® ® ® Avid Media Composer , NewsCutter , and Symphony™ Supporting Applications Guide
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The following disclaimer is required by the Independent JPEG Group: This software is based in part on the work of the Independent JPEG Group. This Software may contain components licensed under the following conditions: Copyright (c) 1989 The Regents of the University of California. All rights reserved.
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MediaLog, MediaMatch, MediaMix, Media Reader, Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync, MicroTrack, MIDI I/O, Midiman, Mix Rack, MixLab, Moviebox, Moviestar, MultiShell, NaturalMatch, NewsCutter, NewsView, Nitris, NL3D, NLP, Nova, NRV-10 interFX, NSDOS, NSWIN, Octane, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Ozone, Ozonic, Painterly Effects, Palladium, Personal Q, PET, Pinnacle, Pinnacle DistanTV, Pinnacle GenieBox, Pinnacle HomeMusic, Pinn
Contents Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Avid MediaLog . . . . . . . .
Understanding Timecode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Prepare to Log Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Logging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67 Modify Clip Information After Logging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Create Avid Logs . . . . . . . . . . . .
Avid MetaFuze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137 Chapter 9 Using Avid MetaFuze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Film and High-Resolution Workflows using MetaFuze . . . . . . . . . . . . . . . . . . . . . . 139 Opening a Project in MetaFuze. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Customizing the MetaFuze Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
MetaSync Workflows . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 MetaSync DTD Files Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 Chapter 12 Using MetaSync Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Opening and Closing MetaSync Manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 Using MetaSync Manager Help . . . . . . . . . . . . . . . . . . . . .
Understanding the Modify Enhancement Dialog Box . . . . . . . . . . . . . . . . . . . . . . . 222 Changing the Size and Position of the Video Image (Windows Only) . . . . . . . . . . 223 Opening an Enhancement’s Native Application . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Exporting a Sequence with Meta Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 Chapter 14 Using MetaSync Publisher . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 17 Editing and Troubleshooting EDLs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 EDL Online Resources. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Using a Text Editor to Edit an EDL. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 Removing Issues in Complex Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Locating Trouble Spots . . . . . . . . . . . . . . . . . . . . . . . . . . .
How to View Sequences as QuickTime Movies . . . . . . . . . . . . . . . . . . . . . . . . . . . 320 How to Save, Open, and Print Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 Special-Purpose Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 Multiple Cuts and Reels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 The Matchback Option . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide This guide contains complete information on the following supporting applications for your Avid® editing application: • Avid MediaLog™ • Avid MetaFuze® • Avid MetaSync® • Avid EDL Manager • Avid FilmScribe™ This guide is intended for all users, from beginning to advanced. Unless noted otherwise, the material in this document applies to the Windows® and Mac OS® X operating systems.
Symbol or Convention Meaning or Action > This symbol indicates menu commands (and subcommands) in the order you select them. For example, File > Import means to open the File menu and then select the Import command. This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed.
Accessing the Goodies Folder 3. Check the documentation that came with your Avid application or your hardware for maintenance or hardware-related issues. 4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read or join online message-board discussions.
1 Avid MediaLog This section provides information about Avid MediaLog, an application that lets you select and log footage. Avid MediaLog frees up your Avid editing application for editing rather than for logging footage.
1 Avid MediaLog 20
1 Understanding Avid MediaLog Avid MediaLog is a tool to select and log footage before your edit session. Although you can log footage with Avid editing applications, using Avid MediaLog frees up your Avid editing system for editing rather than for logging footage. After logging shots (for example, on a laptop), use your Avid editing system to capture and edit the footage. In addition, you can transfer film to National Television Standards Committee (NTSC) or Phase Alternating Line (PAL) video.
1 Understanding Avid MediaLog How Does Avid MediaLog Work? The Avid MediaLog system uses clips, bins, and projects to organize your work. Avid MediaLog clips and bins are a lot like their film counterparts. Just as film editors pull clips from their raw footage and store the clips in bins for the editing session, Avid MediaLog lets you select shots from your tapes and store information about the shots in bins. A clip corresponds to a shot you select from a tape.
How Does Avid MediaLog Work? Deck and log controls are in the Logging tool. Logging tool, with Deck controls on the bottom left and Log controls on the bottom right If you have a log sheet, you can log clips without using a deck. You type the start and end timecodes for each clip, and then add them to the bin. Avid MediaLog uses a project file to organize all the work you do on a single job. You must always create a new project or open an existing project before you can open a bin and log your shots.
1 Understanding Avid MediaLog Project Window displaying two bins What Are the Basic Logging Steps? To perform a logging session: 1. Start your computer and the Avid MediaLog program. 2. Create a new or open an existing project. 3. Create a new or open an existing bin. 4. Prepare to log: a. Select a video format. b. Enter Logging mode. c. Select a source name. 5. Select the tracks you want to log from the tape. 6. Log the clips. 7. Save and organize the bin. 8.
2 Getting Started This chapter describes how to set up the hardware and run Avid MediaLog sessions. • Setting Up the Hardware • Turning on Your Equipment • Avid MediaLog Installation • Starting Avid MediaLog • Understanding User Profiles • Backing Up Your Project Information • Ending a Work Session Setting Up the Hardware For information on supported hardware for your system, including supported decks, see the ReadMe documentation that came with your Avid editing application.
2 Getting Started Turning on Your Equipment Avid recommends that you turn on your equipment in the following order: 1. Storage devices. 2. Peripheral devices (such as monitors and speakers). 3. Computer system. 4. Avid input/output hardware device. n Do not disconnect devices while you run your Avid editing application. Before you start your Avid editing application, make sure you connect all your devices first.
Starting Avid MediaLog 3. Turn on the computer. c Do not run any other Avid editing application on the computer at the same time as the Avid MediaLog application. The two applications conflict with each other. 4. Do one of the following: t (Windows) Click Start > All Programs > Avid > MediaLog. t (Macintosh) Select Go > Applications, and then double-click the Avid MediaLog folder. Then double-click the Avid MediaLog application icon to start Avid MediaLog. The Select Project dialog box appears.
2 Getting Started Project Type Source Footage Transfer (Continued) Color Space 1080p/24 For film footage transferred to videotape, or high-resolution files from digital film cameras. True 24-fps editing. YCbCr RGB 1080p/25 For film footage transferred to videotape, or high-resolution files from digital film cameras. YCbCr RGB 1080i/50 For video-originated material, or high-resolution files from digital film cameras. Can be directly captured, edited, and output for HD broadcast.
Starting Avid MediaLog 5. Click the Format menu and select a project type. Your options might change depending on the project type you choose. Example of the New Project dialog box 6. Set the following additional option(s), where applicable: Option SD Aspect Ratio Select either 4:3 or 16:9 HD Always uses the 16:9 aspect ratio.
2 Getting Started Option SD Audio Transfer Rate Matchback HD Available for 24p PAL projects. Available for 25i PAL, 30i NTSC, 720p, and 1080i Matchback projects only. Select Matchback, then click the Film button and select a format for film gauge tracking from the Default Film Type menu. The Matchback item appears only if your Avid editing application includes the Matchback option 7. Click OK.
Starting Avid MediaLog Opening and Closing Projects You can open a project from the Select Project dialog box, and navigate from the Select Project dialog box to find any project on your system. If you have already created a project, when you enter your Avid editing application you can bypass the Select Project dialog box and have your last project open automatically.
2 Getting Started Browse button in the Select Project dialog box 2. Click the Browse button. The Browse for Folder (Windows) or Project Directory (Macintosh) dialog box opens.
Starting Avid MediaLog 3. Navigate to the folder that contains the project you want. 4. Click OK (Windows) or Choose (Macintosh). 5. Select a project in the Projects list. 6. Click OK. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box. The next time you open the Select Project dialog box, the path you selected will be displayed when you click the External button. To open a project automatically: 1.
2 Getting Started 4. Use the Bins tab in the Project window to open one or both of the bins in the project: - Boston Seq DV25 contains a complete sequence - Boston Project source contains all the video and audio clips in the project To close the current project, do one of the following: t With the Project window active, select File > Close Project. t Click the Close button in the Project window.
Backing Up Your Project Information When you export a user profile, you can select either a Personal or Group profile. - When you select Personal, the user profile performs an auto-load and an auto-save every time you open a project. Every time the user profile is updated, it saves the new profile information. For example, you can create the user profile Jennie on one system, export it to another location (a server), and then import it to a different system.
2 Getting Started To save your work on a drive or on removable media: 1. Mount the drive or insert the storage media (USB drive, CD-ROM, or DVD-ROM). 2. (Windows only) From the Windows desktop, double-click the My Computer icon. 3. Double-click the icon for the destination storage drive or storage media to open it. Double-click any additional folders to target the appropriate storage location. 4. Navigate to the folder that contains the project folder or the user folder you want to save. 5.
Ending a Work Session Quitting Avid MediaLog There are two ways to quit Avid MediaLog, depending upon whether you have a project open or you are between projects: t If you are working on an open project and want to quit Avid MediaLog quickly, select File > Exit (Windows) or File > Quit MediaLog (Macintosh). The project closes and Avid MediaLog quits. t If you are between projects, from the Select Project dialog box: a. Click the Quit button.
2 Getting Started 38
3 Working with the Project Window The Project window provides controls for structuring and viewing important information about your current project. This chapter covers the following topics: n • Overview of the Project Window • Using the Bins Tab • Project Settings • The Format, Info and Usage Displays • Other Tools This chapter refers to the installation default directory path for the various Avid folders.
3 Working with the Project Window Project window information is organized in tabs. Tab Function Bins Lets you create and open bins. Settings Lets you view and modify settings. Effects Lets you access a library of effects. Format Lets you view information about the format of the project. Info Lets you view information about system memory usage and system hardware configuration.
Using the Bins Tab To view a list of bins associated with the project: t Click the Bins tab in the Project window. Fast menu button (top) and Bins list with bin icons (bottom) in the Bins tab of the Project window. Creating a New Bin To create a new bin from the Project window: 1. Do one of the following: t Select File > New Bin. t Click the New Bin button in the Project window. A new (empty) bin opens and is given the name of the project as displayed in the title bar of the Project window.
3 Working with the Project Window n (Macintosh only) You can set the Use Windows compatible File Names option in your Avid editing application’s General Settings dialog box to prevent your Avid editing application from accepting these restricted characters in a bin, project, or user name. If you use your Avid editing application as a standalone editing application (and don’t plan to move your bins or projects to another platform), you have the option to extend bin and project names to 31 characters.
Using the Bins Tab To open a bin from another project: 1. Select File > Open Bin. The Open a Bin dialog box opens. 2. Find and select the bin you want. Bins have the file name extension .avb. 3. Click Open. The bin appears in the Bins list in a folder called Other Bins. The name Other Bins appears in italic. You can rename this folder. This option is useful when you want to open a bin not currently displayed in the Project window.
3 Working with the Project Window To create a folder in a project: 1. Click the Fast menu button, and select New Folder. A new untitled folder appears. 2. Click the untitled folder name in the Bins list and rename it. To show or hide the folder’s contents in the Bins list in the Project window: t Click the arrow next to a folder icon. To view a list of only the folder contents and not the folders: t Click the Fast Menu button, and select Flat View.
Using the Bins Tab Viewing and Emptying the Trash If you need to view the contents in the Trash or decide you do not want to delete those items, you must first move the bins and folders from the Trash. c n Emptying the trash permanently removes the bins or folders from the drive. If you change the name of the Trash icon, you cannot empty the Trash. To view items in the Trash: 1. Click the arrow next to the Trash icon in the Bins list. 2.
3 Working with the Project Window Your Avid editing application automatically saves copies of all bins into the Avid Attic folder at regular intervals for backup. When your work is lost, or when you want to recover an earlier version of a bin or sequence, you can retrieve files from the Avid Attic folder. To adjust the frequency of automatic saves: 1. In the Project window, click the Settings tab, and then double-click Bin. The Bin Settings dialog box opens. 2.
Project Settings To view the Settings scroll list: t Click the Settings tab in the Project window. Understanding Settings Three types of settings appear in the Settings scroll list in the Project window: User, Project, and Site. The function of these settings is as follows: • User settings are specific to a particular editor. User settings reflect individual preferences for adjusting the user interface in your Avid editing application. Individual User settings are stored in each user folder.
3 Working with the Project Window Setting Name Description For More Information Audio Project Sets the rate for audio input. See the editing guide for your Avid editing system. Bin Sets the auto-save interval; double-click See “Using the Bins Tab” on preferences for bins and other page 40. bin-related parameters. Bin View Selects and formats the information displayed in bins. See “Bin Display Views” on page 82.
Project Settings c • Project settings: Reflect the specific needs of the project • Bin View settings: Display useful columns of information for each of the bins Never use a User settings file that was opened in an Avid editing application such as Avid Symphony, Media Composer, or NewsCutter. By establishing these settings once, and selecting the appropriate setting or bin view in context, you can save time and effort that would be spent searching for information or adjusting bin headings on-the-fly.
3 Working with the Project Window Option Description Workspace Linked Displays only linked workspaces. Workspaces Displays all Workspace settings you have created. Working with Settings You can view and modify most of your current settings by double-clicking them in the Settings scroll list of the Project window and by selecting new options. You can duplicate, rename, copy, and move settings among files or systems.
Project Settings 4. Click Copy & Restore to copy the current settings before restoring the default settings, or click Restore to discard the current settings. The system restores the default values for the selected settings. Using Site Settings When your Avid editing application opens a new project, it first searches the Site_Settings file and loads site settings and any other settings you have placed there.
3 Working with the Project Window Customizing Your Workspace A workspace is the arrangement and size of tool windows displayed in your Avid editing application. If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button. For example, during capture you might want to display the Capture tool and Video Input tool in specific locations.
Other Tools Opening the Format, Info or Usage Display To open the Format, Info, or Usage display: t Click the Format, Info, or Usage tab in the Project window. The items listed in this view are for information only and cannot be changed. Other Tools The Avid MediaLog application provides access to the Avid Calculator, the Communications (Serial) Ports tool, and the Console window for use while logging clips.
3 Working with the Project Window Using the Communications (Serial) Ports Tool The Communications (Serial) Ports tool allows you to view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without quitting Avid MediaLog or shutting down the computer. To access the Communications (Serial) Ports tool: 1. Double-click Communications (Serial) Ports in the Settings scroll list of the Project window.
4 Logging Source Material You use Avid MediaLog to log your clips in preparation for capturing later when using Avid editing applications.
4 Logging Source Material You can access some of the logging tools provided in Avid MediaLog in other Avid editing system products. Bins that you create with Avid MediaLog are completely compatible with your Avid editing application — you can copy Avid MediaLog bins to the Avid editing system to begin working with the logged footage. Deck Configuration and Preferences Avid MediaLog provides a feature that automatically configures your attached deck.
Deck Configuration and Preferences Configuring a Deck or Multiple Decks To configure a deck or multiple decks: 1. Verify that you have manually configured the appropriate hardware connections for the deck or decks. 2. Double-click Deck Configuration in the Settings list in the Project window. The Deck Configuration dialog box opens. 3. Click the Add Channel button. The Channel dialog box opens.
