subclips directly from the marked section of material in the monitors using the following methods: • Alt key (Windows) or the Option key (Macintosh): Press and hold the Alt key (Windows) or the Option key (Macintosh), then click the picture and drag it from the monitor to the bin in which you want to store the subclip.
Chapter 5 Getting Ready to Edit Tutorial: Getting Ready to Edit This tutorial takes you through the early stages of editing. n If you need more information, be sure to read the preceding overview sections of this chapter before you start this tutorial. 1. If your Avid system is not already running, start it by double-clicking the Avid application icon. 2. Select your user name and your Boat Shop NTSC or Boat Shop PAL project and click OK. 3. From the Project window, double-click the Source Clips bin.
Viewing Clips Text view Frame view Bin Fast Menu button Using Text View Let’s look at Text view. 1. Click the Text tab to view information about clips in the Source Clips bin. If the tab is highlighted, you are already in Text view. You can rearrange the clips in the bin by sorting on a particular column. Let’s sort by clip name so we can easily locate any clip. 2. Click the Name heading in the bin. 3. Select Bin > Sort along the top of the screen. The clip names are rearranged in alphabetical order.
Chapter 5 Getting Ready to Edit Using Frame View (Windows) Now let’s look at Frame view. 1. Click the Frame tab to see a picture-frame representation of each clip in the bin. n The sorted order of clips does not carry over to Frame view. 2. Select Edit > Reduce Frame or Enlarge Frame. To change frame size at the keyboard, you can also press Ctrl+K (Reduce Frame) and Ctrl+L (Enlarge Frame).
Playing Clips If some clips are now off screen, do one of the following: t Click the Zoom button in the upper right corner of the bin window. t Select Bin > Fill Window. t Click and drag the size box in the lower right corner of the bin window. 3. Click the Zoom button in the upper right corner of the bin window labeled Source Clips. The bin zooms out to enclose all the clips. However, they might be scattered randomly in the bin window. Let’s fix that. 4. Select Bin > Fill Window.
Chapter 5 Getting Ready to Edit The bridge clip opens in the Source monitor. 2. Press the Home key on the keyboard (between the main keyboard and the numeric keypad) to go to the start of the clip. The End key, just below the Home key, moves the position indicator to the end of the clip. 3. Press the Play (5) key on the keyboard to play the clip at normal speed. 4. Press the Play (5) key again (or press the space bar on the keyboard) to pause playback at any point. 5.
Playing Clips 9. Use the 4, 3, 2, and 1 keys to step through the footage forward or backward in 1-frame or 10-frame increments.
Chapter 5 Getting Ready to Edit 4. Step through the footage forward or backward in 1-frame and 10-frame increments using the Step Forward and Step Backward buttons under the Source monitor. You can also use the 4, 3, 2, and 1 keys on your keyboard. 5. Locate the vertical blue position indicator in the position bar in the Source monitor. To step several frames forward, click just to the right of the position indicator. 6.
Marking Edit Points 3. Play the clip from the head by pressing the Home key and then the Play (5) key, and find the approximate place where the boatbuilder begins to plane. Then use the Step Forward and Step Backward (3 and 4) keys to locate the frame where he starts the first planing stroke. 4. Mark an IN point by pressing the Mark IN (I) key. A white sawtooth pattern appears on the left edge of the Mark IN frame. 5. Step forward two full strokes of the plane. 6.
Chapter 5 Getting Ready to Edit 3. Mark an IN point by pressing the I key. A white sawtooth pattern appears on the left edge of the Mark IN frame. 4. Step forward to locate the first frame where the same duck flies beyond the left edge of the screen. 5. Mark an OUT point by pressing the O key. A white sawtooth pattern appears on the right edge of the Mark OUT frame. Marking the draw knife cu Clip Let’s mark another clip we’ll use in the sequence. 1. Double-click the draw knife cu clip to open it.
Marking Edit Points Using Timecode to Find a Frame You can mark IN and OUT points using timecode as your reference point. If you know the timecode for the frame you want to mark, you can go to that frame instantly by typing it on the numeric keypad. Timecode shows the following: Hours Minutes Seconds Frames One second holds 30 frames. In this section, you will use visual cues to mark an IN point, and then locate a specific timecode. First, you need to display the appropriate timecode information. 1.
Chapter 5 Getting Ready to Edit For example, if the timecode is 04:11:34:15, adding 15 frames gives you a result of 04:11:35:00. 6. Type +15 on the numeric keypad on the right side of the keyboard and press the Enter key on the numeric keypad. As you start typing, a window opens in the middle of the Source monitor, showing the numbers you type. When you press the Enter key, the position indicator locates the specified frame. The Timecode window displays the current timecode.
Subclipping Using Frame Offset Whenever you use the numeric keypad, you must press the Enter key on the numeric keypad after typing the number. You can also use the numeric keypad to move the position indicator forward or backward a specified number of frames, with the frame offset feature. Let’s mark an IN point for the planing cu clip and then use frame offset to locate the OUT point. 1. Double-click the planing cu clip to open it. 2.
Chapter 5 Getting Ready to Edit Actually, you have marked an OUT point after 14 seconds and 1 frame, but that’s acceptable because you need not be so precise here. Clip icon 6. Click the Clip icon next to the clip name in the upper left corner of the Source monitor, and drag the icon into the Source Clips bin. As you begin dragging, the pointer changes to a hand attached to a small box. The subclip has the name of the original clip, followed by Sub.
Closing the Project Closing the Project To close the project: 1. Select File > Close Bin. The bin closes. 2. Click the Project window and select File > Close. The system saves and closes the project. A dialog box opens. 3. Do one of the following: t Select an existing project. t Create a new one. t Click Quit. Ending the Session To end the session: 1. Select File > Save Bin or Save All Bins. 2. Click the Project window labeled Boat Shop NTSC or Boat Shop PAL. 3. Select File > Save All. 4.
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Chapter 6 Editing a Rough Cut Beginning to edit involves working with various elements of the Avid system interface.
Chapter 6 Editing a Rough Cut Viewing Methods You can work with clips and sequences in several different ways, depending upon your needs and preferences. Each method has its own uses and advantages, as follows: • Viewing in bins: Frame view shows you pictorial images of the clips in your bins; Brief and Text views show you the clips listed by name.
Viewing Methods • Viewing in Finishing mode: (Symphony only) The default monitor that opens for Avid Symphony is the Record monitor. You can perform all your editing functions in this mode. To exit Finishing mode, click the Source/Record button. This displays both the Source monitor and Record monitor. • Viewing in pop-up monitors: You can load clips into pop-up monitors to view and mark one or several clips simultaneously in smaller, movable windows.
Chapter 6 Editing a Rough Cut • Viewing in the Timeline: Use the Timeline to view individual tracks for either a sequence or a source clip. The Timeline is used for viewing tracks. • Viewing in the Client monitor: You can use the Client monitor to view your footage in a larger screen format. Navigating in the Timeline The Timeline window provides various controls for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing.
Navigating in the Timeline Using the Scroll Bar The scroll bar functions like any standard scroll bar. Click the arrows or drag the scroll bar to scroll left or right. Scroll bar Displaying More or Less Detail The scale bar expands and contracts the Timeline area centered around the blue position bar, allowing you either to zoom in to focus on a specific area of your sequence, or zoom out to see your whole sequence. This is especially useful when you have a lengthy sequence with many edits.
Chapter 6 Editing a Rough Cut n You can prevent the Timeline from wrapping by deselecting Wrap Around from the Timeline Fast menu. If you turn off wrapping, the Timeline will scroll off the screen. • To contract an expanded Timeline to see less detail but more of the sequence, click the scale bar and drag it to the left. Focusing the Timeline Another alternative to the scroll and scale functions is the Focus button.
Displaying Source Material in the Timeline By default, the Timeline displays only the source material’s tracks. Source Track buttons Toggle Source/Record button When you click the button to display the source material, both the button and the position indicator change to green to indicate you are viewing source material. Button and position indicator change to green This feature is particularly useful when you are editing a sequence or a subclip created from a sequence.
Chapter 6 Editing a Rough Cut Using the Track Selector Panel The Track Selector panel provides numerous controls for working effectively with multiple tracks. With this one panel, you can select, delete, monitor, enlarge, reduce, lock, patch, and move any video or audio track. The Track Selector panel also provides a quick display of track information. You can see which tracks (on the source or record side) are available, active, patched, monitored, or locked. The following configuration shows one example.
Using the Track Selector Panel Selecting Tracks You can select tracks on either the record side or the source side as follows: • You can edit selected tracks on the source side directly into the sequence, assuming you have selected parallel tracks on the record side. • You cannot edit deselected tracks on the source side into the sequence, regardless of record track selections. • You cannot edit deselected tracks on the record side, regardless of source track selections.
Chapter 6 Editing a Rough Cut Monitoring Tracks You determine the monitoring of tracks by clicking a Track Monitor button of either the source-side or record-side tracks to activate or deactivate the track for monitoring. Video Track Monitor buttons and Audio Track Monitor buttons behave differently in some circumstances, as described in this section.