4 Logging Source Material 4. Click the Channel Type menu, and select one of the following items, depending upon your system configuration: Option Description FireWire Use if you are controlling a DV camera or deck through a FireWire connection. Direct Use if you are controlling a deck through an RS-422 connection to the serial port. VLAN VLX Use if you are controlling decks through a V-LAN/VLXi connection 5.
Deck Configuration and Preferences Example of a channel (left) and a deck (right) in the display area of the Deck Configuration dialog box n You can reopen the Channel settings to change the options at any time by double-clicking the channel box in the Deck Configuration dialog box. 8. If you did not autoconfigure the deck, click the channel box to select it. 9. Click the Add Deck button to open the Deck Settings dialog box.
4 Logging Source Material 10. Select the manufacturer and model number of your deck or other device. Selecting a model opens a template of settings for the device you selected. You can change these settings based on your device. 11. Click OK to close the Deck Settings dialog box and return to the Deck Configuration dialog box. n You can reopen the Deck Settings dialog box to change the options at any time by double-clicking the deck box in the Deck Configuration dialog box. 12.
Deck Configuration and Preferences 15. Click the Apply button to complete the configurations and close the Deck Configuration dialog box. 16. Double-click Deck Preferences in the Settings list in the Project window to review and if necessary adjust global deck control options. Deleting Deck Configuration Elements You can delete deck configuration elements to remove or replace them. To delete deck configuration elements: 1. Double-click Deck Configuration in the Settings list in the Project window.
4 Logging Source Material Option Description Stop any paused decks when quitting When this option is selected, any paused decks stop when you quit your Avid editing application. Selecting this option saves wear on the deck heads. Poll deck during digital cut When this option is selected, your Avid editing application checks the deck for the current timecode and displays it in the timecode window of the deck controller.
Prepare to Log Material 01:00:59:28 01:00:59:29 01:01:00:00 01:01:00:01 01:01:00:02 01;00;59;28 01;00;59;29 01;01;00;02 01;01;00;03 01;01;00;04 Comparison of non-drop-frame timecode (top) and drop-frame timecode (bottom) You set the default timecode format for logging clips in the Deck Preferences dialog box.
4 Logging Source Material To select the appropriate source deck, source tape, and active track settings for your logged material: 1. Open or create your project and the bin in which you want to store your master clips. For information about opening projects and bins, see “Getting Started” on page 25. 2. Select Bin > Go To Logging Mode. The Logging tool opens. Guidelines for Naming Tapes Consider the following naming guidelines when you provide a name for your tape: • Devise a naming scheme.
Prepare to Log Material n In some cases, your source material might not reside on a video deck. You can also select other source devices, such as a digital audiotape (DAT). Be sure the source material has readable timecode. To insert a source tape in a deck to prepare for logging source material with Avid MediaLog: 1. Set the REMOTE/LOCAL switch on the deck to REMOTE. 2. Insert a tape into the deck. 3. Select Bin > Go To Logging Mode. The Deck Controller tool opens as part of the Logging tool.
4 Logging Source Material Identifying the Source Tape To select a source tape: 1. Insert a tape into the deck. The Select Tape dialog box opens. n If you already have inserted a tape into the deck, click the Source Tape Display button in the Capture tool. For information about deck preferences, see “Deck Preferences Settings” on page 61. 2. In an NTSC project, play the tape for a few seconds so the system can detect the timecode format of the tape (drop-frame or non-drop-frame).
Logging Setting the Audio Sample Rate Before you begin logging, you must select an audio sample rate. To select the audio sample rate: 1. In the Project window, click the Settings tab. The Settings list appears. 2. Double-click Audio Project. The Audio Project Settings dialog box opens. 3. Click the Main tab. 4. Click the Sample Rate menu, and select a sample rate. 5. Close the Audio Project Settings dialog box.
4 Logging Source Material Marking and Logging The basic logging procedure involves marking In and Out points. You mark In and Out points using the Mark buttons or by typing In and Out timecodes. The button in the top left corner of the Logging tool changes according to the stage of logging. When the button appears as a pencil, Avid MediaLog is ready to log the clip. c For an NTSC film-to-tape transfer or footage downconverted from 1080p/24, you must log the correct pulldown phase.
Logging n The Mark OUT and Log and Mark IN and Log buttons only appear if you did not select the Pause Deck While Logging feature. If you want to pause the deck while you enter a clip name and comments, see “Pausing a Deck While Logging” on page 71. 3. To finish logging the clip, do one of the following: t Set the remaining In or Out points on-the-fly using the Mark IN or Mark OUT buttons or by pressing the F4 key. t Click the Mark OUT and Log or Mark IN and Log button.
4 Logging Source Material Memory buttons: (right to left) Mark Memory, Go to Memory, Clear Memory You can add one mark per tape. The memory mark is not stored on the tape. When you remove the tape from the deck and insert another tape into the deck, the mark clears. Logging On-the-Fly You can log clips while the tape is playing (also called “logging on-the-fly”).
Logging 9. (Option) Type a new name for the logged clip in the bin, and press Enter (Windows) or Return (Macintosh). 10. Repeat these steps until you have logged all your clips. Pausing a Deck While Logging If the deck plays while you log clips, you can direct Avid MediaLog to pause the deck automatically after you select an In point and an Out point. While the deck is paused, you can enter the name and comment for the clip you want to log. To pause the deck while logging: 1.
4 Logging Source Material 3. For NTSC projects, click the timecode menu and select either Drop Frame or Non-drop Frame as the timecode format for logging. 4. Click OK to close the Deck Preferences dialog box. 5. Make sure a bin is selected. 6. Select Bin > Go To Logging Mode. 7. Click the Source Tape Display button. A message box opens and asks if you want to associate a tape with the deck. 8. Click Yes to open the Select Tape dialog box. 9. Do one of the following: t Double-click the name of the tape.
Logging 12. Type the start timecode in the timecode entry text box for Mark In, and press Enter (Windows) or Return (Macintosh). 13. Type the end timecode in the timecode entry text box for Mark Out, and press Enter (Windows) or Return (Macintosh). 14. Click the Log Clip button. 15. (Option) Rename the clip that appears in the destination bin. Adding Clip Names and Comments On-the-Fly The Avid system’s Annotate feature allows you to type clip names and comments during logging.
4 Logging Source Material The following restrictions apply: • You must select the Capture tool, Digital Cut tool, or Deck Controller window for the keys to be active. • Single-field stepping is not supported. • If you remap the function of the J-K-L keys, you can no longer control decks with those keys. Modify Clip Information After Logging You can change or modify the information logged into the bin.
Import Logs Import Logs Many logging programs and film-to-tape transfer systems create logs you can import into your Avid MediaLog project. You can open some logs directly in Avid MediaLog bins. Others require converting to Avid format first. When you transfer film to video for logging in Avid MediaLog, ask the transfer house to log the source footage during the film-to-tape transfer.
4 Logging Source Material Log Format Requirements File Name Extension Keyscope Conversion required .ksl Log Producer™ Conversion required .llp Log right Import directly .ale OSC/R (Macintosh® only) Conversion required .asc OLE (Windows only) Conversion required .odb Shotlister Import directly .ale Tab Delimited Conversion required .txt Importing Log Files into Avid MediaLog Bins To import log files into a Avid MediaLog bin: 1. Open a bin and click its window to select it. 2.
Import Logs Option Description Combine events based on camera roll and automatically create subclips. Select this option to combine all the events from a camera roll into a single master clip. Then, link the master clip to subclips that represent the original events for that camera roll. To use this option, you must have camera roll numbers logged into a camera roll column in the bin for a film project. Merge events with known sources and automatically create subclips.
4 Logging Source Material Transferring Bins from Another Avid MediaLog System Avid MediaLog bins are compatible with those of other releases. In general, later releases of the Avid MediaLog application accept bins from earlier releases. When you transfer the bins to another system you can start your Avid MediaLog program and open the imported bins in the same way you open standard Avid MediaLog bins. To transfer a bin from one Avid MediaLog system to another Avid MediaLog system: 1.
5 Organizing with Bins The Avid system provides powerful database tools for organizing and managing your captured material. You can view bins in two different display views. You can rename, print, sort, sift, duplicate, and delete clips.
5 Organizing with Bins Film Scene Workflow During the organizing phase, common practice on film productions is to organize the captured clips according to a scene. This helps to simplify the work environment for the editor and keeps crowded bins to a minimum. Organize scene bins according to the following basic workflow: 1. Create one bin for each scene using the procedures described in “Creating a New Bin” on page 41. 2. Gather clips according to scene using one of the following optional procedures: 3.
Preparing to Work with Bins 5. (Option) Select “Show reference clips” to automatically display objects that are referenced by sequences in the bin, whether those clips were previously in the bin or not. 6. Click OK. The bin displays objects according to your specifications. Object Icons in Bins Bins use icons to identify clips, sequences, and other media objects that they display. The table describes all of the object icons that you might see in a bin display.
5 Organizing with Bins Icon Object Type Description (Continued) Motion Effects A file in the bin that references effect media files generated when you create motion effects Rendered Effects A clip that references an effect media file generated when you render an effect Groups (For MultiCamera editing) Clips containing two or more grouped clips, strung together sequentially according to common timecodes ITV Enhancement A clip that represents Interactive TV (ITV) enhancements that conform to SMPTE
Bin Display Views Top to bottom: column headings, object icons, and the Bin Fast menu button in a bin using Brief view Text View In Text view, clips are displayed in a database text format, using columns and rows, with icons representing the various objects. You can save various arrangements of columns, text, and objects as customized views. See “Customizing Bin Views in Text View” on page 83. To enter Text view: t Click the Text tab in the bin.
5 Organizing with Bins If you import a log file from your telecine transfer, most of this information is placed in the bin when you import the log. If you do not have a film log, then you can enter this information manually by highlighting the field in the bin and typing the information. There are several ways to customize views of the bin: • Alter the arrangement of existing columns in the standard Statistics view or Film view to suit your needs, without adding or hiding columns.
Basic Bin Procedures 3. Select and deselect the columns you want to display. 4. Click OK. Using the Bin Fast Menu All Bin menu commands are also available in the Bin Fast menu located in the lower left corner of every bin. The Bin Fast menu is especially convenient when you work with several open bins and need to access Bin menu commands quickly. To open the Bin Fast menu: t Click the Fast Menu button.
5 Organizing with Bins To select multiple clips or sequences in a bin, do one of the following: n t Ctrl+click (Windows) or Cmd+click (Macintosh) clips to add them to your selection. t Select a clip, and then Shift+click another clip to select a range of items. If you then Shift+click another clip, the range covers all clips from the one you originally selected to the new clip.
Basic Bin Procedures To move clips or sequences from one bin into another: 1. Create or open another bin. Give the bin a name that represents its purpose or contents. 2. Position or resize the original bin and the new bin so that you can see both of them at the same time. 3. Select the clips or sequences that you want to move. 4. Drag the clips or sequences to the new bin.
5 Organizing with Bins c When you delete media files, you can no longer see the deleted material. If you load a clip for which a media file has been deleted, a black screen appears with the words “Media Offline.” If you need to use those clips again, you must recapture the media from tape or reimport graphics. To delete individual video, audio and data tracks from a clip, use the Media tool. (Windows) To delete clips, subclips, and sequences with their media files from a bin: 1.
Basic Bin Procedures 3. Select the items you want to delete: t Select clips and their associated media files for deletion. t Select only the media files for deletion if you want to retain the clips to recapture later. t Select only the clips for deletion if the media file is referenced by another clip. t Select the resolutions you want to delete. The Resolutions to Delete section lists all video resolutions for the clips you selected.
5 Organizing with Bins This example shows one sequence and one master clip selected for deletion. 3. Select the items you want to delete. t Select clips and their associated media files for deletion. t Select only the media files for deletion if you want to retain the clips for recapturing later. t Select only the clips for deletion if the media file is referenced by another clip. 4. Click OK. If you choose to delete media files, a dialog box opens. 5. Click Delete.
Basic Bin Procedures To add a Color column to a bin: 1. With a bin in Text view, select Bin > Headings. The Bin Column Selection dialog box opens. 2. Click (Windows) or click (Macintosh) Color in the list. 3. Click OK. The Color column appears in the bin. By default, a new column appears as the last column in the bin. To move the Color column, select the Color column heading and drag it to the left. To assign a color to a clip, subclip, sequence, or effect clip in a bin: 1.
5 Organizing with Bins You can also sift on a timecode (or keycode) number within a specific range. For more information, see “Sifting Timecodes or Keycode Ranges” on page 95. To sift clips or sequences: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. Custom Sift dialog box. Left to right: Criterion menu, Text to Find text box, and Column or Range to Search menu 2. Click the Criterion menu, and select one of the sifting options. 3.
Basic Bin Procedures To view the sifted bin: t Select Bin > Show Sifted. The word “sifted” appears in parentheses after the bin name when you view the bin in its sifted state. Understanding Sifting Timecodes or Keycode Ranges You can sift on a timecode (or keycode) number within a specific range. For example, you can sift for all the clips that start before and end after a particular timecode.
5 Organizing with Bins Some column pairs explicitly define a range, for example, Start and End or Mark IN and Mark OUT. Other columns define the beginning of a range, and the end of the range is determined by the Duration column. For example, Auxiliary TC1 implies a range that begins at the value in the Auxiliary TC1 column and ends at that value plus the value in the Duration column.
Basic Bin Procedures Bin Column (Implicit Ranges) Column or Range to Search Menu Item Film TC Film TC Range Sound TC Sound TC Range Auxiliary TC1 Auxiliary TC1 Range Auxiliary TC2 Auxiliary TC2 Range Auxiliary TC3 Auxiliary TC3 Range Auxiliary TC4 Auxiliary TC4 Range Auxiliary TC5 Auxiliary TC5 Range Ink Number Ink Number Range Auxiliary Ink Auxiliary Ink Range Sifting Timecodes or Keycode Ranges To sift for a timecode or keycode number within a specific range: 1.
5 Organizing with Bins To lock items: 1. Click a clip, subclip, or sequence to select it. Ctrl+click (Windows) or Cmd+click (Macintosh) additional clips, if necessary. 2. Select Clip > Lock Bin Selection. A Lock icon appears for each locked clip in the Lock column of the bin in Text view. If the Lock column does not display, you might have the column hidden. To unlock previously locked items: 1. Select the items in the bin. 2. Select Clip > Unlock Bin Selection.
Using Text View Using Text View Text view provides the most complete view of clip information. It uses database columns that you can rearrange and customize to suit your needs. You can select individual or multiple headings to display or hide in the bin. For a complete description of each column heading, see “Working with Bin Columns” on page 98. To enter Text view: t Click the Text tab in the bin. Text view: Bin with Text tab selected To select column headings: 1.