Using the Track Selector Panel Auto-Monitoring When you delete a video track with the Video Track Monitor button activated, auto-monitoring automatically activates the Video Track Monitor button for the next available track. For example, if V2’s Video Track Monitor button is activated and you delete the V2 track, then the V1 Video Track Monitor button is automatically activated. Auto-monitoring activated is the system default. You can deactivate auto-monitoring from the Timeline Settings dialog box.
Chapter 6 Editing a Rough Cut Tutorial: Rough Cut In this tutorial, you begin editing the Boat Shop sequence. n If you need more information, be sure to read the preceding overview sections of this chapter before you start this tutorial. 1. If your Avid system is not already running, start it by double-clicking the Avid application icon. 2. Select your user name and your Boat Shop NTSC or Boat Shop PAL project and click OK. 3. From the Project window, double-click the Source Clips bin.
Making the First Edit 3. Press the Step (jog) keys (1, 2, 3, 4 on the keyboard) to locate the first frame of the music and click the Mark IN button. When you use the Step keys, a frame of music or speech sounds scratchy or buzzlike. You might want to increase the volume of your speakers to hear the first frame of music. 4. Press the End key on the keyboard. 5. Press the Step Backward key to find the last frame of music. 6. Mark that frame as the OUT point. 7.
Chapter 6 Editing a Rough Cut The name is highlighted. 2. Type Boat Shop Cut and press the Enter key (Windows) or the Return key (Macintosh). Audio Track Monitor buttons The Audio Track Monitor button appears gold when an audio track is selected. 3. Click the position bar under the Record monitor or anywhere near the left side of the Timeline, then click the Play button to play the audio. This audio track should run the length of the sequence, and its duration should be approximately 1 minute.
Splicing Video into the Sequence Splicing Video into the Sequence Now we’ll start laying some video over the audio. For the opening clip in the sequence, use the bridge clip. 1. From the Source Clips bin, double-click the bridge clip to open it in the Source monitor. Play the whole clip through once first to get a sense of the material. 2. Mark an IN point midway through the clip, about 2 seconds after the camera begins to pan left.
Chapter 6 Editing a Rough Cut 10. Above the Source monitor, click the Clip Name pop-up menu, and select Clear Monitor to close the clip. Splicing a Clip in a Pop-up Monitor The default setting is to open a clip in the Source or Record monitor. If you want, you can change the default setting to open clips in a pop-up monitor. 1. From the Project window, click the Settings tab.
Splicing Video into the Sequence 2. Double-click the Bin selection (you might have to scroll to locate the Bin selection). The Bin Settings dialog box opens. Select to open pop-up monitors. 3. Click the pop-up menu, and select New Pop-up Monitor, and then click OK. By default, this loads the clip into a pop-up monitor when you doubleclick the clip. 4. From the bin, double-click the ducks clip. This opens a pop-up monitor. Previously, you entered IN and OUT points, but we need to create different ones.
Chapter 6 Editing a Rough Cut Playing IN to OUT Now you can take a look at the marked portion of the clip to make sure it is what you want. 1. Click the Play IN to OUT button or press the 6 key on the keyboard. The clip plays from the IN point to the OUT point. If possible, it would be nice to provide a little “breathing space” before the next clip. 2. Play the rest of the clip to see if there are several frames of water after the duck leaves the clip.
Splicing Video into the Sequence Moving to the Head and Tail of a Clip Before splicing in the next clip, make sure the position indicator is on the first frame of black after the bridge edit. To do this: To snap the position indicator to the last frame of a clip, press Alt+Ctrl (Windows) or Option+k (Macintosh), and click the mouse between the ending transition and the position indicator. 1. Move the position indicator anywhere to the right of the bridge clip in the Timeline. 2.
Chapter 6 Editing a Rough Cut 3. Click the “Loads clip into Source or Record monitor” option (to deselect it) and click OK. By default, this loads the clip into the Source monitor when you double-click the clip. 4. From the Source Clips bin, open the kids rowing clip in the Source monitor. 5. Mark IN and OUT points to mark 4 seconds of the camera panning from the girl to the boy. Let’s see what this clip looks like between the first and second clips. 6. Turn on the V1 and turn off the A1 record tracks. 7.
Splicing Video into the Sequence Using the I/O (IN Point / OUT Point) Tracking Display Now you will add two more clips to the sequence. 1. Open the kids in shadow clip. 2. Click the Clear Both Marks button. 3. Mark an IN point in the first half of the clip, one frame before the second boat enters screen left. 4. Mark an OUT point 3 seconds and 17 frames later (PAL: 3 seconds and 14 frames) by following this procedure: a.
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Chapter 7 Refining the Edit Refining edits tightens and improves the relationship between pictures and sound.
Chapter 7 Refining the Edit Using Segment Mode to Edit in the Timeline Segment mode provides editing controls for moving, deleting, marking, and editing entire segments in the Timeline. A segment is a portion of the sequence that includes two or more transitions. There are two modes for editing segments or adding clips: Extract/Splice-in (indicated by a yellow arrow) and Lift/Overwrite (indicated by a red arrow).
Basic Trim Procedures Basic Trim Procedures You can enter Trim mode in several different ways, depending on the type of trim you expect to perform. Once in Trim mode you can: • Select additional tracks. • Switch between Big and Small Trim mode. • Switch between trim sides. • Perform and play back the trim. Entering Trim Mode There are four alternative methods for entering Trim mode. They are: • Clicking the Trim Mode button.
Chapter 7 Refining the Edit • Lassoing the transitions in the Timeline. Draw the lasso by clicking at a point above the top track in the Timeline and dragging to surround the transitions. This method is useful when you need to select multiple transitions staggered across parallel tracks (overlap cuts) for simultaneous trimming. Lasso drawn across three tracks. Transitions are selected for dual-roller trim.
Basic Trim Procedures Exiting Trim Mode You can exit Trim mode at any time in one of several ways: • Click the Trim Mode button at the bottom of the Timeline. • Press the Esc (Escape) key on the keyboard to enter Source/Record mode by default. • Click a specific location in the Timecode (TC1) track at the bottom of the Timeline to exit Trim mode. The position indicator moves to that location. The system exits Trim mode and relocates the position indicator.
Chapter 7 Refining the Edit Selecting Between Trim Sides There are three ways to select sides of a transition to trim: A-side B-side A and B • In Big or Small Trim mode, click the outgoing (A-side) or incoming (B-side) monitor to define which side of the transition to trim. The pointer changes to a single-roller A-side, single-roller B-side, or double-roller icon depending on position.
Using the Command Palette - t To move the transition to an exact timecode, type a timecode number larger than 99, including frames. For example, type 102 to enter 1 second and 2 frames. Use controls in the Timeline by clicking a roller at the selected transition and dragging it forward or backward in the sequence. Click a transition and drag it in the Timeline.
Chapter 7 Refining the Edit Select To ‘Button to Button’ Reassignment Map buttons to the Tool palette or any Command palette in a pop-up, Source, or Record monitor, and to reconfigure the keyboard. ‘Menu to Button’ Reassignment Map menu commands to various buttons and keys. Active Palette Use buttons directly from the Command palette without mapping them. The Command palette groups buttons by editing function.
Using the Command Palette Move buttons Play buttons Edit buttons Trim buttons Effects (FX) buttons Figure 1 Command Palette Tabs 141
Chapter 7 Refining the Edit 3D buttons Color Correction buttons MCam buttons Other buttons Workspace and Locator buttons Figure 1 142 Command Palette Tabs (Continued)
Audio Editing Audio Editing The Avid system provides audio scrub features and waveform plots specifically designed for frame-accurate cueing, marking, and editing of audio. You can use these features at any time during editing or while making adjustments with the audio tools. Adjusting Volume You can use the Audio Mix tool to adjust volume (level) and balance (pan).
Chapter 7 Refining the Edit Tutorial: Refining Edits In this tutorial, you refine and trim edits and adjust audio levels. n If you need more information, be sure to read the preceding overview sections of this chapter before you start this tutorial. 1. If your Avid system is not already running, start it by double-clicking the Avid application icon. 2. Select your user name and your Boat Shop NTSC or Boat Shop PAL project and click OK. 3. From the Project window, double-click the Source Clips bin.
Storyboarding 5. Open the dories passing clip. 6. Mark an IN point in the first half of the clip, 18 frames (4 frames PAL) after the tips of the two boats seem to touch in the middle of the screen. 7. Mark an OUT point a few frames less than 7 seconds later, when the girl’s oars are both out of the water, and her left oar just catches the light. 8. Click the red Overwrite button or press the B key on the keyboard.