5 Organizing with Bins Working with Bin Columns You can move, align, and delete columns in a bin. When you align bin columns, the system maintains the same order of columns from left to right but spaces them according to the length of their contents. This is useful to remove spaces which remain after you move or rearrange columns. When you delete a statistical column it is the same as hiding the column; you can restore the column at any time by using the Bin Column Selection option.
Working with Bin Columns Duplicating Bin Columns with Timecode Information You can duplicate existing columns containing timecode information into other compatible columns that you target. When you duplicate a timecode column (Start, TC 24, TC 25, TC 25P, or TC 30), the values for master clips and subclips convert to the appropriate timecode. To duplicate a timecode column: 1. Click the column head you want to duplicate. 2. Select Edit > Duplicate. The Select dialog box opens. 3.
5 Organizing with Bins Changing a Custom Bin Column Heading You can change the heading name of custom columns only. You cannot change any of the standard column headings. To change the name of a custom column: 1. Press and hold the Alt key (Windows) or Option key (Macintosh), and click the heading to highlight it. 2. Type the new text for the heading, and press Enter (Windows) or Return (Macintosh).
Working with Bin Columns You can also use the Modify command for specialized control over groups of clip information. For example, you can use the Modify command to change the name of source tapes, or to increment or decrement the start and end timecodes by a specified length of time for one or several clips at once. You can apply changes with the Modify command to master clips only. You cannot alter subclips and sequences in this way. You can modify the data of captured, imported and file-based clips.
5 Organizing with Bins 4. Click the Modify Options menu, and select an option. 5. Select an option or type information into the text boxes. 6. Click OK. The modification takes effect. Modify Command Options Type of Modification Options Description Set Timecode Drop/ Non-drop Drop, Non-drop Changes the timecode format between drop-frame and non-drop-frame. Setting must match the timecode format of the tape. Set Timecode By Field Start or End Changes either the start or end timecode.
Working with Bin Columns Type of Modification Options Description Increment Timecode Start or End Changes either the start or end timecode. If you increment the start timecode automatically, it modifies the end timecode by the same amount. You can only alter start timecodes after capture. Timecode text box Lets you enter custom incremental timecode. Start or End Changes either the start or end timecode.
5 Organizing with Bins Displaying Timecodes in a 24p or 25p Project When you work with 24p and 25p projects (PAL with pulldown), you can add timecode columns to bins or the Media tool to enter and display starting timecodes in several timecode formats for master clips, subclips, and sequences.
Bin Column Headings 4. Select Edit > Duplicate. The Select dialog box opens. 5. Select the timecode heading from the list. 6. Click OK. The values for master clips, subclips, and sequences in the Start column convert to the appropriate timecode format and display in the column you selected. Bin Column Headings You can select individual or multiple headings to display or hide in a bin. Your Avid editing application provides the ability to track multiple film gauges within a bin and within a sequence.
5 Organizing with Bins Bin Column Heading Description Name Heading always appears in the bin. The column contains the name of the clip or sequence (you can rename a clip or sequence after you capture it). Modifiable after capture with no restrictions. Aspect Ratio Indicates the shape of the image frame. Ratio of width to height. Audio Bit Depth Use audio bit depth when you work with audio files: 16 bit or 24 bit. Audio Format Audio format of master clips (AIFF-C or WAVE).
Bin Column Headings Bin Column Heading Description Format The format of a clip or sequence which you determine by the project type, such as 30i NTSC or 1080i/59.94. This is useful if you have both SD and HD clips in the same bin. FPS Play rate: the number of frames that display each second. The default is 29.97 for NTSC and 25 for PAL for video. The play rate is also 24 or 23.98. Frame Displays the same frame that displays when you select Frame view.
5 Organizing with Bins 108 Bin Column Heading Description TapeID Tape ID number. Modifiable after capture with no restrictions. Track Formats Multichannel audio tracks for master clips and audio clips. Tracks All tracks used by this media object. Video Clip video format (resolution, color space and field motion type). Video File Format Clip video file format (OMF, AAF, MXF, or none). VITC Vertical interval timecode.
6 Creating MediaLog Output After logging your tapes, you can print the bins to create a paper record of your log, export the bin files for use in a different application, or transfer the bins to an Avid editing system for capturing and editing the footage. This chapter covers the following topics: • Printing Bins • Exporting Shot Log Files • Transferring MediaLog Bins • Exporting Projects and Bins Using AFE Files (Windows Only) Printing Bins To print entire bins: 1.
6 Creating MediaLog Output To print a single frame of a clip or sequence: 1. Load a cli p or sequence into the monitor. 2. Select the frame you want to print. 3. Select File > Print Frame. The Print dialog box opens. 4. Select the Print options. 5. Click OK (Windows) or Print (Macintosh). The system prints the frame currently displayed in the active monitor.
Transferring MediaLog Bins 7. Click the Export As menu, and select one of the following: t Select Avid Log Exchange to export the selected bin as a shot log file that complies with ALE specifications. t Select Tab Delimited to export the selected bin as a tab-delimited ASCII text file. ALE and tab-delimited files include information for master clips and subclips only. Information for other objects, such as group clips, sequences, and precomputes, is not included. 8.
6 Creating MediaLog Output To transfer MediaLog bins to an Avid editing system: 1. Open the project folder that holds the bins you want to transfer. 2. Select the bins you want to transfer. Bins use the file extension .avb. 3. Copy the MediaLog bins to removable storage or a network drive. 4. On your Avid editing system, quit your Avid editing application. 5. Attach the storage device to your Avid editing system or connect to the network drive, and then navigate to the folder that holds your bins. 6.
Exporting Projects and Bins Using AFE Files (Windows Only) To create an AFE file: 1. Do one of the following: t To include all bins in a project, click the Project window t To include the contents of a single bin, open and click the bin. 2. Select File > Export The Export Project As or the Export Bin As dialog box opens. 3. If it is not already selected, select Avid File Exchange from the Save As Type or Export Bin As list at the bottom of the dialog box. 4.
6 Creating MediaLog Output To export an AFE from Avid Media Composer to Avid DS: 1. Right-click the sequence and select Send To > Avid DS. The Send To: Avid DS dialog box opens with the default export template. 2. Optional: Change the file name. 3. Click Set to browse to the driver and folder to which you want to export the sequence, and click OK. 4. Select Export Settings 1. All current settings are displayed in the summary panel below. 5.
7 Avid Log Specifications Use a word processing application or a text editor to prepare an Avid log on any Windows or Macintosh computer You can use the file name extension .txt, but it is not required. To ensure accuracy, you must follow the Avid log specifications described in this section. An Avid log is composed of three sections, in this order: • Global Titles • Standard and custom column Titles • Data Titles When you create an Avid log, you must follow the order precisely.
7 Avid Log Specifications For an example of a simple log file, see “Sample Avid Log” on page 122. Global Titles The global Titles must come first in an Avid log file, and you must enter one value for each Title. GLOBAL Titles: Global Titles are case sensitive and must be spelled exactly as shown. Include all required Titles. Other Titles are optional but might be necessary for your project. The maximum number of combined global, standard, and custom Titles in a log file is 64.
Column Titles Column Titles The standard column Titles appear after the global Titles in the Avid log file. You do not enter the data for a column Title along with the Title. You enter the data later, in a separate data section. You must include the five required standard column Titles; they are listed first in the table. You can create your own custom column Titles. Enter them after the standard Titles (see the last Title in the table).
7 Avid Log Specifications Auxiliary TC5 [Tab] Title for auxiliary timecode. Camera [Tab] Title for the camera used to film this clip. This feature is used in multicamera shoots. Camroll [Tab] Title for the camera roll ID containing this clip. Duration [Tab] Title for timecode Start to timecode End, the length of the video clip. FPS [Tab] Title for video frames per second rate for capturing the individual clip. If omitted, the global entry applies.
Data Entries TC 24 [Tab] Title for 24-fps timecode. TC 25P [Tab] Title for 25-fps timecode with pulldown. TC 25 [Tab] Title for 25-fps timecode. TC 30 [Tab] Title for 30-fps timecode. Take [Tab] Title for take ID for clip. Tape [Tab] Title for source tape ID for the individual clip. If omitted, the global entry applies. DESCRIPT [Tab] Title for description of clip. COMMENTS [Tab] Title for comments about clip. [Tab] Add any category of information you want.
7 Avid Log Specifications [Tab] Required Under Tracks Title. Enter the tracks you want captured for the clip. Enter V for MOS takes. Enter A1, A2, or A1A2 for wild sound. Enter D for a data track. [Tab] Required Under Start Title. Enter the video timecode for the sync point, the first frame of the clip. Use colons for non-drop-frame (for example, 01:00:12:20). Use one or more semicolons for drop-frame (for example, 01;18;00;02).
Data Entries [Tab] Under KN End Title. Identify the key number for the end of the clip. Identify only feet and frames, for example, 0342&07. [Tab] Under KN Duration Title. Identify the length of the clip, in feet and frames. [Tab] Under Labroll Title. Identify the lab roll, use letters and numbers. <1> <2> <3> [Tab] Under Perf Title. Edit the perf for this clip only. (matchback only) [Tab] Under Pullin Title.
7 Avid Log Specifications [Tab] Under Tape Title. Enter the source videotape ID for this clip only. [Tab] Under DESCRIPT Title. Describe the clip. [Tab] Under COMMENTS Title. Comment on the clip. [Tab] Under the Titles you create, type the appropriate information. [Enter] or [Return] Press Enter (Windows) or Return (Macintosh) after the last entry for the clip. Do not press Tab after the last entry for the clip.
Sample Avid Log Heading [Return] FIELD_DELIM [Tab] TABS [Return] VIDEO_FORMAT [Tab] NTSC [Return] AUDIO_FORMAT [Tab] 44kHz [Return] TAPE [Tab] 001 [Return] FPS [Tab] 29.
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8 Working with a Film Project You can set film preferences in the Film and 24P Setting dialog box immediately after you create a project to provide the system with important information about the type of film and audio transfer you used for your job. Film settings determine essential parameters for accurately capturing, tracking, and editing source material for 24p, 25p, and 1080p projects. You can access the Film and 24P Setting from the Settings scroll list in the Project window.
8 Working with a Film Project Option Description Auxiliary Ink Default Defines the format for the auxiliary ink number edge type. The choices are the same as Edge Type for Ink Number Default Edge Type. Video Pulldown Defines how your Avid editing application handles pulldown: Cadence (NTSC only) • Video Rate, no pulldown: For 24-fps footage transferred MOS (without sound) to 30 fps by speeding up the film and using audio brought into your Avid system separately at 100% of the actual speed.
Setting the Pulldown Phase You set this relationship when you select the pulldown phase (sometimes called the pulldown frame or pullin frame), which is the video frame at which the master clip starts. The pulldown phase is designated A, B, X, C, or D. Film labs and transfer houses typically use the A frame to start the transfer. Ideally, the A-frame pulldown coincides with timecode ending in 0 and 5 (:00, :05, :10, and so on). For more information, see “Determining the Pulldown Phase” on page 131.
8 Working with a Film Project To set the pulldown phase: 1. Determine the correct pulldown phase for 00:00:00:00 in one of the following ways: t If you log film-to-tape transfers, check the transfer log. t If you log tapes that were downconverted from 1080p/24, check what pulldown frame was set for 00:00:00:00 on the deck that performed the conversion. If you still cannot determine the pulldown phase, see “Determining the Pulldown Phase” on page 131. 2.
Logging Film Information Displaying Film Columns To display film columns in the bin: 1. Click the Bin View menu at the bottom of the Bin window, and select Film to display all the required film column Titles. Location of the Bin View menu 2. To log data under optional Titles (such as Ink Number, Auxiliary TC1-Auxiliary TC5, or Film TC), do the following: a. Select Bin > Titles. The Bin Column Selection dialog box opens. b. Ctrl+click (Windows) or click (Macintosh) the specific Titles you want to add.
8 Working with a Film Project 3. Create a custom Title to track custom information for the job. To create a new Title, type a name that describes the information in the Titles bar at the top of the bin. Entering Pulldown Information To accurately capture NTSC transfer tapes in 24p projects, you need to enter pulldown information into the bin. (This information is not required for PAL transfer tapes.) Setting the correct pulldown phase prevents inaccuracies in cut lists and matchback EDLs.
Logging Film Information If you specify the pulldown phase in the Pullin column, you accomplish the following: • You ensure that clips start with the correct frame for the pulldown. Otherwise, you might experience inaccuracies in key-number tracking and in the cut lists. • You indicate where the pulldown fields are located so your Avid editing application can accurately eliminate the pulldown fields during capture.
8 Working with a Film Project To determine the pulldown phase: 1. While you view the video transfer on a monitor, go to the keypunched (or clapsticks) sync point for the beginning frame of the clip you logged. 2. Use the step wheel on the tape deck to step (jog) past the sync point frame field-by-field. You will see either two or three keypunched fields. If the footage is not keypunched, look for two or three fields with little or no motion. 3. If there are two fields, the pulldown is either A or C.
Logging Film Information Modifying the Pulldown Phase Before Logging After you determine the correct pulldown phase (as described ) you can modify the pulldown phase before capturing in one of the following ways. To modify the pulldown phase directly in the Pullin column: 1. In the Bin, click the Text tab to display all bin information. 2. Click the cell you want to modify. 3. Click the cell again. The pointer changes to an I-beam. 4.
8 Working with a Film Project 3. Click the menu, and select the correct pulldown phase for timecodes ending in 0 or 5. 4. Click OK. The pulldown phase for each selected clip changes, based on the pulldown phase you select for 00:00:00:00. The Pulldown Phase setting also appears in the Film and 24p Settings dialog box (24p projects only). You can override that setting with the Modify Pulldown Phase dialog box. The selection in the Film and 24p Settings dialog box remains the same.
Logging Film Information c c Make sure the correct number appears when you press Enter (Windows) or Return (Macintosh). For key-number formats other than Keykode, you might need to type the space, hyphen (-), and plus sign (+) or ampersand (&) to format the number correctly. Modifying tape names and timecodes affect any key numbers you enter for the selected clips. Tracking 3-Perf Counts For film projects, you can track 3-perf key number counts in your Avid editing system.
8 Working with a Film Project 4. In the Film TC column, enter timecode generated by a film camera (using Aaton or Arri timecode) for tracking the picture at the start of the clip. The film timecode should sync with the video timecode logged in the Start column. Avid supports only 24-fps timecode. The clip you capture must contain a video track. 5. In the TC24 column, enter timecode for original HDTV sources (1080p/24) or audio DATs created for PAL feature film productions that use in-camera timecode.
8 Avid MetaFuze This section provides information about Avid MetaMetaFuze. MetaFuze lets you generate MXF media from DPX, R3D, TIF, JPG, AVI and QuickTime files, which you can offline in various Avid editing applications, and conform for finishing in Avid DS.
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9 Using Avid MetaFuze Avid ® Metafuze™ provides a complete offline-to-finish file-based workflow when used in conjunction with Avid Media Composer® and Avid DS. Metafuze allows the generation of MXF media from DPX, R3D, TIF, JPG, AVI and QuickTime files, which can be offlined in Avid Media Composer, and conformed for finishing in Avid DS.
9 Using Avid MetaFuze DPX 1 4 HD 4:4:4 HD 4:2:2 NTSC PAL QuickTime 4 DPX CINEON (2K, 4K) Avid MetaFuze MXF CG TIF 2 AFE R3D 3 Avid Media Composer Avid DS This workflow shows you how to carry out editing and finishing on footage that is already in digital file format. Step 1: Group high-res files into MXF files High-resolution digital files could originate from digital cameras, film-scanning facilities, or CGI applications. The files include formats such as R3D, DPX, or TIF.
Opening a Project in MetaFuze Step 3: Conform AFE for finishing in Avid DS On Avid DS, you can conform the AFE and connect to the original DPX/R3D/TIF files. In the case of DPX files, necessary information such as KeyKode™ (key number) and timecode is inserted as metadata into the DPX file during the scanning process. If the DPX files do not contain the timecode information, the ALE is required in order to make the necessary correspondence to the associated DPX files.
9 Using Avid MetaFuze Customizing the MetaFuze Window The views and toolbars within MetaFuze can be moved to a different position within the window, or can be “torn off” and dragged outside of the main window. In addition, the columns in the Groups view can be rearranged or removed as necessary. 1 2 3 Element Description 1 View Click and drag a view by its title bar. The other views will rearrange to accomodate the new position for this view.
Scanning your Folders To move a view within the main window: 1. Select a view or toolbar that you want to move. To select a view, click its title bar. To select a toolbar, click the extreme left where you see the vertical dotted line. 2. Drag the view to any position within the window where you would like to place it. The cursor position determines the destination. If another view exists in that location, it will automatically move over. Release your mouse to drop the selection into place.
9 Using Avid MetaFuze To scan your folders: 1. Select Actions > Scan Folders. 2. Browse to the folder where your files are located. The folders can be on your local workstation or on remote storage. (To locate folders on a remote storage, you might need to use the full pathname, for example, \\\.) 3. In the list of available folders, select a folder name, and click the Add Folder button to add the folder to the Selected paths list.
Transcoding your Files 10. If you want to specify the type of files to search for, then click the File Types button. Select only the file types that you need. This filters out any unwanted file types and makes the scanning process much faster. 11. Select the other options as necessary. 12. Click the Scan button to begin scanning your files. MetaFuze scans the list of selected paths and forms groups based on the options you have selected.
9 Using Avid MetaFuze 3 1 2 4 5 6 146 Element Description 1 Source viewer Displays the source image. 2 Output viewer Displays the image according to the selected output settings. 3 Splitbar Click the splitbar and drag it right or left to enlarge/shrink viewer sizes. To reset size, right-click on any viewer and select Auto-adjust. 4 Group view Displays all the scanned and/or transcoded files.
Transcoding your Files n An XML command script can also be used in the Avid MetaFuze console mode to automatically create a list of files for transcoding. For more information, see “Transcoding your Files in a Batch” on page 156. If you have scanned your files, the Group view at the bottom of the main window displays all groups that have been found. The Group view shows data columns for all possible objects — a group, single-frame file, or transcode job.
9 Using Avid MetaFuze There are some fields that are critical to your overall conform workflow, such as key number, tape name, TC start, film type. If you change the settings of these fields in the transcode job, an icon will appear next to them to warn that they are different from the properties of the original scanned group.
Transcoding your Files Depending on the number of frames in the group, this process could take some time to complete. The status bar displays a message while the transcoding process is in progress. When you start the transcode process, Metafuze checks for existing MXF files with the same name, and prompts you with the following choices: Option Description Overwrite If a file with the same name exists, it overwrites the specific file.
9 Using Avid MetaFuze In MetaFuze, you need to scan your left and right image file groups, and select a suitable mode to combine the left and right eye views into a single frame for the transcoding process. For Avid Media Composer you must use the Over/Under mode with left eye on the top, and right eye on the bottom. MetaFuze can also combine left and right eyes in Side by side, Anaglyph, and Interlaced modes, which are all supported in Avid DS. To create a stereoscopic group: 1.
Transcoding your Files Burning-in Information on the Frames Burn-in data is typically used only for the offline stage of a project. It is useful as it provides visual feedback for logging and tracking footage. In the Detail view, you can select a data field to burn-in on your images. If you want to burn in more than one field, however, you need to use the Burn-in Editor. To open the burn-in editor: 1. Select the scanned group and click the Burn-in button on the toolbar.
9 Using Avid MetaFuze 2. Select a Burn-in Preset from the list. If you want to create a new preset, then click the Save button, and enter a preset filename. 3. Select a field from the Data column, and click the right arrow to add it to the display group. The field is added to the group and displays in the Output viewer. 4. Change the positioning of the display options as required. Click any of the Group level columns to change the settings. 5. Continue to add other data fields to the group.
Using LUTs in MetaFuze 3. You can raise the number of threads to the maximum, but keep in mind that the processing speed is also limited by the capacity to read and write to the hard disk. You also need to save some threads for other processes/applications running on your system. n When transcoding stream files such as AVI, MOV or R3D, the threads will be used to their full capacity, therefore you will not be able to use other applications during the transcoding.
9 Using Avid MetaFuze Setting a LUT After a folder has been scanned, you can set the LUT that will be used for transcoding the scanned files. To set a LUT: 1. Select the group for which you want to set the LUT. n This field is only available when you are working with a group of DPX or Cineon files. 2. In the Detail View, click LUT and select an appropriate LUT from the drop-down list. The LUT is loaded and you can preview the color settings in the viewer.
Using LUTs in MetaFuze 4. Click Create. A new dialog box opens with the settings of the template. 5. Adjust the values as necessary. n The Lock option links values to each other. Deselecting this option for an entry lets you set the values independently. 6. When you are ready to save the settings, click the Rename button. 7. Enter a new LUT Name and click OK. The new LUT is added to the list and will be used for the group that you have selected.
9 Using Avid MetaFuze 5. Select the folder where you want to place the file, and click Save. 6. Click Close. Importing Other Image Settings When transcoding R3D files, you can apply additional settings to enhance the “look” of your file. This is done via an RLX file which contains settings that are very similar to a LUT. To import an RLX file: 1. Select the transcode group to which you want to apply the settings. 2.
Transcoding your Files in a Batch 3. Click the Create XML Batch button. The Create XML Batch dialog box opens. 4. In the Script Name textbox, type the name of the XML batch file that you want to create. 5. In the Script Output Folder textbox, type the path where the XML batch file will be created. 6. Click OK. This creates an .xml batch file using a list of all the files in the transcode job that you have selected. When this batch file is run, the MXF is generated based on the settings for this job.
9 Using Avid MetaFuze Running a Transcode Batch File When you execute the batch transcode command, your XML file will first be validated against the XSD to check for the syntax and format. If there are no errors, an MXF file is generated based on the job settings in the XML file. To run the batch transcode: 1. Click the Start button and select Run. The Run dialog box opens. 2. Type cmd, and then click OK. A Windows console opens. 3. Navigate to C:\Program Files\Avid\MetaFuze. 4.
Transcoding your Files in a Batch - - H:\Public\GraphicsFiles\Still Seq\DPX\253\154_213C-2_B_03\368842.dpx H:\Public\GraphicsFiles\Still Seq\DPX\253\154_213C-2_B_03\368843.dpx H:\Public\GraphicsFiles\Still Seq\DPX\253\154_213C-2_B_03\368844.dpx H:\Public\GraphicsFiles\Still Seq\DPX\253\154_213C-2_B_03\368845.dpx H:\Public\GraphicsFiles\Still Seq\DPX\253\154_213C-2_B_03\368846.dpx H:\Public\GraphicsFiles\Still Seq\DPX\
9 Using Avid MetaFuze - x.0 Z:\Project_Documents\VT009_A_09_13_08_04_S01.mxf VT009_A_09_13_08_04_S01 09 SPIRIT-4K DATACINE 09:13:08:04 false 35.4 KU828579-6839+07 64 2048 1165 1.
Exporting an ALE from MetaFuze Exporting an ALE from MetaFuze If you have created multiple MXF files that you want to edit on your Avid Media Composer workstation, you can export an edit list of all these clips via an ALE file. If the selected transcodes have different frame rates, then an ALE is generated for each different format that is detected. These ALEs will all have the same name but will be appended with a suffix relative to the formats.
9 Using Avid MetaFuze Importing MXF Files into Avid Media Composer To import MXF files into Avid Media Composer, you can import the ALE created by MetaFuze and link to the associated MXF files. On the other hand, you can simply open a bin via the Media Tool and select the MXF files one at a time. Either way, you need to make sure that all your transcoded MXF files are located in the Avid MediaFiles folder as required by Avid Media Composer (drive letter:\Avid MediaFiles\MXF\1).
Importing MXF Files into Avid Media Composer To import an MXF file using the Media Tool: 1. In Avid Media Composer, select Tools > Media Tool. 2. In the Media Tool Display window, select the Media Drive where the Avid MediaFiles folder is located. For example, Video U320 (G:). The list of Projects will include the name of the MetaFuze project in which you transcoded your files. (Avid Media Composer finds this name in the metadata of the MXF file). 3.
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10 Avid MetaFuze Reference Scan Folders Dialog Box The following table describes the options available in the Scan Folders dialog box. Option Description Available folders Lets you browse to the folder where your source files are located. The folders can be on your local workstation or on a remote storage. (For remote storage, you might need to use the full pathname, e.g. \\\). Press the Enter key after typing in the path name.
10 Avid MetaFuze Reference Option Description No merge Searches for file patterns for each item in the selected paths list, as well as their subfolder levels. Unique groupings are formed for each level. Based on the paths circled in the above example, 15 searches are done. Merge across subfolders For each item in the selected paths list, searches for file patterns down through all the subfolders. Unique groupings are formed for each selected path in your list.
Scan Folders Dialog Box Option Description Merge all Searches for file patterns and forms groupings across all folders in your list of selected paths. Based on the paths circled in the above example, 1 search is done. n For all the preceding merge options, duplicate files are discarded in each grouping and only the most recent is kept. Include subfolders Scans all subfolders in the list of selected paths as shown in the preceding examples.
10 Avid MetaFuze Reference Group View The Group view shows data columns for all possible objects—a group, single-frame file, or transcode job. When you select an object, only the fields that are pertinent to the selected object will display under the appropriate columns (and in the Detail view on the right). The following table describes the information columns available in the Group view. * A single asterisk beside a value indicates that a pattern has been found against this criteria item.
Group View Column Description Transcode Audio Select the checkbox to generate MXF files containing the audio portion of the input files. n n One MXF is generated per audio channel. If you have multichannel audio, then you will get as many audio MXF files as you have channels. Stereoscopic groups and their resulting transcodes do not support audio transcoding, therefore, all fields in the audio coloumns are greyed out for stereoscopic transcodes.
10 Avid MetaFuze Reference Column Description Compression Lets you select the appropriate compression ratio to be used during conversion. Uncompressed No compression. DNxHD Avid DNxHD is a 8- and 10-bit HD encoding technology that delivers mastering-quality HD media with storage bandwidth and capacity requirements similar to those of uncompressed standard-definition (SD) files. Avid DNxHD operates in a 4:2:2 color space at much lower, more efficient data rates.
Detail View Column Description Eye Enter the appropriate text to indicate the left or right eye frames. This may be useful as burn-in data to provide visual cues on the footage. Scene Enter the name for the scene. This may be useful for burn-in. Comment Enter any comments about the scene or footage. This may be useful for burn-in. Chroma Select the level to filter the noise of the chroma component. Debayer Select the amount of detail correction in the debayering process.
10 Avid MetaFuze Reference number, tape name, TC start, film type. If you change the settings of these fields in the transcode job, an icon will appear next to them to warn that they are different from the properties of the original scanned group. Refer to the following topics for details on the object you have selected: • “Details of a group...” on page 172 • “Details of a file...” on page 174 • “Details of a transcode job...” on page 174 • “Details of a stereoscopic group or transcode job...
Details of a group... Field Name Description Format Lets you set the format for the output sequence. The format automatically determines the frame rate, frame size, field dominance, aspect ratio, and pixel ratio for the media. For this version, you can choose between 720p and 1080p HD formats. n Conversion mode If frame rate metadata was found in the source file, then the choices for the output format will be based on this frame rate.
10 Avid MetaFuze Reference Details of a file... Field Name Description Name Displays the name of the selected file. Folder Displays the name of the source folder where this file was found. Frame Info Displays the key number (if applicable), or the frame number. Details of a transcode job... Field Name Description Name Displays the name given to the transcode job. Folder Lets you specify the destination folder for the MXF file.
Details of a transcode job... Field Name Description Film Type Displays the film type found in the source media. If this metadata is not found, then the default is set to 35 mm 4 perfs. KN Start The key number found in the first file of the group . If key number metadata was found in the source file, then this field cannot be changed. If the key number was not found in the source file, you will be able to enter a key number if necessary. Set Tape Info This option is always selected.
10 Avid MetaFuze Reference Field Name Description Conversion mode Lets you select the aspect ratio that will be used during conversion. When converting between film/HD and NTSC formats, you must make sure that the aspect ratio is respected. Film/HD uses the aspect ratio of 16:9, while NTSC/PAL uses 4:3. Choose the mode that will be used for final output. Anamorphic If your images are 16:9, they are stretched vertically to fit into a 4:3 NTSC frame.
Details of R3D groups or transcode jobs... Field Name Description Over/Under Places the left and right eye images one above the other in a horizontal split frame. Side by Side Places the left and right eye images side by side in a vertical split frame. Anaglyphic Each left and right eye image is made up of two color layers which are superimposed to create a stereoscopic depth effect that can be viewed with two-color 3D glasses. Details of R3D groups or transcode jobs...
10 Avid MetaFuze Reference Create XML Batch Dialog Box The following table describes the XML batch file options available in the Batch Transcode dialog box. Field Name Description Script Name Enter the name for the XML file that is to be created. Script Output Folder Enter the path where the files will be placed. XML Schema (*.xsd) Creates a file, called MetafuzeBatchTranscode.xsd, containing XML-based schema. This file can be used by a third-party tool to validate the format and syntax of your .
Transcode Configuration Options Field Name Description Horizontal Horizontal position of group. Vertical Vertical position of group. Font Font type to use for display. Size Font size to use for display. Separator Symbol to use for separation between data fields. Luminance Controls the luminance of the burn-in text. The range is between 0 and 100 where 0 is full black text and 100 is full white text. Default setting: 100.
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10 Avid MetaSync This section provides information about Avid MetaSync. MetaSync technology extends the capabilities of the Avid editing application Timeline by giving editors the tools to synchronize metadata with traditional video and audio content.
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11 MetaSync Overview and Installation Avid MetaSync gives editors the tools to synchronize metadata with traditional video and audio content. With MetaSync, you can insert pointers to metadata directly into your Avid editing application Timeline and easily modify the timing and duration of the enhanced material. The metadata, in turn, points to additional content, such as files from a scriptwriting program, HTML files, database records, or remote commands.