Chapter 7 Refining the Edit 2. Above the Source monitor, click the Timecode Display pop-up menu, and select V1. You use the V1 numbers to go to the IN point. 3. Mark your IN point based on the Mark IN timecode in Table 1. You might have set the IN and OUT points for these clips in the previous tutorial. Check them to see whether or not they need to be reset. 4. To set the OUT point, type the duration (from Table 1) on the numeric keypad and press the Enter key on the numeric keypad. 5. Mark the OUT point.
Storyboarding Table 1 Mark Points for Tutorial Clips (Continued) Clip Name Mark IN Point Duration hammering 04:05:10:08 1:00 drilling 04:04:47:25 (NTSC) 1:00 04:04:48:21 (PAL) planing cu 04:10:05:17 (NTSC) 2:00 04:10:07:04 (PAL) planing ms sanding 04:09:24:00 (NTSC) 3:19 (NTSC) 04:09:25:14 (PAL) 3:16 (PAL) 04:06:52:03 3:12 (NTSC) 3:10 (PAL) wood burning 04:14:24:02 6:15 (NTSC) 6:12 (PAL) two dories rowing in mist 01:11:03:03 (NTSC) 1:22 (NTSC) 01:11:04:10 (PAL) 1:18 (PAL) 01:
Chapter 7 Refining the Edit Storyboard Editing the Clips To add multiple clips into your sequence all at once: Frame View tab 1. Display the Source Clips bin in Frame view and click the Maximize button (Windows) or the Zoom button (Macintosh) so the bin fills the screen, or click the lower right corner of the bin and drag it to enlarge the window. 2. Select Bin > Fill Window to arrange the clips in the bin. 3. Click the draw knife cu clip and drag it to a clear space in the lower left area of the bin. 4.
Storyboarding Now you’re ready to load the marked clips into the sequence. 5. Press and hold the Ctrl key (Windows) or the k key (Macintosh) while clicking in the Timeline near the end of the dories passing clip. 6. Click the V1 Record Track button and deselect the A1 Record Track button in the Timeline. 7. Select the storyboarded clips all at once: a. Position the mouse pointer in the bin in the blank area just to the left of the draw knife cu clip. b.
Chapter 7 Refining the Edit Rearranging Clips You can rearrange clips by overwriting material, lifting material, or removing material. Overwriting material doesn’t change the length of the sequence. Lifting material leaves filler and doesn’t affect the length of the sequence. Removing material shortens the length of the sequence. Overwriting with the Three-Point Edit The three-point edit is an excellent way to replace a clip in a sequence.
Rearranging Clips The IN and OUT points also appear in the Record monitor’s position bar. 5. Open the draw knife ms clip in the Source monitor and mark an IN point around 2.5 seconds (7.5 seconds for PAL) into the clip, when the boatbuilder’s motions become smooth. 6. Clear any OUT marks. 7. Click the red Overwrite button or press the B key on the keyboard to make the three-point edit. The clip draw knife ms replaces the chiseling clip. 8. Return to the previous Timeline view by doing the following: a.
Chapter 7 Refining the Edit 4. Press and hold the Alt key (Windows) or the k key (Macintosh), click the rowing in mist clip, drag it to the left (so it is completely over the two dories clip), and release the mouse. Two dories should now follow rowing in mist. 5. Click the Extract/Splice-in button again to deselect it. 6. Click the Timeline in front of the two clips and play the clips. The edit works.
Removing Footage from a Sequence Removing Footage and Retaining the Resulting Gap Lift retains the gap after lifting footage from the sequence. Use Lift if you want to maintain the rhythm of a sequence or the synchronization of the video and audio tracks. The dories passing clip plays for too long, but we want the next clip, draw knife cu, to remain in sync with the audio. We will use Lift to shorten dories passing, but will maintain the same entrance point for the next clip.
Chapter 7 Refining the Edit Trimming Trimming allows you to adjust incoming and outgoing frames of your clip. There are two types of trims: dual-roller and single-roller. Adjusting Both Sides of a Transition (Dual-Roller Trimming) Use a dual-roller trim to adjust both sides of a transition simultaneously, adding frames to one clip while subtracting frames from the adjacent clip. The total duration of the sequence does not change. Let’s cut the kids in shadow clip right on the beat of the music. 1.
Trimming New buttons appear below the trim windows. During dual-roller trim mode, both frame counters are purple. Transition Effect palette Incoming video Outgoing video Frame counters Trim Frame buttons Play Loop button n To see the second row of buttons, click the Settings tab in the Project window, then select Composer. In the Composer Settings dialog box, click the Second Row of Buttons option, and then click OK. 3. Play the transition by clicking the Play Loop button.
Chapter 7 Refining the Edit 5. Press the Caps Lock key on the keyboard so you can hear the audio as you trim. To use digital audio scrub, make sure the Speaker icon on the Audio Track Monitor button is gold. Also, increase the speaker volume, if necessary. Gold Speaker icon If the Speaker icon is not gold, press and hold the Alt key (Windows) or the Option key (Macintosh), and click the A1 Audio Track Monitor button. 6.
Trimming 3. Click the Mark Clip button under the Record monitor or press the T key on the keyboard. 4. Open the pan lumber clip and mark an OUT point where the lumber is in sunlight and the camera stops panning. Do not mark an IN point. 5. Select record tracks V1 and A2. 6. Click the red Overwrite button between the Record monitor and Source monitor. c Don’t confuse the Lift/Overwrite and Overwrite buttons.
Chapter 7 Refining the Edit Single-Roller Trimming In the trims you made so far, you trimmed both the head and the tail clips an equal number of frames, adding to one side and subtracting from the other. Now let’s trim the tail of the pan lumber clip without affecting the head of the draw knife cu clip. 1. While still in Trim mode, advance to the pan lumber / draw knife cu transition by pressing the S key on the keyboard. 2.
Working with Audio 4. To patch the track, quickly drag the pointer from the A1 Source Track button to the A2 Record Track button. Patching A1 source to A2 record. 5. Display the master timecode (Mas) in the timecode display above the Record monitor. 6. In the sequence, place the Mark IN point at master timecode 01:00:41:00 (01:00:40:25 PAL), in the middle of the dories ws clip. 7. Make sure the A1 Source Track button and V1 and A2 Record Track buttons are selected. 8.
Chapter 7 Refining the Edit 4. In the A2 area, move the A2 Audio Level slider to level +6 by doing one of the following: t Click the slider and drag it to level +6. t Type 6. t Press the Up Arrow or Down Arrow key on the keyboard to reach level +6. Type a number. Level slider 5. Play a portion of the clip. The volume is still too low. 6. Activate the Audio Mix tool by clicking in it, and move the slider to level +10.
Working with Audio 3. Activate the Audio Mix tool by clicking anywhere in it. 4. Click the Timeline’s position indicator at a point that has audio on track A1. 5. From the Audio Mix tool in the first Pan Adjustment window, click the Track Selection pop-up menu, and select A1. 6. Open the Pan Adjustment window for track A1. The Pan slider appears. Close button Select A1. Click here to open the Pan Adjustment window. Drag the Pan slider. 7.
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Chapter 8 Adding Effects Adding effects to a clip enhances your sequence by fading in or out of a scene or adding video or a graphic on top of a clip.
Chapter 8 Adding Effects Effects Editing The Avid system offers many effects you can apply to your sequences. You can also use third-party plug-in effects that are compatible with Adobe Photoshop®. The effects that are available on your Avid system depend on the model and options you purchased. For the list of effects available for your model, see the appropriate release notes. This chapter explains how to apply effects to transitions or segments (clips) in your sequence.
Displaying the Effect Palette Displaying the Effect Palette You select most effects from Tools > Effect Palette. The exceptions are motion effects that you access from the Fast menu above the Source monitor, the Freeze Frame effect that you access from the Clip menu, and titles that you create with the Title tool.
Chapter 8 Adding Effects • Sawtooth Wipe • Shape Wipe • Spin • Squeeze Each of these effect categories contains multiple effects. Effect Types There are two primary effect types that are defined by where you use them in a sequence: • Transition effects • Segment effects (single-layer and multilayer) Transition Effects A transition is the point where two clips meet. You apply a transition effect to the cut point between two clips on the same video track.
Applying Effects to a Sequence Segment Effects You apply a segment effect to an entire clip or a group of clips. There are two types of segment effects: • A single-layer segment effect, such as a mask, is applied to a segment on one video track. • A multilayer segment effect, such as a Picture-in-Picture effect, is applied to the top layer of segments that contain two or more video tracks that will be played simultaneously.
Chapter 8 Adding Effects Working in Effect Mode After you have created an effect and have applied it to a transition or segment in your sequence, you can adjust its appearance and operation by changing its effect parameters in Effect mode. Not all effect parameters apply to all effects. Parameters that do not apply to an effect are disabled in the Effect Editor window. To determine which parameters pertain to an effect, see the effect’s description in the appropriate effects guide.