11 MetaSync Overview and Installation Understanding MetaSync Enhancements A MetaSync enhancement contains information that adds content to picture, sound, and graphics. This information is called metadata because it is data that points to other data (the content). For example, an enhancement could include the path for a file that contains all dialog spoken by a character in a film.
Overview of MetaSync Components MetaSync Manager combines multiple enhancements into an enhancements file, which you can import into your Avid editing application. The file name extension for this type of file is .aeo (Avid Enhancement Object). MetaSync Features in Avid Editing Applications Avid editing applications include the following MetaSync features: • MetaSync tracks (or Meta tracks) extend the existing editing workflow by providing a way to add metadata to the Timeline.
11 MetaSync Overview and Installation MetaSync Publisher MetaSync Publisher is a desktop application that processes the metadata and its relationship to the Timeline, and then outputs the information in XML format. The output file contains information about the timing of enhancements and their synchronization with audio and video tracks, but it does not include complete information about the sequence or the media for the sequence. See “Using MetaSync with Avid Editing Applications” on page 211.
XML Information in the MetaSync Workflow The acronym XML stands for eXtensible Markup Language. You may have a familiarity with other markup languages, such as HTML (HyperText Markup Language). HTML uses tags to specify how a document — or in most cases, a Web page — is displayed. You use tags such as
for “start a new paragraph” and for “put this text in boldface.” XML is not a true markup language; it’s a language that lets you define tags for a markup language.
11 MetaSync Overview and Installation 3. After you have edited your sequence, your Avid editing application exports information about the sequence in an AAF file. AAF (Advanced Authoring Format) files use an industry-standard format. In this case, the AAF file includes MetaSync enhancements. 4. MetaSync Publisher imports the AAF file, extracts the MetaSync enhancements, and creates an XML file. You import this XML file into another application to create the final product.
MetaSync Workflows 3. Export the enhancements as an AEO file from MetaSync Manager. 4. In your Avid editing application, import the AEO file. Your Avid editing application creates a Meta clip for each enhancement. 5. Edit the enhancements into the Timeline. The enhancements add timing information that is synchronized with the timecode of the sequence. 6. Export the finished sequence from your Avid editing application.
11 MetaSync Overview and Installation Sample MetaSync Workflow for an ITV Project (Adding HTML Pages to an Interactive Program) 1. Create HTML files with an HTML-creation application and save the files on a server. 2. In MetaSync Manager, create and export an AEO file that points to the HTML files. MetaSync Manager verifies the location of the HTML files. 3. On the Avid editing system, import the AEO file and edit the enhancements into a sequence.
MetaSync DTD Files Reference DTD File Description Folder Location Enhancements_Import_1_0.dtd Used to define the structure and schema of XML files that are imported into MetaSync Manager • (Windows) drive:\Program Files\Avid\ MetaSync Manager\dtd • (Macintosh) Macintosh HD/Applications/ MetaSync Manager/dtd Used to define the structure and schema of XML files that are exported from MetaSync Manager, imported into an Avid editing system, and exported as part of an AAF file from the Avid editing sys
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12 Using MetaSync Manager This chapter describes how to use MetaSync Manager.
12 Using MetaSync Manager Opening and Closing MetaSync Manager To open MetaSync Manager, do one of the following: t (Windows) Click the Start button, and select Programs > Avid > MetaSync Manager. t (Macintosh) Navigate to Macintosh HD/Applications, and then double-click MetaSync Manager. t (Windows only) Double-click the MetaSync Manager icon on the desktop. The icon is created by the MetaSync Manager installation program. t In your Avid editing system, select Tools > MetaSync Manager.
Using MetaSync Manager Help Using MetaSync Manager Help The MetaSync Manager Help system includes complete information about MetaSync Manager and the other MetaSync components. To open MetaSync Manager Help, do one of the following: t Select Help > Help Index, then use the Contents, the Index, or the Search feature to find the information you need.
12 Using MetaSync Manager MetaSync Manager window. Top: menu bar and toolbar. Center left: Enhancement pane. Center right: Spreadsheet window. Bottom: status bar. MetaSync Manager Enhancement Panes MetaSync Manager displays one of the following panes: • New Enhancement pane, which is displayed when you first open MetaSync Manager, when you open a new enhancements file, and when you select Enhancement > New Enhancement.
Exploring the MetaSync Manager Window Enhancement pane features. Left, top to bottom: core attributes, ITV SMPTE-363M attributes, and custom attributes. Right, top to bottom: menu button, Browse button, Collapse/Expand button, and Add Row and Delete Row buttons. MetaSync Manager Spreadsheet Window The spreadsheet window displays all enhancements that are included in an enhancements file.
12 Using MetaSync Manager Creating, Saving, and Closing an Enhancements File To create an enhancements file: 1. Do one of the following: t Select File > New. t Click the New button. A new file opens. The New Enhancement pane displays the values specified in the first enhancement of the selected template (see “Creating Enhancements File Templates” on page 207). The spreadsheet does not appear until you enter an enhancement. 2. Create and enter enhancements (see “Creating an Enhancement” on page 199).
Opening an Enhancements File Opening an Enhancements File To open an enhancements file: 1. Do one of the following: t Select File > Open. t Click the Open button. 2. Select the file you want to open. The Open dialog box lists only .aeo files. 3. Click Open. The enhancements file opens and displays its enhancements in a spreadsheet window. To open a recently saved file: t n Select File > Recent Files > file name. You can have more than one enhancements file open at the same time.
12 Using MetaSync Manager - To delete a selected row in the custom attribute table, click the Delete Row button to the right of the table. 3. (Option) Click the Clear All button in the New Enhancement pane to delete information from all fields except Meta Type. 4. (Option) Click the Default button to display the values set in the User Profile tab of the Options dialog box (see “Setting Default Options for Enhancements” on page 208). 5. Click Enter to add the enhancement to the enhancements file.
Additional Enhancement Attributes in Spreadsheet Field Description Native App The path of the application you use to open the file referenced by the enhancement. This field is required if you want to open the native application when you are working on an Avid editing system (see “Opening an Enhancement’s Native Application” on page 224). Use the path of the application as it exists on your Avid editing system.
12 Using MetaSync Manager Column Heading Description ID A unique identifier created by your Avid editing application during the import process Created by The user logged in when the enhancement was created Created on The creation date established by MetaSync Manager Modified by The user logged in when the enhancement was modified Modified on The modification date established by MetaSync Manager Modified from The application that created the enhancement Verifying Enhancement Paths To verify the
Editing an Enhancements File To get information about an enhancement whose paths could not be verified: t Double-click the enhancement row. A message explains why the paths could not be verified. If you add an enhancement or edit an enhancement, you need to verify the paths again. To verify the paths: 1. Select Enhancement > Check Links. All icons are cleared from the spreadsheet. Also, the check mark is cleared from the Check Links menu item. 2. Select Enhancement > Check Links again.
12 Using MetaSync Manager To delete enhancements: 1. In a MetaSync Manager spreadsheet, select one or more enhancements. 2. Do one of the following: t Select Enhancement > Delete. t Click the Delete button. A message asks you to confirm the deletion. 3. Click Yes. To duplicate enhancements: 1. In a MetaSync Manager spreadsheet, select the enhancement or enhancements you want to duplicate. 2. Do one of the following: t Select Edit > Duplicate. t Click the Duplicate button.
Sorting and Sifting Enhancements Sorting and Sifting Enhancements You can sort the contents of a spreadsheet in ascending or descending order, based on the order of the values in a column you select. You can also choose to display only those enhancements that meet a specific set of criteria. To sort enhancements based on the order of values in a column: 1. Double-click the heading for the column that you want to use as the key attribute for sorting.
12 Using MetaSync Manager 6. Click the Clear button to remove the values from all text boxes. 7. Do one of the following: t Click Apply to apply the criteria and keep the dialog box open. t Click OK to apply the criteria and close the dialog box. Enhancements that fit the criteria are displayed in the spreadsheet. The Custom Sift icon appears in the lower right corner of the status bar. If no enhancements fit the criteria, a message appears.
Displaying ITV SMPTE-363M Enhancements Displaying ITV SMPTE-363M Enhancements You can display HTML files referenced by ITV SMPTE-363M enhancements in Internet Explorer. When you are displaying multiple files, a new image is displayed every 5 seconds, each in its own browser window. You can change the display time in the Options dialog box (see “Setting Default Options for Enhancements” on page 208). You need to close the browser windows manually.
12 Using MetaSync Manager 3. Click the Look in menu, and specify a location. The default template is located in the following folder, depending on your installation: (Windows) drive:\Program Files\Avid\MetaSync Manager\template (Macintosh) Macintosh HD/Applications/MetaSync Manager.app/ Contents/MetaSyncMgrSupportFiles/template Consider saving additional templates in this folder. 4. Type a template name in the File Name (Windows) or the Name (Macintosh) text box. 5.
Printing an Enhancements File 3. Click the ITV-SMPTE tab and specify the following information: Option Description Skip Do not allow values for expiration time or duration. Expires Select Expires At to allow an expiration time (a fixed date and time) or select Expires In to allow an expiration duration. If you change the Expires option from the option set in an existing enhancements file, MetaSync Manager calculates the equivalent measurement, based on the computer’s current Date and Time.
12 Using MetaSync Manager Running MetaSync Manager from the Command Line (Windows Only) You can run MetaSync Manager from the command line. This is useful for automating the import and validation of third-party files. To run MetaSync Manager from the command line: 1. Click Start and click Run. 2. Type cmd, and click OK. 3. Navigate to the folder that contains the MetaSync Manager application. For example, type: cd: C:\Program Files\Avid\MetaSyncManager [Enter] 4. Type the commands you want.
13 Using MetaSync with Avid Editing Applications MetaSync technology lets you add enhancements to a video or an audio stream in an Avid editing application by using special tracks called Meta tracks.
13 Using MetaSync with Avid Editing Applications Your Avid editing application performs the following actions during the import process: • Validates the information in the AEO file against Avid specifications. If the file does not conform, an error message is displayed. • Creates objects and adds them to the selected bin and the media database. These objects called Meta clips or enhancement clips, share the characteristics of other master clips.
Working with Enhancements in the Bin Examples of enhancements in a bin. Top to bottom: opaque enhancement, ITV SMPTE enhancement with matte key (Windows only), ITV SMPTE enhancement. Working with Enhancements in the Bin You can delete and duplicate enhancements in a bin, or move enhancements between bins. You cannot copy enhancements. (Windows only) If you duplicate an enhancement that uses Overlay mode, your Avid editing application does not duplicate the associated matte key.
13 Using MetaSync with Avid Editing Applications To delete an ITV SMPTE-363M enhancement that uses Overlay mode and its associated matte key (Windows only): 1. Select one or more enhancements and their associated matte keys. 2. Press the Delete key. 3. Click OK. To move an enhancement between bins: t Click the enhancement and drag it from one bin to another. To duplicate an enhancement in a bin: t Select the enhancement and select Clip > Duplicate.
Understanding ITV Modes (Windows only) When you import an enhancement that uses Overlay mode, your Avid editing application creates a matte key for the referenced HTML file. Your Avid editing application stores the media for the matte key on the media drive that you set in the Media Creation dialog box. PIP Mode (Windows Only) PIP mode lets you create a video image that is scaled to fit a specific area. The HTML file includes code that specifies the size and location of the TV object.
13 Using MetaSync with Avid Editing Applications This code creates a video image similar to one displayed in the following illustration. Compare this illustration to the previous one. The video has not been sized, and the HTML file is overlaid on it. HTML Page Dimensions The HTML file includes dimensions for the content of the HTML page. The standard dimensions for HTML pages designed for ITV broadcast are 560 pixels by 420 pixels.
Editing Enhancements into the Timeline (Windows only) For files that use PIP mode, you can view the image in a Source or pop-up monitor by double-clicking the enhancement in the bin, which is the same way that you view any master clip or subclip. (Windows only) For files that use Overlay mode, double-click the matte key in the bin. If you double-click the associated enhancement, the image in the Source or pop-up monitor is black.
13 Using MetaSync with Avid Editing Applications c. Click OK. The new name appears on the Track Selector button. d. Double-click the enhancement in a bin to open it in a Source or pop-up monitor. What you see in the Source or pop-up monitor depends on the type of enhancement (see “Viewing Enhancements in a Source Monitor” on page 216). 4.
Previewing Enhancements in the Timeline (Windows Only) When you edit this kind of enhancement, you should edit the enhancement, not the matte key. The matte key is linked to the enhancement, so that if you edit, delete, or otherwise modify the clip in the Timeline, the matte key is also modified. When you monitor an enhancement that uses Overlay mode in the Timeline, a special track, labeled MO (Meta Overlay), is displayed for the matte key.
13 Using MetaSync with Avid Editing Applications Overlay Mode Because Overlay mode uses a matte key, you can preview the sequence by clicking either a Step (Jog) button or the Play button. Using AutoSync with Enhancements You can use the AutoSync feature to sync an enhancement with a video clip and an audio clip in the same way that you sync a video clip and an audio clip. AutoSync creates a new subclip that combines the video clip, audio clip, and enhancement.
Updating (Refreshing) Enhancements n Option Description Collapse Audio Tracks Use this option to remove any unused audio tracks and then move the audio tracks to the next available tracks. For example, if you have 8 audio tracks but tracks A2, A4, A6 and A8 did not have audio. If you select this option, tracks A2, A4, A6 and A8 would be removed and A1, A3, A5 and A7 would move into the A1 through A4 tracks.
13 Using MetaSync with Avid Editing Applications 3. Select Clip > Modify Enhancement. n (Windows only) The HTML Page tab appears only for enhancements that use PIP mode. 4. Click the Enhancement tab. The tab displays the AEO file location for the selected enhancement. 5. Click the Refresh button to update the enhancement. Refreshing a clip in a bin automatically updates all enhancement clips and locators in the Timeline that originated from the clip. (Windows only) The HTML images are also updated. 6.
Changing the Size and Position of the Video Image (Windows Only) n For SMPTE-363M enhancements that use PIP mode, two tabs appear: Enhancement and HTML Page. For other enhancements, only the Enhancement tab appears. Changing the Size and Position of the Video Image (Windows Only) For ITV SMPTE-363M enhancements that use PIP mode, the HTML file specified in the enhancement includes information for the size and position of the video image (see “Understanding ITV Modes” on page 214).
13 Using MetaSync with Avid Editing Applications Opening an Enhancement’s Native Application Each enhancement can include a value for the attribute Native Application (see “Enhancement Attributes Reference” on page 200). This value is the path for an application that can display the file specified by the enhancement. You specify a path for the file as the value for the Location attribute.
Exporting a Sequence with Meta Tracks Exporting a Sequence with Meta Tracks When you have completed work on a sequence, you can export the sequence to create an AAF file. The AAF file serves as a wrapper for information about the sequence, with links to the media in the sequence. To export a sequence with Meta tracks: 1. Select the sequence you want to export. 2. Select File > Export. 3. Click the Export Setting menu, and select a setting. If you want to create a new setting, select Untitled. 4.