Tutorial: Adding Effects Tutorial: Adding Effects In this tutorial, you add dissolves and a Picture-in-Picture effect. n If you need more information, be sure to read the preceding overview sections of this chapter before you start this tutorial. 1. If your Avid system is not already running, start it by double-clicking the Avid application icon. 2. Select your user name and your Boat Shop NTSC or Boat Shop PAL project and click OK. 3. From the Project window, double-click the Source Clips bin.
Chapter 8 Adding Effects 4. Make sure the Second Row of Buttons option is selected. Second Row of Buttons option 5. Click OK. A second row of buttons appears under the Source and Record monitors. Adding a Dissolve Effect (Fade-In) Now we’ll add a Dissolve effect (fade-in) to a transition. 1. If you don’t see any video in the Record monitor, click the box to the right of V1 so a square (tiny monitor) appears. The video appears in the Record monitor. 2.
Adding Transition Effects The Quick Transition dialog box opens. 4. Create a 20-frame dissolve (fade-in), starting at the cut, by doing the following: a. Click the Add pop-up menu, and select Dissolve. b. Type 20 in the Duration text box. c. Click the Position pop-up menu, and select Starting at Cut. 5. Click the Target Drive pop-up menu, and select the drive on which the effect media file should be stored. The default drive is Effect Source Drive.
Chapter 8 Adding Effects Dissolving Between Clips You can create a nice effect by adding a dissolve between the first two clips of the sequence. 1. Click the V1 Record Track button and then click the first frame of the ducks clip. 2. Click the Quick Transition button in the Tool palette. The Quick Transition dialog box opens. 3. Create a 20-frame dissolve, centered on the cut, by doing the following: a. Click the Add pop-up menu, and select Dissolve. b. Type 20 in the Duration text box. c.
Adding Transition Effects n You do not have to change any dissolve parameters when you make these dissolves. 4. Play the sequence through to see your work. Creating Audio Dissolves It’s just as easy to add audio dissolves, and the procedure is the same as adding video dissolves. As an exercise, create audio dissolves for every audio transition on track A2 up through sanding/wood burning, except the beginning and the end of the sequence. Use 10-frame dissolves, centered on the cut.
Chapter 8 Adding Effects 6. Press Ctrl+X (Windows) or k+X (Macintosh). A single frame is lifted from the sequence, leaving one frame of black filler. 7. Click the Lift/Overwrite button again to deselect it. 8. Add a 20-frame dissolve, ending at the cut. 9. Click the Target Drive pop-up menu, and select the drive on which the effect media file should be stored. 10. Click the Add and Render button to add and render the dissolve.
Adding a Picture-in-Picture Effect 6. Click the Lift/Overwrite button again to deselect it. 7. Click the V2 Record Track button and the V2 Video Track Monitor button. Creating the Picture-in-Picture Effect To create the Picture-in-Picture effect: 1. Click the V2 Record Track button and the V2 Video Track Monitor button. 2. Select Tools > Effect Palette. The Blend effects, including the Picture-in-Picture effect, are displayed in the right window. 3.
Chapter 8 Adding Effects The boat shop owner appears in a box midscreen. Foreground image (V2) Background filler (V1) Repositioning the Image Let’s move the image to the lower left corner of the screen. 1. In the Timeline, move the position indicator directly over the Effect icon. 2. Click the Effect Mode button in the Tool palette to enter Effect mode. Parameters for the Picture-in-Picture effect appear in the Effect Editor. 3. Click the image of the boat shop owner.
Adding a Picture-in-Picture Effect Adjusting a Parameter Now let’s use one of the Picture-in-Picture effect parameters to soften the edge of the image. 1. Click the Soft slider in the Effect Editor. You can also type 30 on the numeric keypad. 2. Drag the Soft slider to the right to a value of 30. Soft slider 3. Click the Play Preview button in the Effect Editor to view an outline of the effect.
Chapter 8 Adding Effects 4. Click in the Record monitor, then type +1:00 on the numeric keypad. Press Enter on the numeric keypad to move the position indicator 1 second after the first keyframe. 5. Click the Add Keyframe button in the Effect Editor. 6. Click the Level slider and drag it all the way to the right to display 100. 7. Click the mouse button on the last keyframe. 8. Click the Level slider and drag it all the way to the left to display 0. 9.
Adding a Picture-in-Picture Effect 6. Click the dories to model and Shift+click the sign clips on the A2 audio track. 7. Press Ctrl+X (Windows) or k+X (Macintosh) to delete the excess audio. 8. Click the Extract/Splice-in button again to deselect it. 9. Play your sequence. Rendering the Effect You must render the Picture-in-Picture effect to play it at full speed. 1. Place the position indicator on the Effect icon in the intervu: Lowell’s Boat Shop clip. 2. Click the V2 Record Track button. 3.
Chapter 8 Adding Effects n You can have the system notify you when rendering is complete. This is helpful when rendering multiple effects. You have two Render Completion Sounds to select from: Avid Sound or System Beep. Enable the Render Completion Sound option in the Render Settings window. Screening the Sequence You’ve done a lot of work. Now take a look at the sequence. 1. Move the position indicator to the beginning of the sequence. 2. Click the V2 Video Track Monitor button. 3.
Chapter 9 Creating Titles You can create a new title with the Title tool and save the title in a bin, or add a new video track to the Timeline if you want the title to appear over video.
Chapter 9 Creating Titles Creating New Titles You can create a new title with or without a sequence in the Timeline. However, if you want to create a title with a video background, you can load a video clip into the Record monitor to use as a video reference frame while you create the title. The video reference frame you select appears in the background of the Title tool while you create the title.
Understanding the Title Tool Understanding the Title Tool The Title tool has several major components: For more information, see “Safe Title/Action Area” in the Help index. • The toolbar at the bottom of the screen • A video or color background • The title that you create • The safe title and safe action area guidelines. The following illustration shows a title over a video background.
Chapter 9 Creating Titles Working with Text By default, the Text tool is active when you open the Title tool. Click in the window at the position where you want to begin entering text. Text tool To use the Text tool at any other time, click the Text Tool icon, click anywhere within the title frame, and begin typing. A blinking vertical bar indicates your cursor position in the frame. The Text tool remains selected until you select another tool.
Text Formatting Tools The text formatting tools allow you to change the following text characteristics: • Current font • Bold and italic • Point size • Justification • Kerning • Leading This section describes how to change these characteristics on a text-string basis. You can also change these attributes on a character-by-character basis by editing the text string. For more information, see “Title tool:working with” in the Help index.
Chapter 9 Creating Titles Selecting Colors and Setting Transparency You can select the color and transparency for objects, shadows, and borders. The following illustration shows the boxes associated with color and transparency: Blend and Transparency preview Color selection Transparency selection • The Color selection boxes control the fill (Fill), shadow (Shad), and border (Bord) color selection. • The Transparency selection boxes control the fill, shadow, and border transparency selection.
Selecting Colors and Setting Transparency Adjusting the Color To select a color for the title, use an eyedropper to select a color from any running application on your computer, or use the Windows Color dialog box or the Macintosh Color Picker to select a color. All of these features are available through the Title Tool Color Picker. Windows Color selection bar Grayscale selection bar New Color window Eyedropper Original Color window Click to open the Windows Color dialog box.
Chapter 9 Creating Titles Editing a Title into a Sequence After you have created a title with the Title tool, you can use one of the following two methods to edit the title into your sequence: t Method 1: Add a new video track, load the title into the Source monitor, mark an IN point and an OUT point, and splice or overwrite the title into the sequence. t Method 2: In Segment mode, click the Title Effect clip and drag it from the bin to an existing segment in the Timeline between the edit points.
Tutorial: Creating Titles Tutorial: Creating Titles In this tutorial, you create a title, and edit and add a rolling credit to the end of the sequence. n If you need more information, be sure to read the preceding overview sections of this chapter before you start this tutorial. 1. If your Avid system is not already running, start it by double-clicking the Avid application icon. 2. Select your user name and your Boat Shop NTSC or Boat Shop PAL project and click OK. 3.
Chapter 9 Creating Titles 5. Type The Dory. 6. Click the Selection Tool button on the toolbar. Object selection handles surround the title. 7. Click the Point Size pop-up menu, and select 72. 8. Click the Font pop-up menu, and select Palatino. 9. Click the B button for bold if it’s not already selected.
Saving a Title Repositioning Text Alt+click (Windows) or Option+click (Macintosh) anywhere in the Title tool to switch between the Selection tool and the Text tool. To reposition the title text: 1. With the Selection tool selected, click the title and drag it so it appears across the water. 2. Use the arrow keys to move the title more precisely. Changing Color To change the color of the title text: 1. Click and hold the Fill box. The Title Tool Color Picker opens. 2. Click a blue color.
Chapter 9 Creating Titles Editing the Title into the Sequence To add your title to your sequence: 1. Double-click the title in the bin. The title opens in a Source pop-up monitor. 2. Click the V2 Video Track Monitor button to activate it and deselect the V1, A1, and A2 Track Monitor buttons. 3. Click the V1 Source Track button and drag it to the V2 Record Track button. 4. With the title clip loaded in the Source monitor, set an IN point at the beginning of the clip and an OUT point at 1:00:02:15. 5.