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14 Using MetaSync Publisher MetaSync Publisher extracts the timing and other information from the exported AAF file and creates an XML file for further processing in another application.
14 Using MetaSync Publisher n (Windows only) A Java command-line window remains open in the background when MetaSync Publisher is running. 2. Specify information in the window, as described in “MetaSync Publisher XML File Options” on page 228. 3. Click the Extract button. MetaSync Publisher extracts the necessary information and creates an XML file in the folder that is specified in the Output Directory field. The file keeps the same name as the AAF file but uses the file name extension .xml.
Creating an XML File by Dragging an AAF File (Windows Only) Option Description Enhancement Options By Type Select this option to specify the Type of enhancement to extract: ITV, Opaque, or another Type that is specified in the enhancement. By Type and Sub-type Select this option to specify both the Type and Sub-type. For Sub-type, specify SMPTE-363M, Opaque, or another Sub-type that is specified in the enhancement. Log Options Log File Location Displays the default location for the log file.
14 Using MetaSync Publisher Running MetaSync Publisher from the Command Line (Windows Only) You can run MetaSync Publisher from the command line. This is useful for automating the extraction process. To run MetaSync Publisher from the command line: 1. Click Start and click Run. 2. Type cmd, and click OK. 3. Navigate to the folder that contains MetaSync Publisher application. For example, type: cd: C:\Program Files\Avid\MetaSyncPublisher [Enter] 4. Type the commands you want.
MetaSync Publisher Command-Line Syntax (Windows Only) The following table lists the options. Option Description -in Specifies the AAF files to be extracted. Use the .aaf extension. -out Specifies the directory for output XML files. -extract_all Extracts all enhancements from the AAF composition. -extract_meta
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14 Avid EDL Manager This section provides information about Avid EDL Manager. EDL Manager lets you create, modify, and manage edit decision lists (EDLs).
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15 Working with EDLs This chapter introduces edit decision lists (EDLs) and provides instructions for basic Avid EDL Manager procedures.
15 Working with EDLs Avid EDL Manager can create complex EDLs. You can specify the different audio and video tracks in the sequence and add comments or patches. You can also specify the assembly modes that the online edit controller uses when creating your program. After creating an EDL, save it as a text file that is readable by different edit controllers, such as Sony®, GVG, or CMX, or save the EDL as an OMFI composition.
Using Avid EDL Manager with your Avid Editing System Creating an EDL from the Active Sequence To create an EDL from a sequence, the sequence needs to be loaded in the Avid editing system. To create an EDL from a sequence 1. Open both your Avid editing application and Avid EDL Manager. 2. In the Avid editing system, load a sequence in the Record monitor. 3. In EDL Manager, click Get Sequence. The EDL appears in the Avid EDL Manager window.
15 Working with EDLs 5. Select where you want to place the EDL sequence: t Select an existing bin in which to place the EDL sequence and then click OK. t Click New Bin to create a new bin in which to place the EDL sequence. The sequence is created in the bin you selected and Avid EDL Manager becomes the active window again.
Saving an EDL 2. Select a sequence and click OK. The created EDL appears in the Avid EDL Manager window. For information on changing the settings in the EDL, see “Customizing EDLs” on page 247. Saving an EDL You can save an EDL as a text file (.EDL extension) or as an OMFI composition (.OMF file) to one of two types of locations. n • Standard Locations: A DOS-formatted disk, a hard drive, or other storage device. • An RT-11 disk that is read by CMX or GVG edit controllers.
15 Working with EDLs Because an RT-11 disk is not initialized for Macintosh or Windows, you cannot see its contents by using the standard operating system tools (for example, My Computer on Windows). To verify that the EDL was saved successfully to the disk, you can follow the first few steps of “Reading an Existing EDL from the RT-11 Disk” on page 242. If the EDL appears in the Make Selection dialog box, then you know it was saved to the disk. To perform a standard EDL save (not RT-11 Disks): 1.
Saving an EDL To save an EDL to an RT-11 disk (Macintosh): 1. Insert a CMX or GVG disk into the disk drive. A message box opens. 2. Click OK. 3. With an EDL open, select File > Write To RT11 Disk. The Save As dialog box opens. 4. Click OK to accept the EDL file name, or type a new name and then click OK. The name must be six or fewer alphanumeric characters, in uppercase letters, followed by the .EDL file name extension. For example: WILL3A.EDL Avid EDL Manager saves the EDL to the CMX or GVG disk.
15 Working with EDLs Reading an Existing EDL from the RT-11 Disk To read an EDL that is saved on an RT-11 disk in a CMX, GVG, or high-density GVG (HDGVG) edit controller format: 1. Insert the RT-11 disk that contains the EDL you want to read into the disk drive. 2. Select File > Read From RT11 Disk. The Open dialog box opens. 3. Select the EDL you want and click OK. The EDL opens in the Avid EDL Manager window.
Formatting an RT-11 Disk 3. Select File > Copy To/From Disk. A dialog box opens: 4. To select the EDL to copy, do one of the following: t To copy from an RT-11 disk, click Yes. A list of EDL files appears. Select the EDL you want and click OK. t To copy from any other disk or drive, click No. When the dialog box opens, navigate to the file you want to open and click Open. A dialog box opens, and asks if you want to write to an RT-11 disk. 5.
15 Working with EDLs To format an RT-11 disk: 1. Select File > Format RT11 Disk. A dialog box opens telling you to insert a diskette. 2. Insert a DOS-formatted disk (Windows) or a blank disk (Macintosh) into the drive and click OK. A message box opens warning that all data on the disk will be lost. 3. Click OK. A dialog box opens. 4. Select an EDL disk type format. Avid EDL Manager formats the disk. Viewing the Tape List in the Source Table The source table has one row for each source tape.
Viewing the Tape List in the Source Table To view the source table: t n Click the Sources tab in the Avid EDL Manager window. A list of source tapes appears. If Sources tab is already selected before you open an EDL, the source table appears when you complete the opening procedure. To view the master EDL display, click the Master EDL tab in the Avid EDL Manager window.
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16 Customizing EDLs This chapter describes how to customize an Edit Decision List (EDL) by changing a variety of settings. It also explains how to save settings for use with other EDLs. This chapter includes the following sections: • Avid EDL Manager Settings • Using the Avid EDL Manager Window • Changing Settings in the Options Window • Changing Options in the Site Settings Dialog Box Avid EDL Manager Settings Initially, Avid EDL Manager uses default settings to generate the EDL.
16 Customizing EDLs Using the Avid EDL Manager Window Use the Avid EDL Manager window to change or select the following settings: • Title name of your EDL • Video tracks and audio channels • Views of the EDL — master list, dupe list, or source table • Settings to apply to the EDL • Project type used to create the sequence • EDL type to generate • Source timecode type • Record timecode type The changes you make to the Track Selector panel or to the Source and Record pop-up menus update autom
Using the Avid EDL Manager Window Changing the Title of an EDL You can change the title of your EDL at any time. For example, if you want to open an EDL and modify it in some way, you can then retitle the modified version to distinguish it from the original. If you then save the new version by using a new file name, you have two distinct versions of the EDL with different titles and file names. n Changing the title of an EDL does not automatically create a new file.
16 Customizing EDLs Including or Excluding Specific Tracks in an EDL If multiple audio channels and video tracks exist in your sequence, you might want to include only certain tracks in the EDL. To specify which tracks to include or exclude: 1. Click the audio or video track button in the Track Selector panel. A pop-up menu of channels (or tracks) display. The number of audio channels listed depends on your edit controller. 2. Do one of the following: t Select a track number from the pop-up menu.
Using the Avid EDL Manager Window The underlined number in the list of available tracks—in this case, A1—is a reminder that you are moving A16 to the EDL audio channel 1. The audio button displays A16, indicating that you have assigned track A16 from the sequence to the first audio channel in the EDL. When you generate your list, the EDL refers to this channel as A1 because it is the first audio channel in the EDL itself.
16 Customizing EDLs For sequences too complex to be represented in one EDL, you can isolate a video track. As an example, you might have multiple layers of keys or a key over a superimposition (super) with color correction, and so on. Track isolation creates successive EDLs for the same sequence, each with a different video track. To combine a video track: t Select the All V (All Video) setting from the Video Track pop-up menu.
Using the Avid EDL Manager Window Displaying Different Views of an EDL To display one of the views in the Avid EDL Manager window: t Click the tab of the view you want to see. For more information, see “Using the Avid EDL Manager Window” on page 248 and “Setting Up a Dupe List” on page 263. Opening EDL Settings EDL Settings let you organize and recall customized settings in whatever way is useful for your work.
16 Customizing EDLs n You can also select the EDL format from the Options window. See “Choosing an EDL Type” on page 256 for information on each format on the list. Timecode Format The pulldown of the film transfer determines the field dominance for 24p and 25p material. This field information, which is important for color correction of 24p and 25p material, is indicated in the timecode display. The timecode format is as follows: hh:mm:ssXff where X stands for a punctuation symbol.
Using the Avid EDL Manager Window Source TC Description 25 25 fps 30 30 fps pulldown drop frame 30NP 30 fps non-drop frame without pulldown Auxiliary TC 1 – TC 5 The timecode from the timecode column in the bin Aux TC24 24 fps auxiliary timecode Film TC Film timecode. Sound TC Audio timecode. VITC The vertical interval timecode Avid EDL Manager adjusts the frame rates and displays the new timecode in the source column of the EDL. 3. Click the Update button.
16 Customizing EDLs Avid EDL Manager adjusts the frame rates and displays the new timecode in the Record timecode column of the EDL. 3. Click the Update button. Avid EDL Manager displays the new Record timecode in the EDL. Changing Settings in the Options Window You can further customize your EDL by defining options in the Avid EDL Manager Options window. The Avid EDL Manager Options window provides four tabs in which you can set the required options.
Changing Settings in the Options Window When you work with file-based media, use File_16 or File_32 to create a file-based EDL. File_16 has a source name limit of 16 characters and File_32 has a source name limit of 32 characters. There is no limit on the events or sources. n Check with your online house before you make an edit decision list. As a backup, always create a list based on the CMX_3600 type — it is the most common type.
16 Customizing EDLs EDL Types and Audio Channels n EDL Type Number of Audio Channels CMX_DigitalCut 4 CMX_Pulldown 4 CMX_Transfer 4 Cuedos_1 16 File_32 24 GVG_4.1_6.0 4 GVG_7.0_7.0 4 Paltex 2 File_16 24 Sony_5000 2 Sony_9000_1.0_2.21 4 Sony_9000_2.22_2.32 4 Sony_9100_1.02_1.04 4 Sony_9100_1.1_2.11 4 Sony_DigitalCut 4 Sony_Pulldown 4 Sony_Transfer 4 If you mix down audio channels, Avid EDL Manager does not represent them properly in an EDL.
Changing Settings in the Options Window To select a switcher: 1. Select Windows > Options. 2. Select your switcher from the Switcher pop-up menu. 3. Click Apply. Setting Source and Record Timecodes for all Project Types Set the Source and Record timecodes in the Master List tab for all project types. To set Source and Record timecodes: 1. Select Windows > Options. 2. Select a frame rate option from the Source TC pop-up menu, the Record TC pop-up menu, or both.
16 Customizing EDLs 3. Select a type from the Reel ID Type list. Type Notes Tape or File Name Uses the reel ID from the tape source from which you digitized your video. Sound roll Uses the reel ID from the sound roll source, such as DAT (if you entered this information in the bin). Used for film projects. Camera roll Uses the reel ID from the camera source (if you entered this information in the bin). Used for film projects. Labroll Disk Label 4. Click Apply.
Changing Settings in the Options Window EDL Sort Modes Mode Sorts by Results in Use when A (Record IN) Record IN timecode. Sequential editing from one IN point on the record tape to the next. You have a short show, want to generate a simple, flexible EDL, or need to make many last-minute decisions. B (Source, Record IN) Individual source reel, Checkerboard editing on The length of source then by the Record IN the record reel, one material is roughly timecode. source reel to the next.
16 Customizing EDLs Selecting the Pulldown Starting Frame The Pulldown starting frame option on the Master List tab is used with 24p and 25p projects and lets you select the start frame for your generated EDL. To set the pulldown start frame: 1. Select Windows > Options. 2. Select one of the following options from the Pulldown menu: Option Description Sequence Default setting, based on start frame set in sequence A Frame Sets pulldown start frame to A B Frame Sets pulldown start frame to B 3.
Changing Settings in the Options Window Setting Up a Dupe List A dupe reel is a compilation of the duplicate clips that you need to conform a sequence, or make the final show from your editing. If you have clips that a transition effect joins from a single tape, you need to dupe a clip so that another source tape exists to transition to and from, as one tape cannot be in two places at once. The second source tape is called a B-roll. A dupe list is a list of duplicate clips.
16 Customizing EDLs Option Suboption Notes List type None Creates no dupe reel. One, New Timecodes Creates one dupe reel with a timecode you select. One, Jam Sync Creates one dupe reel with timecodes from the original sources. Multiple (B-rolls) Appends a “B” to the incoming source when transitions are made from a single source. Preread Creates no dupe list. Adapts the EDL master list to accommodate duplicate frames as preread frames when editing with digital decks.
Changing Settings in the Options Window n With preread edits, the cut before the transition (sometimes called the A-side, or outgoing footage) is overrecorded. The overrecord area must be equal to or greater than the duration of the transition. You specify the source name of the “to” side of a preread transition in the Preread name text box (see “Setting Up a Dupe List” on page 263) of the Dupe List/Preread area in the Options window.
16 Customizing EDLs Option Description Optimize the EDL Optimization is a process that simplifies your EDL. An optimized EDL contains simplified text and events that are combined or condensed to speed up the online assembly process. If two tracks of video and one channel of audio share the same Record IN and Record OUT timecodes and they come from the same source tape, optimization expresses them as one edit instead of three. Show Dissolves as Cuts Changes all dissolves to cuts.
Changing Settings in the Options Window Tapename Truncation Options Option Example Description Remove End (Default) CHICAGO138101 Truncates the end of the tape becomes name. CHICAGO1. Distinguishing segment of tape name is at the beginning. Remove Middle CHICAGO138101 Takes half of the allowed becomes number of characters from the CHIC8101. front and the other half from the end of the tape name. Sequentially numbered series of tape names, such as CHICAGO138100, CHICAGO138101, and so forth.
16 Customizing EDLs Comments Tab Options c 268 Option Description Audio EQ Refers to audio equalization (EQ) information. Avid EDL Manager generates comments containing EQ values specified for clips with audio EQ. Audio Patching Aids during the manual setup of cross-channel patching. Clip Names Includes names associated with the source clips in Avid editing system bins. Comments Includes comments about events in the EDL that were added during editing.