Adding Rolling Credits Editing an Existing Title To edit the existing title: 1. In the bin, press and hold the Ctrl key, and double-click the Rolling Title: Credits clip to open it in the Title tool. 2. Click the pointer and drag it over the entire Your Name text to select it. 3. Type in your name. 4. Click the Close button. A dialog box opens. 5. Click Save. Two titles appear in the bin (the old title and the new title you just edited). Adding a Video Background To add video background to your title: 1.
Chapter 9 Creating Titles 6. Click the yellow Splice-in button. The rowing in mist clip is added to the sequence. Viewing the Creation Date Your edited title has the same name as the version originally in the bin. To distinguish the two, you can look at the creation date. To view the creation date: 1. Click the Source Clips bin to select it. 2. Select Bin > Headings. 3. Select creation date and click OK. The clips now appear with their creation dates.
Closing the Title Tool 7. Click the V1 Source Track button and drag it to the V2 Record Track button. 8. Click the yellow Splice-in button. The Rolling Title: Credits clip appears over the rowing in mist clip. 9. Click the Play button to view the rolling title over video. Deleting Excess Footage There is excess footage continuing beyond the rolling title. To delete the excess: 1. Click the V1 Record Track button. 2. In the Timeline, move the position indicator to the end of the Credits clip. 3.
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Chapter 10 Finishing Your Sequence (Symphony Only) Correcting color and adding a blurred effect are special effects you can add to finish a sequence.
Chapter 10 Finishing Your Sequence (Symphony Only) Finishing Mode Avid Symphony allows you to add the features you would normally add in an offline suite. These include: audio finishing, color correction, keying, scratch removal, and matte creation. Using Finishing Mode Finishing mode lets you view a sequence in a large window called the Playback monitor. When you first open Symphony, the Source and Record monitors appear.
About the Paint and AniMatte Effect Color Effect The Color Effect is a segment effect you can use to modify the luminance, chroma, style (posterized or solarized), and color gain of the segment. You can adjust the following parameters: n For an explanation of these parameters, see “Color Effect” in the Avid Symphony Effects Guide.
Chapter 10 Finishing Your Sequence (Symphony Only) The AniMatte™ effect enables you to generate custom matte effects you can apply to a segment or transition in a sequence. You can use a variety of brushes and painting tools to create matte effects that you can animate.
About Nesting Effects About Nesting Effects You can use the Avid Symphony system to place effect tracks inside one another to better combine multiple images and digital video effects. This involves a process known as nesting, which allows you to use the Timeline to step into a track’s edit, perform a series of editing operations, and then step out to view and render the effect as one segment on the track. For more information on nesting effects, see the Avid Symphony Effects Guide.
Chapter 10 Finishing Your Sequence (Symphony Only) Tutorial: Finishing Mode In this tutorial, you finish the sequence with some special effects. n If you need more information, be sure to read the preceding overview sections of this chapter before you start this tutorial. 1. If your Avid system is not already running, start it by double-clicking the Avid application icon. 2. Select your user name and your Boat Shop NTSC or Boat Shop PAL project and click OK. 3.
Removing Red from a Clip The V2 track becomes highlighted and the Color Effect icon appears on the clip. Color Effect icon 8. Move the position indicator over the Color Effect icon in the Timeline. 9. Click the Effect Mode button. The Effect Editor opens. Color Gain button 10. Click the Color Gain button to expand it. 11. Click the Red slider and drag it, or press the Left Arrow key on the keyboard, until you display 95. 12. Click the Step Out button at the bottom of the Timeline. Step Out button 13.
Chapter 10 Finishing Your Sequence (Symphony Only) Adding a Blurred Effect To add a blurred effect: 1. With the Boat Shop sequence loaded into the Playback monitor, turn on the V1 track. 2. Select Tools > Effect Palette. The Effect Palette opens. 3. Click Image from the Effect Categories list. 4. Click the Paint Effect icon and drag it to the bridge clip in the Timeline. 5. Move the position indicator over the Paint Effect icon in the Timeline. 6. Click the Effect Mode button. The Effect Editor opens. 7.
Adding a Blurred Effect n For more information on using the Curve tool, see the Avid Symphony Effects Guide. 9. In the Playback monitor, click and drag to trace a freehand outline under the bridge (around the water and sky). 10. Release the mouse button when you are finished with the outline. A wire-frame outline appears around the area you have selected. 11. From the Effect Editor, click the Mode button to expand it. 12. Within the Mode options, click the Fast Menu button and select Blur.
Chapter 10 Finishing Your Sequence (Symphony Only) 13. Click the Opacity slider and drag it to 62. Move Opacity slider to 62. 14. Click the Source/Record Mode button to exit Effect mode. 15. Play the sequence through. You’ve finished this tutorial. You can go on to “Tutorial: Output” on page 212, or quit the Avid system.
Chapter 11 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) to be used by editors in a videotape suite for preparing a master tape.
Chapter 11 Generating Output Preparing for Output For more information on calibrating and adjusting video and audio output levels, see “Video:calibrating (advanced) output” and “Audio output:calibration tone” in the Help index. For more information on mixing down audio tracks, see “Audio tracks:mixing down” in the Help index. Preparing for video output involves the following procedures: • Render all non-real-time effects, as described in the appropriate effects guide.
About Exporting Files • Select the tracks to record to on the tape. • Add black at the end of a digital cut. The Digital Cut tool has the following operating modes: • Remote mode allows you to control the decks using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. • Local mode allows you to manually control the decks using the controls on the decks.
Chapter 11 Generating Output n If you plan to transfer the exported files to another Avid system or thirdparty application, see the appropriate section in this chapter. The following sections describe general procedures for preparing to export a sequence and for exporting frames, clips, and sequences.
Preparing to Export a Sequence • • OMFI files with very complex sequences can fail during import into some applications due to memory limitations. Try one of the following solutions: t Break the sequence into smaller sequences and export the new sequences. t Add more physical memory. To export multiple clips in a single OMFI file, create a sequence from them.
Chapter 11 Generating Output Tutorial: Output In this tutorial, you create a digital cut. n If you need more information, be sure to read the preceding overview sections of this chapter before you start this tutorial. 1. If your Avid system is not already running, start it by double-clicking the Avid application icon. 2. Select your user name and your Boat Shop NTSC or Boat Shop PAL project and click OK. 3. From the Project window, double-click the Source Clips bin. The clips are displayed in the bin.
Recording a Digital Cut to Tape The Digital Cut tool opens. 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 play the entire sequence from start to finish. t Deselect the Entire Sequence option if you have established IN points, OUT points, or both for recording a portion of the sequence. 5.
Chapter 11 Generating Output 7. Click the pop-up menu, and select an option from the Deck Control option area to indicate where to start recording on the tape: t Click the pop-up menu, and select Sequence Time to start the recording at a timecode existing on tape that matches the start timecode of the sequence. If you intend to record several sequences to tape one after another, this option requires resetting the start timecode on each sequence to match the appropriate IN points on the tape.
Recording a Digital Cut to Tape 11. Click the Play Digital Cut button. The system cues the record deck, and then plays and records the sequence. The playback appears in the Record monitor and in the Client monitor. n Depending on the system configuration, you might need to use the Deck controls on the Digitize tool to review a digital cut. 12. To stop the recording at any time, press the space bar.
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Chapter 12 Backing Up When you digitize footage, the system creates digital media files for the video and audio tracks on the media drives attached to your system. The Avid system provides useful tools and features for directly managing media files for storage, for playback, for backup, and for transfer between systems.
Chapter 12 Backing Up About Media Files The system stores the media files created during digitizing in folders on your media drives labeled OMFI MediaFiles. Media files are created in the following circumstances: • During digitizing, a media file is created for each selected track (for example; V1, A1, A2), and they all are linked to the master clip. • When you render effects, the system creates effect media files, otherwise known as precomputes, that are linked to the effect clip.
About Media Files Media Objects and Files Media drive files Internal drive files Drives Windows OMFI MediaFiles Macintosh Avid Projects Desktop files Media Database Bin Precompute media file 219
Chapter 12 Backing Up Media Relationships Table 2 displays the Media File icons and a description of each icon. Table 2 Media Objects and Files Object Icon 220 Object Description Source clip A clip that references the original videotape source footage for master clips. Master clip A clip that references audio and video media files formed from digitized footage or imported files. Subclip A clip that references a selected portion of a master clip.
Basic Media Tool Features Basic Media Tool Features The Media tool provides many of the same controls for viewing and managing information you use with bins, including the following: • Four views in the Media Tool function like those in bins: Brief view, Text view, Script view, and Frame view. • The Media Tool Fast menu gives you quick access to all the same commands available in the Bin Fast menu. • You can highlight, move, copy, duplicate, delete, and sift clips.
Chapter 12 Backing Up The Media tool also has a number of unique functions: • Unlike bins, the Media tool displays all the tracks digitized for each clip as separate media files. Therefore, when you view, delete, and manipulate files, you have the added option of specifying individual video and audio tracks. • Unlike a bin, the Media tool does not display sequences and subclips. Only master clips, precompute (rendered effect) clips, and associated media files are available for display.
Consolidating Media About the Consolidate Feature The Consolidate feature operates differently depending upon whether you are consolidating master clips, subclips, or sequences. There are also different advantages in each case, as follows: n • Master clips: When you consolidate a master clip, the system creates exact copies of the media files. If you link the original master clip to the new files, the system creates a master clip with the file name extension .old that remains linked to the old files.
Chapter 12 Backing Up Backing Up Media Files The MediaFiles folders on your external media drives contain the individual media files created when you digitize source material. Unlike the smaller Avid Projects and Avid Users folders, these folders are too large to back up onto floppy disks.
Tutorial: Backing Up Tutorial: Backing Up In this tutorial, you learn to back up and free up space on your media drive. n If you need more information, be sure to read the preceding overview sections of this chapter before you start this tutorial. 1. If your Avid system is not already running, start it by double-clicking the Avid application icon. 2. Select your user name and your Boat Shop NTSC or Boat Shop PAL project and click OK. 3. From the Project window, double-click the Source Clips bin.
Chapter 12 Backing Up The Consolidate dialog box opens. 4. Select one of the following: t “Delete original media files when done” to delete original media files automatically. t “Skip media files already on the target disk” if some related media files are already located on the target drive. t “Relink selected clips to target disk before skipping” to ensure that all selected clips are linked to media on the target drive.
Saving Your Work on a Drive or Floppy Disk Another way to back up media files is to copy them directly onto another hard drive using the Windows or Macintosh desktop. You cannot, however, take advantage of the storage-saving features of the Consolidate command, and it is more difficult to identify particular media files when searching directly through folders c Do not make copies of media files from the Windows or Macintosh desktop while the Avid application is running.
Chapter 12 Backing Up Restoring from a Backup To restore a project, user profile, or settings from a backup storage device: If you are restoring an individual bin or bins, you must relink them to the project from within the Project window. For more information, see “Media files:relinking” in the Help index. 1. Mount the drive or insert the floppy disk as appropriate. 2. Open the drive or floppy disk and the internal hard drive (Windows) or the Macintosh HD drive (Macintosh). 3.
Summary Summary Congratulations on completing the Avid Tutorial! We hope you’ve enjoyed this introduction to the Avid editing process. After mastering these skills, you can proceed to learn more advanced techniques for inputting media, adding other effects and titles, and outputting work for digital cuts or EDLs. For further information about any Avid system techniques or features, see the Help system or the appropriate editing guide.
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Glossary This Glossary defines terms used in Avid documentation. Some entries might not apply to your particular system. 24p 24-fps progressive media. The Avid system creates 24p media by combining (deinterlacing) two video fields into a single full, reconstructed frame. For NTSC film-to-tape transfers, the system creates 24p media by undoing the 2:3 pulldown inserted by the telecine process, removing the extra fields, and creating progressive frames. 25p 25-fps progressive media.
Glossary A-roll A/B-roll A method of conforming that requires the compositing of all multilayer effects into a single layer (including laboratory-standard dissolves and fades) before assembly. Also called single-strand editing. 1. A method of conforming that limits the amount of optical work by managing most standard dissolves and fades using two strands of film. Also called double-strand editing. 2.
Glossary AIFF-C Audio Interchange File Format-Condensed. A sampled-sound file format that allows for the storage of audio data. This format is primarily used as data interchange format but can be used as a storage format as well. OMF Interchange includes AIFF-C as a common interchange format for uncompressed audio data. alpha channel An 8-bit, grayscale representation of an image used to create a mask for keying images. A-mode A linear method of assembling edited footage.
Glossary assemble edit An edit where all existing signals on a tape (if any) are replaced with new signals. Assemble editing sequentially adds new information to a tape and a control track might be created during the edit. The edit is made linearly and is added to the end of previously recorded material. See also overwrite. ATM Asynchronous transfer mode. A network technology based on transferring data in packets of a fixed size.
Glossary AUX Auxiliary track. In a video editing system, a channel reserved for connecting an external audio device, a video device, or both. Avid Attic folder The folder containing backups of your files or bins. Every time you save or the system automatically saves your work, copies of your files or bins are placed in the Avid Attic folder, until the folder reaches the specified maximum. The Avid Attic folder copies have the file name extension .bak and a number added to the file name.
Glossary baud The number of electrical oscillations that occur each second. Baud was the prevalent measure for bandwidth or data transmission capacity, but bps (bits per second) is used most often now and is more accurate. Bento A registered trademark of Apple Computer, Inc. A general container format and software API (application programming interface). Bento is used by OMF Interchange as a storage and access system for the information in an OMF Interchange file.
Glossary black edits 1. A video source with no image. 2. A special source you can fade into, out of, or use for other effects. black level See setup. black point The luminance value in a video image that you set to be equal to reference black when making a color adjustment. Compare with white point. blue screen A special effects procedure in which a subject is photographed in front of a uniformly illuminated blue or green background.
Glossary BVB Black-Video-Black. A preview mode that displays black, newly inserted video, and then black again. B–Y One of the color difference signals in the component color system of the NTSC video standard. The signal formula is: B–Y = 0.299R (red) – 0.587G (green) + 0.886B (blue) See also R–Y, Y. calibrate To fine-tune video levels for maximum clarity during recording or digitizing (from videotape). Capture Mask effect An effect that converts the format of source data during playback.
Glossary character generator An electronic device, or a computer device and software combination, that creates letters and numbers that can be superimposed on video footage as titles. chassis The housing for removable disk modules. The chassis contains a power supply, drives, and connectors for each module. chroma Video color. See also chrominance. ChromaCurve A trademark of Avid Technology, Inc.
Glossary circle take clip A take from a film shoot that has been marked for use or printing by a circled number on the camera report. 1. A segment of source material recorded or digitized into your system at selected IN and OUT points and referenced in a project bin. The clip contains pointers to the media files in which the actual digital video and audio data is stored. 2.
Glossary color correction The process of adjusting the color characteristics of video material to achieve an accurate representation of color and consistency of color from one clip in a sequence to another. The term generally refers to adjustments made across all the video in a program rather than to individual color changes made as part of a single effect.
Glossary compression 1. In audio, the process of reducing the dynamic range of the audio signal. 2. In video, a lack of detail in either the black or the white areas of the video picture due to improper separation of the signal level. 3. A reduction of audio signal detail, video signal detail, or both to reduce storage requirements during transformation from analog to Avid digital format.
Glossary control track The portion of the video recording used to control longitudinal motion of the tape during playback. Control track can be thought of as electronic sprocket holes on the videotape. CPU Central processing unit. The main computational section of a computer that interprets and executes instructions. crash edit An edit that is electronically unstable, such as one made using the pause control on a deck, or using a noncapstan served deck. crash recording See hard recording.
Glossary cut list A series of output lists containing specifications used to conform the film work print or negative. See also dupe list. D1, D5 Two digital videotape recording formats that conform to the ITU-R 601 (CCIR-601) standard for uncompressed 4:2:2 digital component video. D5 is very similar to D1 in that it is a component digital recorder. However, D1 records with 8-bit accuracy; D5 records with 10-bit accuracy. See also D2, D3.
Glossary delay edit See overlap edit. depth shadow A shadow that extends solidly from the edges of a title or shape to make it appear three-dimensional. See also drop shadow. digital cut The output of a sequence, which is usually recorded to tape. digital recording A method of recording in which the recorded signal is encoded on the tape in pulses and then is decoded during playback. digitally record To convert analog video and audio signals to digital signals.
Glossary D-mode An A-mode edit decision list (EDL) in which all effects (dissolves, wipes, graphic overlays) are performed at the end. See also A-mode, B-mode, C-mode, E-mode, source mode. dongle A hardware device used as a key to control the use of licensed software. The software can be installed on any system but will run only on the system that has a dongle installed. The dongle connects to the Apple Desktop Bus on Macintosh systems or to the parallel (printer) port on PC systems.
Glossary dubbing 1. In videotape production, the process of copying video or audio from one tape to another. 2. In film production, the process of replacing dialog on a sound track. See also ADR, foley. dubmaster A second-generation copy of a program master used for making additional preview or distribution copies, thereby protecting the master from overuse. dupe Duplicate. A section of film or video source footage that has been repeated (duplicated) one or more times in an edited program.
Glossary edge filter A filter that applies anti-aliasing to graphics created in the Title tool. See also anti-aliasing. edge numbers Sequential numbers mechanically printed or optically exposed along the edge of a strip of film to assist in matching negatives to work prints. edit To assemble film or video, audio, effects, titles, and graphics to create a sequence.