The Repair Notes Comment The Repair Notes Comment Repair notes indicate changes Avid EDL Manager makes to handle a complex EDL or discrepancies Avid EDL Manager finds in the sequence. If you select the Repair Notes option in the Comments tab of the Options window, Avid EDL Manager displays changes that it makes, such as limiting the number of frames in a dissolve or invalid Source In times.
16 Customizing EDLs Changing Options in the Site Settings Dialog Box You can change serial transmission, list font, and printer font options in the Site Settings dialog box. To open the Site Settings dialog box: t Select Edit > Site Settings. Changing Serial Transfer Options Set up serial transfer options only if you are transferring an EDL to an online editor by means of serial transmission.
17 Editing and Troubleshooting EDLs You can edit an EDL with a text editor to clean up the EDL for a successful reading. You can also troubleshoot EDLs by using the techniques described in this chapter. This chapter includes the following sections: • EDL Online Resources • Using a Text Editor to Edit an EDL • Removing Issues in Complex Sequences • Locating Trouble Spots • Avoiding Problems in EDLs EDL Online Resources The following web sites contain useful information on working with EDLs: • www.
17 Editing and Troubleshooting EDLs To make sure Avid EDL Manager can read your EDL, follow the topics below. Fitting the Format to the Avid EDL Manager If you are having trouble reading a list in Avid EDL Manager, it is possible the list does not meet the Avid EDL Manager formatting requirements. The following is a checklist of the most common formatting problems: t Check the format layout to verify that the columns are in the correct place and the characters are correct for your edit controller.
Removing Issues in Complex Sequences Removing Issues in Complex Sequences When a sequence is too complex for the Avid EDL Manager to describe, it generates error messages and tries to simplify the sequence. This happens most frequently when you try to generate a list for a sequence that has multiple video tracks. Avid EDL Manager’s attempts at simplifying complex sequences are pointed out in the repair notes and appear as comments within the list.
17 Editing and Troubleshooting EDLs To display a previous command in the Command text box: t Click the Recall button (F3). To perform a previous command: t Click the Repeat button (F2). To clear the display: t Click the Clear button. Always check the Console window after making a list. Error messages appear in the Console window if certain comments or events cause problems. n c Avid EDL Manager generally identifies motion effects by M1, M2, and so on.
Locating Trouble Spots Locating Trouble Spots You can isolate trouble spots in several ways. They include slicing and dicing, and trying one track at a time. Slicing and Dicing The most effective method for finding trouble spots is slicing and dicing the sequence. Slicing and dicing isolates trouble spots by dividing sequences in half and testing for successful generation. To slice and dice the sequence with your Avid editing system: 1. Load the sequence into the Source monitor. 2.
17 Editing and Troubleshooting EDLs Avoiding Problems in EDLs You can avoid problems with your EDL by doing the following: Simplifying Effects You can simplify effects in your sequence that are overly complex. For example, you can remove a color effect from a resized segment. Remember to use comments to help you re-create the original sequence in the online suite.
18 Checklist for Online Editing When you move from nonlinear to linear editing systems and generate EDLs to help re-create your sequence online, you might encounter obstacles. For example, an EDL generated in one format can be incompatible with the edit controller at the online suite, or you might not be aware of the dupe reel characteristics your EDL should contain. Problems like these can result in an unproductive and costly online session. See the following to avoid or minimize problems.
18 Checklist for Online Editing • Can you send a preliminary version of the EDL ahead of time to make sure it loads properly on the edit controller? If it does not, you can make the necessary adjustments. • What is the name of the switcher in the online suite? If you are not sure which switcher is used, adjust the Switcher setting in Avid EDL Manager to SMPTE. (The switcher setting is in the Options window.
19 Creating EDLs for Film Projects There are several things to consider when you create EDLs for film projects. The following sections address these considerations. • Matchback Conversion in Film-to-Video EDLs • Creating EDLs for a Matchbacked Sequence • Creating Audio-Only EDLs Matchback Conversion in Film-to-Video EDLs If you are editing a film project with an Avid video editing system, you can finish the project in video.
19 Creating EDLs for Film Projects Creating EDLs for a Matchbacked Sequence When you create an EDL for a sequence that converts from film to video, you can have an edit listed in the EDL as slightly longer or shorter than the corresponding film edit. The EDL might not be an exact representation of the sequence — it can be plus or minus one frame, in accordance with the 30 to 24 frames per second (fps) matchback conversion.
20 Using Serial Transfer to Transmit EDLs If your offline and online editing suites are in the same building, or if you are transferring the EDL to an edit controller that has no disk drive, consider using serial connections to transmit EDLs from offline to online.
20 Using Serial Transfer to Transmit EDLs Setting Serial Transfer Options Before the edit controller and computer can communicate, you must specify various options in Avid EDL Manager. To set the serial transfer options: 1. Select Edit > Site Settings. The Site Settings dialog box opens. 2. Click the Serial Transfer tab. 3. Select options from the pop-up menus. The following table explains the options. The following table explains the serial transfer options.
Transferring the EDL Serial Transfer Options Option Description Baud Rate Sets the data transmission rate for the computer on which Avid EDL Manager is running—the default is 9600. Stop Bits Indicates how many bits are needed to make a break in transmission—the default is 0 stop bits. Handshaking Allows communication between two systems—the default is none. Options include DTR and Xon/Xoff. 4. Click OK to apply your changes to your EDL. 5. Click OK to implement the options you have selected.
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20 Avid FilmScribe This section provides information about Avid FilmScribe. FilmScribe lets you create, modify, and manage cut lists and change lists that you can use to prepare various postproduction elements of a film project, including work prints and final cuts..
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21 Understanding Film Lists At various stages of postproduction, you need to generate lists that can be used to prepare conformed cut previews, optical effects, audio tracks, and eventually the final cut. FilmScribe provides tools for creating frame-accurate lists that can be used to conform a work print, a film negative, audio tracks, or videotape transfers. This chapter provides an overview of the situations in which you can use cut lists and change lists.
21 Understanding Film Lists Context Description Comparing versions of a sequence You can generate lists containing information about multiple sequences that the assistant editor can use to combine reels or bring conformed work prints up-to-date.
Frame Reference Numbers • Moves that consist of a matched pair of deletions and insertions of an entire shot or shots • Optional information that details which portions of the sequence should not be altered Frame Reference Numbers You can generate all the standard frame-reference information required for an assistant editor or negative cutter to conform a cut, provided that information has been entered in the bin.
21 Understanding Film Lists About Optional Lists Both cut lists and change lists include the use of optional lists that communicate specific tasks to the assistant editor, the negative cutter, the sound department, or the optical house.
About Optional Lists A-Roll Versus A/B-Roll Conforming FilmScribe assemble lists can represent either of the two conforming methods: A-roll or A/B-roll. Before generating a cut list or change list containing an assemble list, you select one of these methods based on the following criteria: • A-roll or single-strand. Used primarily for 35mm film editing, this method requires the compositing of all multilayer effects into a single layer (including laboratory-standard dissolves and fades) before assembly.
21 Understanding Film Lists c n The Scene/Take column must be filled in within the bin to generate a scene assemble list. If you do not have scene information available before you work with the list in FilmScribe, you can enter the information quickly in your Avid editing system by copying the Name column in the bin and pasting that information into the Sc/Tk column. For information on copying text between columns, see the user’s guide to your Avid editing system.
About Optional Lists Example of part of an optical list Types of Effects Supported by Optical Lists FilmScribe optical lists support the following effects and combinations of effects: • All standard- and nonstandard-length transition effects, such as dissolves and fades • Standard blend effects, such as superimpositions, title effects, matte key effects, luma keys, and chroma keys • Single-layer segment effect blowups, including moving blowups and resize flips and flops • Other standard film effec
21 Understanding Film Lists n FilmScribe cut lists do not describe standard film masks that you apply to a clip or sequence to view a different aspect ratio. Standard masks are usually applied only after the conforming of a work print or negative. These masks are not effects and are used only to represent the cutoff of projected print in the theatre. Custom masks, which are effects, are described in the optical list.
About Optional Lists Dupes are also indicated in the assemble and pull lists by default, regardless of whether or not you choose to generate a separate dupe list. Pull Lists Pull lists display selected elements of the sequence in various sort orders. The pull lists show dupes but not comments or locators.
21 Understanding Film Lists Change Pull Lists and Change Discard Lists When you are generating a change list, the Change List tool provides two additional options: the change pull list and the change discard list. • The change pull list is similar to the pull list, except that it lists only new clips or effects that you need to insert into the updated cut. • The change discard list displays each clip that has been removed from the updated sequence.
Using Icons in Lists to Represent Edits Optical Scene Pull Lists Optical scene pull lists show all the source material required to re-create the optical effects in the sequence. The optical scene pull list contains the same information as a scene pull list except that: • Each optical is listed per scene. • Takes required to re-create the optical are listed by scene number.
21 Understanding Film Lists Examples of a Cut List icon in a Cut List (top) and a Change List icon in a Change List (bottom) The following table list the icons available in both the cut list and change list.
Using Icons in Lists to Represent Edits Icon Event Dissolve Optical Optical Media Media Offline The following table lists the icons available only in the change list. Icon Event Icon Event Delete Insert Tail Insert Delete Tail Insert Head Delete Head The Bad Clip icon indicates clips that have discontinuity of edgecode. Discontinuities occur normally between scenes or takes in each KEM roll.
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22 Working with FilmScribe This chapter explains the main elements of FilmScribe and procedures for working with FilmScribe.
22 Working with FilmScribe 5. Save the list. 6. Open the list in a text editor and adjust font, point size, and so on. 7. Print and save the list. Under certain circumstances, you might also: - Transform an XML list into other formats. See “XML Templates” on page 324. - Import the file into an application such as Microsoft Excel® or FileMaker® (for lists generated from the TabbedLists template or the XML template). - Reopen a saved list. - Work with more than one bin or sequence at the same time.
The FilmScribe Interface The FilmScribe Interface The FilmScribe interface has the following main elements: • Menu Bar • Windows • Help System Menus That Always Appear When you start FilmScribe, the general menus are the only menus that appear. These menus are always visible, no matter what other windows are open. Menu Description File Provides commands for opening and closing bins and tools, saving and printing lists, and quitting FilmScribe.
22 Working with FilmScribe Menu Description List Appears when the List window is the active window. Provides commands for expanding and collapsing the list view. Movie Appears when the Movie window is the active window. Provides commands that control the way the movie plays and the size of the window. Window Types You work with sequences, list options, and lists in different windows within FilmScribe. The following table lists these window types and describes the tasks you can perform in each type.
Working with Bins The ReadMe file contains any important information that was discovered after the Help and manual were updated. To open the help, do one of the following in the Avid FilmScribe application: t Select Help > Help t Select Help > Shortcuts To view the Readme file: t Select Help > Readme Working with Bins Bins are the specialized files used by Avid editing systems to organize clips and sequences.
22 Working with FilmScribe Understanding the Bin Window The Bin window. Top: Refresh button and Bin status bar. Center: Column heading buttons and Sort direction button. Bottom: Sequence display area.
The Cut List Tool and the Change List Tool Sorting Items in Bins You can sort the sequences in a bin by any of the column heading categories. For example, you might want to sort by reel number so that all the sequences from one reel are grouped together. FilmScribe sorts the sequences in alphabetical or numerical order, whichever is appropriate to the heading. To sort items in a bin: t Click the column heading button for the category by which you want to sort.
22 Working with FilmScribe Understanding the Cut List Tool Window 1 2 3 4 5 6 308 7 Feature Description 1 Sequences pane Displays currently loaded sequences. 2 Lists pane Lets you select specific types of lists in addition to the main assemble list. 3 Options pane Provides controls for customizing each of the lists you choose to generate. 4 Tracks pane Lets you select the tracks to be included in the list: video (picture) or audio tracks.
The Cut List Tool and the Change List Tool Feature Description 6 Settings pop-up menu Lets you save your current cut list settings and selections for future use. 7 Preview button Performs the following operations depending on the template you are using: • For the TabbedLists template, FilmScribe prompts you for a folder name and stores the cut list or change list in the folder. You can open the file later in an application such as Microsoft Excel.
22 Working with FilmScribe Understanding the Change List Tool Window The Change List Tool window. Top left: Old Sequences and New Sequences panes. Top right: Old Lists and New Lists panes. Bottom: Change Lists pane. The Change List tool has many of the same features as the Cut List tool, with the following differences: 310 • The Change List tool has two sequences panes: one for the old versions of the sequences and one for the new versions.
The Cut List Tool and the Change List Tool Dragging Sequences from Bins To get a sequence by dragging: t Drag the sequence you want from the bin to the Sequences pane in the Cut List tool or to the Old Sequences or New Sequences pane in the Change List tool. The name of the loaded sequence appears in the pane. n If your sequences have unique Reel numbers, you can drag more than one sequence. To select more than one sequence, Shift+click each sequence you want, and then drag the sequences to the tool.
22 Working with FilmScribe To add a sequence to a list that already contains one or more sequences: 1. Make the bin the active window. 2. Click the sequence you want. Your sequences must have unique Reel numbers to load more than one in the Sequences panel. 3.
The Options Pane n - ChangeList > Select All Tracks - ChangeList > Deselect All Tracks In the Change List tool, the buttons in the Tracks pane correspond to the sequence you loaded into the New Sequences pane, not that in the Old Sequences pane. If the sequence is a 30-fps sequence (that is, a matchback project), audio tracks are not shown because matchback applies to picture-only sequences. Generate a separate edit decision list (EDL) for sound.
22 Working with FilmScribe Selecting and Changing Options To select options: 1. Click a list type in the Lists pane. The list type is highlighted in the Lists pane, and the options for that list type appear in the Options pane (the right half of the tool). A check mark indicates which lists will be created. 2. Select options, select from menus, or type in text boxes to select the options you want.
The Options Pane To adjust the options and update the list: 1. Alter your selections in the Options pane. 2. Regenerate the list. You can change the cut list options or the change list options any time before or after generating a list. Copying Options Between List Types After selecting assemble list options, you can apply the same options to other list types. To copy options to another list type: 1. Select the assemble list options you want. 2. Click another list type in the Lists pane. 3.
22 Working with FilmScribe To recall a previous setting: t Click the Settings pop-up menu, and select a setting. To save the current options as a setting: 1. Select Settings > Save As. A dialog box opens. 2. Type a name for the setting, and then click OK. To remove settings: 1. Select Settings > Remove Settings. The Remove Settings dialog box opens. 2. Select the setting you want to remove, and then click Remove. 3.
The Options Pane Previewing the List After selecting options for your lists, you are ready to generate the lists and preview them in the List window. To generate the lists and open the List window: 1. Select the list types you want to generate by selecting the appropriate options in the Lists pane. 2. Click the Preview button at the bottom of the Cut List tool or the Change List tool.
22 Working with FilmScribe The List Window When you generate a list, it opens in a List window. You can use this window to view your list. When you open a saved list, it also appears in a List window. n The following topics do not apply to the WebLists template or the TabbedLists template. The List window is a read-only preview of your list; you cannot change the list from the List window.