Glossary E-mode A C-mode edit decision list (EDL) in which all effects (dissolves, wipes, and graphic overlays) are performed at the end. See also A-mode, B-mode, C-mode, D-mode, source mode. encoding 1. The addition of technical data such as timecode, cues, or closed-captioned information to a video recording. 2. The conversion of RGB S-Video to composite video. energy plot The display of audio waveforms as a graph of the relative loudness of an audio signal.
Glossary field One-half of the scan lines in an interlaced video frame. In most systems, the odd-numbered lines form one field, and the even-numbered lines form the second. NTSC video contains approximately 60 fields (30 frames) per second, and PAL video contains 50 fields (25 frames) per second. file system A way of organizing directories and files on a disk drive, such as FAT or NTFS for Windows computers. See also format.
Glossary fps Frames per second. A measure of the film or video display rates (NTSC = 30 fps; PAL = 25 fps; SECAM = 25 fps; Film = 24 fps). frame One complete video picture. A frame contains two video fields, scanned at the NTSC rate of approximately 30 fps or the PAL rate of 25 fps. frame offset A way of indicating a particular frame within the group of frames identified by the edge number on a piece of film.
Glossary generation The number of times material has been rerecorded. The original videotaped material is the first generation. A copy of the original is a second-generation tape, and so on. Each generation shows a gradual loss of image quality. With digital copies, there is little or no loss in quality. genlock In Broadcast, a system whereby the internal sync generator in a device (such as a camera) locks onto and synchronizes itself with an incoming signal.
Glossary head frame headroom The first frame in a clip of film or in a segment of video. 1. In video, the room that should be left between the top of a person’s head and the top of the frame when composing a clip. 2. In audio, the amount of available gain boost remaining before distortion is encountered. heads out Film or tape wound on a reel with the tail on the inside next to the hub and the head end on the outside. hertz (Hz) The SI unit of frequency equal to one cycle per second.
Glossary Image Independence A registered trademark of Avid Technology, Inc. See also HIIP. I/O device Input/output equipment used to send information or data signals to and from an editing computer. initializing The setting of the computer edit program to proper operating conditions at the start of the editing session. ink numbers The frame identification numbers used to conform a film work print. Film Composer cut lists and change lists reference ink numbers.
Glossary ITU-R 601 The standard for standard-definition component digital video, published by the International Telecommunication Union as ITU-R BT.601-5 (formerly CCIR-601). This standard defines digital component video as it is derived from NTSC and PAL. It forms the basis for HDTV formats as well. jaggies The rough edges around computer-generated graphic objects and titles. jam syncing The process of synchronizing a secondary timecode generator with a selected master timecode.
Glossary Keykode A trademark of Eastman Kodak Company. A film-marking system that applies optical information identifying the film stock and footage at the edge of the film during manufacture. key numbers The original frame identification numbers applied by the film manufacturers to the film stock. Key numbers are used by the negative cutter to conform the film negative. Film Composer cut lists and change lists reference key numbers.
Glossary linear editing A type of tape editing in which you assemble the program from beginning to end. If you require changes, you must rerecord everything downstream of the change. The physical nature of the medium (for example, analog videotape) dictates how you place material on the medium. See also nonlinear editing. line feed load A recording or live feed of a program that switches between multiple cameras and image sources. Also known in sitcom production as the director’s cut. 1.
Glossary luminance The measure of the intensity of the combined color (white) portion of a video signal. M & E track The common designation for a single sound track containing music and sound effects but not dialog. magnetic track A sound track recorded on magnetic sound recording film. mark IN/OUT 1. The process of entering the start and end timecodes for a clip to be edited into a sequence. 2.
Glossary match-frame edit An edit in which the last frame of the outgoing clip is in sync with the first frame of the incoming clip, such that the incoming clip is an extension of the outgoing clip. matte key A video effect comprised of three components: the background video, the foreground video, and the matte or alpha channel (black and white or grayscale silhouette) that allows one portion of the image to be superimposed on the other.
Glossary mix 1. A transition from one video source to another in a switcher. 2. The product of a recording session in which several separate sound tracks are combined through a mixing console in mono or stereo. mixdown audio monitor The process that allows the user to combine several tracks of audio onto a single track. 1. In video, a picture tube and associated circuitry without tuner or audio sections. The monitor includes the display of source media, clips, and sequences.
Glossary Nagra negative A brand of audiotape recorder widely used in the film production and postproduction industries. 1. A film element in which the light and dark areas are reversed compared to the original scene; the opposite of a positive. 2. A film stock designed to capture an image in the form of a negative. noise 1. In video, an aberration that appears as very fine white specks (snow) and that increases over multiple generations. 2. In audio, a sound that is usually heard as a hiss.
Glossary NTSC National Television Standards Committee. The group that established the color television transmission system used in the United States, using 525 lines of information scanned at a rate of approximately 30 fps. See also PAL, SECAM. offline Pertaining to items that are unavailable to the computer, such as offline disks or media files. offline edit The preliminary or rough-cut editing that produces an EDL (edit decision list). OMFI Open Media Framework Interchange.
Glossary original negative The actual film stock used in the camera to photograph a scene. OUT point The end point of an edit, or a mark on a clip indicating a transition point. Also called a mark OUT. See also IN point, mark IN/OUT. outtake A take that is not selected for inclusion in the finished product. overlap edit An edit in which the audio and video signals are given separate IN points or OUT points, so the edit takes place with one signal preceding the other.
Glossary pop-up monitor An ancillary monitor used to view and mark clips and sequences. position bar The horizontal rectangular area beneath the Source monitor, Record monitor, Playback monitor, Composer monitor, and Source pop-up monitor that contains the position indicator. position indicator A vertical blue line that moves in the position bar and in the Timeline to indicate the location of the frame displayed in the monitor.
Glossary Program side In color correction, the second of two available levels of color adjustment. Corrections made on the Program side typically apply a final look to a finished sequence, for example, by fine-tuning the color values to enhance the mood of a dramatic program. See also Source side. progressive media Media composed of single frames, each of which is vertically scanned as one pass. project A data device used to organize the work done on a program or series of programs.
Glossary radio frequency (RF) The high-frequency portion of the electromagnetic spectrum used for transmitting television and radio signals. See also UHF, VHF. RAID Redundant Array of Independent Disks. The storage device standards that provide fault tolerance, which helps to recover a system if a drive malfunctions. RAID is also used to enhance throughput of stored data. RAM Random-access memory. Computer memory that is volatile and unsaved — information in RAM clears when the computer is turned off.
Glossary repeat effect A type of effect for repeating a frame so that it appears to “freeze” or stop the frame, or for repeating a series of frames, such as a series of animation frames. replace edit An edit in which a segment in the sequence is overwritten or replaced with source material of matching duration. resolution The amount and degree of detail in the video image, measured along both the horizontal and vertical axes.
Glossary RS-170A The Electronic Industries Association timing specification for NTSC broadcast video equipment. RS-170A specifies the timing of scans and blanking required to decode color signals. RS-232C The Electronic Industries Association standard interface for connecting serial devices. Usually referred to by the original standard name of RS-232. The standard supports two types of connectors: a 25-pin D-type connector and a 9-pin D-type connector.
Glossary sample unit A unit of measure used in recording or digitizing media data from a physical source, such as a videotape. Media data contains its own sample rate and the size of each sample in bytes. sampling The process of measuring the value of an analog signal at regular intervals during recording or digitizing. These measurements (“samples”) are used to construct a digital representation of the signal.
Glossary SECAM Séquential Couleur à Memoire. A color television standard developed in France and used throughout Europe. See also NTSC, PAL. secondary color correction Color correction that applies to specific parts of an image defined by hue and saturation values. A secondary color correction can change the green parts of an image to yellow without altering other colors in the image. See also primary color correction. SEG Special effects generator.
Glossary SI Système International d’Unites. The French version of the International System of Units. SI is roughly equivalent to the metric system. sifting The displaying of clips that meet specific criteria in a bin. signal-to-noise ratio The ratio of a wanted signal to an unwanted signal. silence Blank (black) space in the audio tracks in a Timeline that contains no audio material. single-perf film Film stock that is perforated along one edge only. single-strand editing See A-roll.
Glossary SMPTE timecode A frame-numbering system developed by the Society of Motion Picture and Television Engineers that is used primarily for electronic editing and timing of video programs. It assigns a number to each frame of video, telling the elapsed number of hours, minutes, seconds, and frames; for example, 01:42:13:26. See also time-of-day timecode. soft wipe A wipe effect from one image to another that has a soft, diffused edge.
Glossary splice An edit in which the material already on the video or audio track is lengthened by the addition of new material spliced in at any point in the sequence. See also overwrite. split edit See overlap edit. split-screen The video special effect that displays two images separated by a horizontal or vertical wipe line. spot color correction A color adjustment made to a specific part of a video image that is identified using drawing tools. See also secondary color correction.