The List Window Before you save a list, the title bar of the List window reads “Cut List Preview” or “Change List Preview.” After you save a list, and when you open a saved list, the title bar shows the name of the saved list. You can use the standard Windows or Macintosh controls to scroll through the list within the window or to resize the window so that you can see more of the list. To open the list in a text editor: 1. Do one of the following: t Select File > Save As.
22 Working with FilmScribe List Window Status Bar Messages Message Description List is current Indicates that the list matches the current option settings in the Cut List tool or the Change List tool. List is NOT current If you generate a list and then return to the tool to change options, this message appears. It indicates that the list no longer matches the current option settings in the Cut List tool or the Change List tool. Regenerate the list to make it current again.
How to View Sequences as QuickTime Movies The image thumbnails provide an immediate visual reminder of the sequence. You can also use these thumbnails to open the QuickTime movie of the sequence in the Movie window. You can then play all or part of the sequence. To use this feature, first export your sequences from your Avid editing system as QuickTime movies (.mov) files, and make those files available for FilmScribe to read them. You must have QuickTime loaded on your computer.
22 Working with FilmScribe Control Description Step Backward button Click to step backward one frame. Step Forward button Click to step forward one frame. The following table describes the commands in the Movie menu. Command Description Loop Plays the movie repeatedly. When the system reaches the end of the movie, it returns to the beginning and starts play again. Loop Back and Forth Plays the movie repeatedly, in alternating directions.
How to Save, Open, and Print Lists To save a list: 1. Select File > Save. The Save Options dialog box opens. 2. Select the desired option, and then click OK. A dialog box opens. 3. Type the file name in the File name text box. 4. Select a destination for the file. 5. Click Save. n (Windows only) Avid recommends that you use the .txt file name extension at the end of all list names. FilmScribe works best with saved lists that have this file name extension.
22 Working with FilmScribe Special-Purpose Templates You can use several special-purpose templates to create lists. The following topics describe some of these templates. XML Templates The XML template provides flexibility for you to create many kinds of lists and also lets you create your own custom type. The XML template produces a file that includes all the information about the list: it shows you every column heading and every custom column. It can result in a large file.
Special-Purpose Templates 4. Save the file by selecting File > Save As. WebLists Template The WebLists template lets you create an HTML cut list or change list. These lists can be viewed in any standard web browser. You can post these lists to an intranet, enabling collaboration between groups. These lists are hyperlinked, which lets you jump between lists. For example, you can click on an Optical entry in the Assemble List, and it opens a browser at the information in the Optical List.
22 Working with FilmScribe To create a list with the WebLists template: 1. Select Template > WebLists in the Global Options pane. 2. Click the Preview button. FilmScribe asks for a location in which to store the list and related files; the default is Avid Application/FilmScribeOutput/Title. For example, the Assemble List is called Assemble.html. In addition, control files are also copied to this folder (.jpg files for the banner and logo, .
Special-Purpose Templates - Events in a Dupe Group in the Dupe List that are linked to locations in the Assemble List - Pull List items that are linked to their location in the Assemble List 4. You can view the following in change lists: - Change, Change Pull, Change Discard, and Optical items. - Change lists that are hyperlinked to the old and new Assemble and Pull Lists. 5. To print your list, use the browser’s print setup option (choosing fonts, text size, and so on).
22 Working with FilmScribe TabbedLists Template The TabbedLists template lets you create a list that you can open in a separate application such as Microsoft Excel or FileMaker Pro. The TabbedLists template supports all the lists and options. To create a list with the TabbedLists template: 1. Select Template > TabbedLists in the Global Options pane. 2. Click the Preview button. You are prompted to name the folder. 3. Name the folder, and then click OK.
Multiple Cuts and Reels To create a single cut list for several sequences: 1. Make sure the sequences are named so that they are sorted in the proper order in the Cut List tool. 2. Ctrl+click (Windows) or Shift+click (Macintosh) the chosen sequences in the bin, and then drag them to the Sequences pane. 3. Select the options you want, and then generate the list. The cut list provides lists for the sequences in order.
22 Working with FilmScribe To generate a change list using reel numbers: 1. Prepare the sequences with the appropriate reel numbering if necessary. 2. Ctrl+click (Windows) or Shift+click (Macintosh) all the old sequences in the project bin (each sequence must represent a different reel). 3. Drag the selected sequences into the Old Sequences pane to load them. 4. Repeat steps 2 and 3 for the new sequences, dragging them into the New Sequences pane.
Multiple Cuts and Reels To track changes with preview code in the Avid editing system (or in Avid MediaLog) and in FilmScribe: 1. After re-inking the first work print with preview code, type the matching start preview code number in the KN Start column of the bin for the corresponding sequence. c Change the starting key number for the sequence only. Do not override KN Start information for the original master clips used in the sequence. 2.
22 Working with FilmScribe The Matchback Option The matchback option that is available on some Avid editing systems lets you generate a film cut list from a 30-fps video project that uses film as the source material.
The Matchback Option Matchback is subject to the following limitations: • The matchback option uses key numbers to conform the negative. Therefore, you must have key number information entered in the bins for the project. • You can generate cut lists but not change lists in a matchback project. • The matchback information applies to the picture only. You must generate a separate list (an EDL, for instance) for conforming the audio source tapes.
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23 Film List Options This chapter explains all the options you can use to customize your lists through the options pane of the Cut List tool and the Change List tool. For more information, see “The Options Pane” on page 313. This chapter includes the following main sections: • Global Options • Options Common to All Lists • List-Specific Options Global Options Global options affect the appearance and format of all the generated lists.
23 Film List Options n When you select the XML template, you do not need to select any of the suboptions in the following table unless otherwise noted, because they are included by default in the XML output. Option Suboption Description Animation Displays a list that is customized for animators, including a running counter, frames, durations, and the clip name. The first and last frame of each clip are displayed, along with additional information that you select.
Global Options Option Suboption Description A/B Roll (Double Strand) Standard-length dissolves, fade-ins, and fade-outs are placed directly in the assemble list and are not treated as opticals unless they are part of some other optical effect such as a motion effect. The standard lengths are 16, 24, 32, 48, 64, and 96 (frames). Not included in XML output. Using Key Number (KN Start) Ink Number Auxiliary Ink DPX VFX Transfer Select the type of numbers to use to conform the picture.
23 Film List Options Option Display Handles Suboption Description Select Display Handles, and then type a handle size. FilmScribe adds a new With Handles column to the lists for each source column for WebLists and TabbedLists templates. The With Handles column contains the start and end values of the column and adds a handle of the specified size. n List Summary Other templates show values including the handles. Generates a summary of all the cut lists.
Options Common to All Lists n When you select the XML template, you do not need to select any of the options in the following table unless otherwise noted, because they are included by default in the XML output. Option Description Set All Cut Lists Same These options appear at the top of the Options List depending on which tool and list As Assemble List Set All is currently selected. These options let you copy options between other lists types.
23 Film List Options Option Description Auxiliary TC 1-5 Custom or duplicated timecode Source timecode based on the Aux TC bin columns, counting at the same rate as the project. Aux TC 24 Custom or duplicated timecode Source timecode based on the Aux TC24 bin column, counting at 24 fps. Film TC Film timecode generated through the telecine transfer Source timecode based on the starting value in the Film TC bin column, counting at the same rate as the project.
List-Specific Options Option Description Pullin Src Identifies the source frames as either A, B, C, or D frames. The original pulldown cadence from the NTSC source tapes. Pullin Rec Identifies the newpulldown cadence created by the edited version. DPX Frame-counting field for Digital Picture Exchange, a SMPTE standard describing frames scanned from film.
23 Film List Options Assemble List Options Option Description LFOA (Last Frame of Action) Determines the duration of a sequence at the last frame that is part of the sequence, minus the length of the head and/or tail. Select the option and type the length of the head and/or tail. Mark Short Cuts Searches the assemble list for cuts that are shorter than a user-specified minimum. All such cuts are flagged with a comment. Not included in XML output.
List-Specific Options Option Description Optical Footage Shows footage relative to the beginning of each optical. Page Breaks Between Opticals Each optical prints on a separate page. Not included in XML output. Dupe List Options n Dupe lists are not available in the XML template. Option Description Assume Handles Specify the number of frames for handles during dupe checking. The frames are added to the beginning and the end of each clip before checking for overlap.
23 Film List Options Option Description Sorting These options control how a list is sorted. They affect only pull lists. They do not affect assemble, optical, or dupe lists. You can select up to three sort fields (criteria).
24 Preparing Sequences for FilmScribe The following sections provide information to help you prepare your sequences in an Avid editing system so that FilmScribe can work with them successfully and you can maintain your sequences safely.
24 Preparing Sequences for FilmScribe Prepare Your Sequences Depending on the type of list you are creating, and the stage of your project, you might need to prepare the sequences before working with them in FilmScribe. The following topics describe a possible workflow for each stage of list generation. Generating the First Cut List To generate the first cut list for conforming a work print, do the following in your Avid editing system: 1. Make sure the tracks you want are selected. 2.
Track Frames Based on File Names Generating a Final Cut List When you are ready for the final cut, you can prepare the sequences and generate lists and other reference elements for the negative cutter. To generate a final cut list: 1. Make sure the tracks you want are selected, and remove any match frames (add edits). 2. Back up your project and bins. 3. Record a digital cut to tape, preferably with burn-in, as described in the Help for your Avid editing system. 4.
24 Preparing Sequences for FilmScribe Prepare and Export QuickTime Movies To take advantage of FilmScribe’s image thumbnail and movie playback features, you need to export your sequences from your Avid editing system as QuickTime movie files, and make those files available for FilmScribe to read them. For more information, see “How to View Sequences as QuickTime Movies” on page 320.
Prepare and Export QuickTime Movies If you want to change the file name or use a longer name, you can still find the file in FilmScribe. When FilmScribe does not find the movie file, it lets you browse for the movie using the Open dialog box (Windows) or Directory dialog box (Macintosh) to specify the file name. n Certain characters create problems for FilmScribe when it searches for file names. Do not use a slash (/) or a colon (:) in the names of sequences that you plan to save as QuickTime movies.
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ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Numerics 24-fps timecode logging additional 135 24p and 25p projects creating 28 displaying timecodes in 104 30i NTSC projects creating 28 3-perf key number counts 135 tracking 135 A AAF files exporting 225 Add Channel button (Deck Configuration dialog box) 57 Add Deck button (Deck Configuration dialog box) 57 Adding bin columns 99 memory mark 69 Adding clip names during capturing 73 Adding comments during capturing 73 AFE files described 112 exporting projects and bins 11
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Bin headings modifying data in 105 Bin settings access and brief description of 48 Bin View settings described 48 Bin views customizing 83 Bins adding columns 99 auto-save function 45 closing 42 creating 41 defined 40 deleting 44 deleting items 87 display views for 82 displaying film columns in 129 displaying in Project window 40 displaying objects in 80 exporting as AFE files 112 highlights for mixed resolutions 80 Info display 52 list of, viewing 40 listing timecodes in
ABCDEFGHIJKLMNOPQRSTUVWXYZ Configuring decks 57 Configuring decks 56 automatically 56 manually 56 Copying clips and sequences 86 Creating a folder in a project 44 Avid log files 115 bins 41 folders in projects 43 projects 28 Criterion menu (Custom Sift dialog box) 91 Custom Sift command (Bin menu) 91 dialog box 91 Custom Titles in Avid logs 117 Customizing bin views 83 D Data entries in Avid log file 119 Deck automatic configuration 56 connecting 25 manual configuration 56 not connected logging with 71 off
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Enhancement panes described 195 Enhancements creating 199 cutting, copying, and pasting 203 deleting 213 deleting from bin 213 described 184 displaying ITV SMPTE-363M 207 duplicating in bins 213 duplicating in enhancements file 203 editing 203 editing into Timeline 217 importing into Avid editing application 211 importing into MetaSync Manager 206 ITV SMPTE-363M, supported 184 ITV SMPTE-363M, verifying URL path for 202 monitoring (Windows only) 218 moving 213 opaque, suppo
ABCDEFGHIJKLMNOPQRSTUVWXYZ H Hardware setup (Windows) 25 turning off 37 turning on 26 HD Raster Type selection for projects 27 Headings command (Bin menu) 90, 97 Help MetaSync Manager 195 Hiding bin column headings 105 bin columns 97 I Import command (File menu) 76 Import settings access and brief description of 48 Importing logs 75 Info display in the Project window defined 52 Ink numbers displaying frame count numbers 100 entering 136 Installing MetaSync components 186 ITV modes described 214 ITV SMPTE-
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Master clips copying 86 deleting 87 duplicating 86 locking 95 moving 86 selecting 85 sifting 91 Matchback options for 28 Matte keys and Overlay mode (Windows only) 218 deleting 214 MetaSync, deleting (Windows only) 213 Media files deleting in bins 87 MediaLog overview 21 Memory marks adding 69 Menu commands Calculator (Tools menu) 53 Custom Sift (Bin menu) 91 Export (File menu) 112 Lock Bin Selection (Clip menu) 95 Page Setup (File menu) 109 Print Bin (File menu) 109 Print
ABCDEFGHIJKLMNOPQRSTUVWXYZ projects automatically 31 startup project 31 Options default values 208 Other Bins folder (Project window) 42 Output timecodes displaying in bins 104 Overlay mode (Windows only) editing with 218 previewing 219 Overlay mode enhancements (Windows only) deleting 213 Overlay mode for ITV enhancements (Windows only) 214 P Page Setup command (File menu) 109 PAL (Phase Alternating Line) video frames-per-second rates for transfers 134 Paths verifying for enhancements 202 PIP mode for ITV
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Saving bins automatically 45 bins, manually 45 projects and bins 35 work to drives or removable media 35 Scene data 136 Selecting clips and sequences 85 settings for deck configuration 56 tapes for logging 66 Sequence with meta tracks exporting 225 Sequences copying 86 deleting 87 duplicating 86 locking in a bin 95 moving 86 selecting 85 sifting 91 Serial (COM) Ports settings access and brief description of 48 Serial Ports tool 54 Set Bin Display command (Bin menu) 80 Set
ABCDEFGHIJKLMNOPQRSTUVWXYZ Sync point finding the pulldown at 130 Syntax for MetaSync Manager command line (Windows only) 210 Syntax for MetaSync Publisher command line (Windows only) 230 T Tape naming schemes 64 Target bin choosing 64 Telecine importing log file from 84 Templates creating for enhancements files 207 setting default 208 Text editors creating Avid logs with 115 Text view (bin display) defined 83 described 97 Timecode display options for 24p and 25p projects 104 drop-frame and non-drop-frame
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Workflows MetaSync 188 Workspaces assigning buttons to 52 assigning windows to 52 settings 48 360 X XML files creating using MetaSync Publisher 227 described 186 using in workflow 187
Avid Technical Support (USA) Product Information 75 Network Drive Burlington, MA 01803-2756 USA Visit the Online Support Center at www.avid.com/support For company and product information, visit us on the web at www.avid.