Glossary striped stock 1. Film stock to which a narrow stripe of magnetic recording material has been applied for the recording of a sound track. 2. See black and code. subcarrier (SC) subclip The sine wave used as a color reference signal. 1. An edited part of a clip. In a sequence, a subclip can be bound by any variation of clip beginnings, endings, and mark points. 2. A subclip created by marking IN and OUT points in a clip and by saving the frames between the points.
Glossary TBC Time-base corrector. An electronic device that improves video signal stability by correcting time-base errors inherent in mechanical videotape recorders. telecine A device that transfers motion picture film images onto videotape. text file See ASCII. three-button play See value. three-perf film Film stock generated via a modified camera gate that creates a frame size three perforations in height rather than the standard four perforations.
Glossary timecode An electronic indexing method used for editing and timing video programs. Timecode denotes hours, minutes, seconds, and frames (00:00:00:00) elapsed on a videotape. Address track timecode is recorded simultaneously with the video picture. Longitudinal timecode (LTC) is recorded on an audio track. Vertical interval timecode (VITC) is recorded in the vertical blanking interval of the video track. SMPTE timecode is the prevalent standard.
Glossary tracker In motion tracking, a structure associated with a specific region of interest and containing one set of data points. You can use multiple trackers on the same clip to define complex motion. tracking The positioning of video heads during playback of a tape so that the heads reproduce the strongest possible signal. Tracking is adjusted on the deck before recording or digitizing.
Glossary UHF Ultrahigh frequency. One of the television signals for broadcasting in the United States per FCC standards. UHF is the frequency between very high frequency (VHF) and super high frequency (SHF). U-matic See 3/4-inch U-matic. uncompressed video A recorded or digitized video stream that is not processed by a data compression scheme. The video signal remains uncompressed at all stages of the process: input, storage, and output. Uncompressed video conforms to the ITU-R 601 standard.
Glossary vectorscope A visual display that shows the electronic pattern of the color portion of the video signal. It is used to adjust the color saturation and hue using a stable color reference such as color bars. The Avid Vectorscope monitor uses a single-line display. See also waveform. vertical blanking interval The period during which the television picture goes blank as the electron beam returns (retraces) from scanning one field of video to begin scanning the next.
Glossary VITC Vertical interval timecode. The timecode inserted in the vertical blanking interval. Compare with LTC. See also timecode. V-LAN A registered trademark of Videomedia, Inc. An industry-standard software protocol for video device control. The V-LAN network allows a computer application to control and synchronize all connected VTRs, switchers, DATs, mixers, and DVEs. VLXi A registered trademark of Videomedia, Inc.
Glossary wild sound, wild track A recording of sound on either videotape or audiotape made without an accompanying picture. window dub See burn-in. wipe A shaped transition between video sources in which a margin or border moves across the screen, wiping out the image of one scene and replacing it with another. work print A film print made from the original negative that is used during the editing process to produce a cut list or an edit decision list for final program assembly.
Glossary Z axis The axis that is perpendicular to the X and Y axes in a three-dimensional system. zero duration dissolve The method of editing two scenes end-to-end simultaneously; also called a cut.
Index ABCDEFGHIJKLMNOPQRSTUVW Numerics 24p media 47 25p media 48 A Add Keyframe button 178 Adding background images 178 clips to a sequence 131 effects 163–180 fade-in effect 170 keyframes 177 Picture-in-Picture effect 175 synched audio 158 Adjusting audio hardware 76 hue and saturation 78 luminance 77 volume 143, 159 Adobe Photoshop 164 Agreeing to electronic license 35 Analog VU scale (Audio tool) 75 Applying effects to a sequence 167 Arrow keys jogging with 92 A-side (outgoing frames) in trims 138 Aud
Index Basic settings 63 Batch digitizing 80 Big Trim mode switching between Big and Small Trim mode 137 Bin pop-up menu (Digitize tool) 73 Bin settings defined 64 Bin views 82, 83 Bins autosaving 182 defined 49 display (Project window) 60 Frame view Macintosh 98 Windows 98 Text view 97 using system backup to save 224 viewing clips in 96, 112 Black burst generator turning on 28 Blue bar See Position indicator Brief tab (Bin window) 82 Brief view (Bin window) 82 Brightness of color effects See also Luminance
Index Trim A-side 138 Trim B-side 138 Trim Mode 135, 137, 154, 156 Vectorscope Monitor (Video Input tool) 78 Video Input Tool (Digitize tool) 74 Buttons (Help) Contents 40 Index 40 Search 41 C Check list preparing to digitize 78 Clear Both Marks button 108, 131 Clip icon 95 Clip name (Digitize tool) 73 Clips exporting 209 marking 102 playing 99 rearranging 150 sorting by clip name 97 splicing 123 viewing 96, 112 Closing projects 109 Title tool 195 Color picker Macintosh 187 Color selection boxes in Title
Index Digital cuts defined 49 previewing 208 record options 214 recording 208 Digital VU scale (Audio tool) 75 Digitize indicator (Digitize tool) 73 Digitize settings 72 Digitize tool 72 Digitize/Log Mode button (Digitize tool) 73 Digitizing 71–80 and logging at the same time 79 from a mark IN to a mark OUT 79 on-the-fly 79 preparations 78 Disk saving work on 224 Displaying digitizing status 73 Project settings 63 Dissolves creating a series of 172 Drive saving work on 227 Dual-roller trim 154–157 E Edit
Index Finding information with Help 39 Fixed-storage drive turning on 28 Focus button (Timeline) 116 Focusing the Timeline 116 Footage marking IN and OUT points in 94 rearranging 151 removing 152 viewing and playing 86–93 Frame offset 107 Frame tab (Bin window) 84 Frame view Macintosh 98 Windows 98 Frame view (Bin window) 84 Frames exporting 210 finding with timecode 105 locating with digital audio scrub 122 title background in 182 using frame offset 107 Freeing storage space 222 Freeze Frame effect access
Index K Keyboard controlling playback with 89 Keyframes adding 177 L Left Arrow key 92 License agreement accepting 35 Lift button 153 Lift/Overwrite button 173, 174, 195 Luminance adjusting 77 M Macintosh Color Picker 187 Macintosh computer turning on 29 Macintosh desktop 29 Magic Mask with Paint Effect 199 Make Subclip button (Command palette) 95 Mark Clip button 150, 157, 174 Mark In Time option (Digital Cut tool) 214 Marking clips for storyboarding 145 using IN and OUT points 102 using timecode 105 Ma
Index O OMFI files preparing to export 210 Online documentation using 42 Online Help See Help system 36 Opening a project 68 Output 207–215 See also Digital cuts, Playback options 207 overview 55 preparing for 208 Output button (Audio tool) 76 Overwrite button 145, 151, 157, 192 Overwriting clips into a sequence 144 with three-point edit 150 P Paint Effect described 199 Peak/Hold button (Audio tool) 76 Peripheral hardware turning on 28 Picture tracks monitoring 120 Picture-in-Picture effect applying 174 d
Index Q S Quick Transition button (Fast menu) 172 Quitting the application 228 Saturation adjusting 78 Saving a title 191 bins 224 projects 224 settings for video input 78 work to floppy disk or drive 227 Scale bar in Timeline 115 Script tab (Bin window) 85 Script view (Bin window) 85 Scroll bar in Timeline 115 Search button (Help system) using 41 Search feature in Help 41 Second Row of Buttons displaying 170 Segment effects applying 166 multiple layer effects 166 single layer effects 167 Segment mode d
Index Sequences adding clips to 129 applying effects to 167 changing name of 123 consolidating 223 defined 50 dissolving between clips 172 editing (overview) 53 editing a title into 188 exporting 209 output options for 207 playing 123 rearranging footage in 150 removing footage from 152 splicing into 125 title editing 188 Setting up the browser 36 Settings Project window 63 Settings pop-up menu (Video Input tool) 78 Setup button (Audio tool) 76 Shutting down the system 228 Shuttling with J-K-L keys 91 with
Index Switching between Big and Small Trim mode 137 between Digitize mode and Log mode 73 Synched audio adding 158 T Tabs Brief (Bin window) 82 Frame (Bin window) 84 Script (Bin window) 85 Text (Bin window) 83 Tape Name display (Digitize tool) 74 Text for titles repositioning of 191 Text formatting tools 184 Text tab (Bin window) 83 Text tool working with 184 Text Tool button 189 Text view 97 Text view (Bin window) 83 Third-party plug-in effects 164 Three-button play 91, 99 Timecode using as reference for
Index exiting 137 in workflow 53 performing basic trim in 135 selecting single transitions in 135 selecting trim sides in 138 switching between Small and Big Trim mode 137 using Play Loop button in 136 Trim Mode button 135, 137, 156 Trim sides selecting 138 Trimming 154–159 Turning on the system Macintosh 29 Windows 28 Tutorial installing Macintosh 33 Windows 29 U Video tracks monitoring 120 Videotape recording digital cut to 208 Viewing clips in bins 96, 112 in monitors 112 Viewing in monitors 112 Viewi
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