Avid® Media Composer ® Editing Guide
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Contents Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Avid Training Services . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 Chapter 1 Editing Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Changing Font and Point Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Overriding Bin Font and Font Size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Multiple Monitor Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Using Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Entering Pulldown Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Determining the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Modifying the Pulldown Phase Before Capturing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Entering Frames-per-Second Rates for PAL Transfers . . . . . . . . . . . . . . . . . . . . . . . . . 113 Entering Key Numbers . . . . . . . . . . . . . . . . . .
Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Selecting a Custom Preroll. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Preparing to Capture Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Audio Project Settings for Capture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Capturing DV Material with Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Capturing Audio from a Music CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Frame Chase Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Understanding Frame Chase Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preparing to Import Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Creating and Modifying Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Importing Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 Importing with Multichannel Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Using Bin Tabs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 Using the Bin Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Selecting Clips and Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tracking 3-Perf Counts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 Selecting an Edgecode Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 Creating a Storyboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Previewing File Based Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 Collapse and Expand Source Browser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 Linking Files to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 Linking a Volume to a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Relinking Tape and File Based Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 Relinking Consolidated Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 Relinking Moved Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358 Unlinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Marking and Subcataloging Footage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 Marking IN and OUT Points . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 Marking an Entire Clip or Segment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401 Creating Subclips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating a Summary of Effects and Source Information . . . . . . . . . . . . . . . . . . . . . . . . 428 Summary Information Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429 Chapter 14 PhraseFind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 Using PhraseFind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Playing a Limited Duration of a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 Understanding Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 Fixing Sync Breaks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471 Understanding Sync Lock . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Moving or Deleting a Script Mark . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509 Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510 Editing From the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510 Assembling a Rough Cut From the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511 Splicing a Script Range .
Linked Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537 Selecting Linked Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538 Selecting Multiple Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 538 Excluding Filler when Selecting Multiple Segments. . . . . . . . . . . . . . . . . . . . . . . . . . . .
Tracking Color Frame Shifts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 568 Finding Black Holes and Flash Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 569 Printing the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570 Activating and Deactivating I/O Hardware . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Working with Multichannel Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601 Displaying Track Formats in Bins. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601 Modifying Track Formats in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 602 The Track Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Pan Grid for Surround Panning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 638 Using the Advanced Panner for Surround Sound Panning . . . . . . . . . . . . . . . . . . . . . . 639 Using the Center Percentage and LFE Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 641 Audio Mixer Fast Menu: Clip Volume and Pan Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 643 Bypassing Existing Volume Settings . . . . . . . . . . . . . . . . . . . . . . . . .
Applying Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673 Saving Audio EQ Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675 Removing Audio EQ Effects with the Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 675 Removing Audio EQ Effects with the Remove Effect Button . . . . . . . . . . . . . . . . . . . . . 676 Audio EQ Examples . . . . . . . . . . . . . . . . . .
Troubleshooting MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 710 Avid HD Native and Pro Tools|HD Hardware Configuration for Media Composer . . . . . . . . 710 Configuring the ASIO Driver (Windows). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 711 Configuring the Core Audio Driver (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713 Using a GPI Device with the Audio Punch-In Tool . . . . . . . . . . . . .
Applying an AudioSuite Plug-in to a Clip in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . 751 Common Buttons in the AudioSuite Plug-In Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . 752 AudioSuite Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754 Real-time EQ and AudioSuite Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 754 Rendering AudioSuite Plug-in Effects . . . . . . . . . . .
Dither (Audio Track Effect). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 797 Down Mixer (Audio Track Effect) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 798 Duplicate (AudioSuite) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 799 Eleven Free (Audio Track Effect and AudioSuite) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 799 EQ (AudioSuite) . . . . . . .
Export OP1a MXF file as Panasonic AVC Long-GOP (H.264) . . . . . . . . . . . . . . . . . . . . . . . 845 Exporting MXF OP1a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 846 Exporting DNxHR Media as MXF OP1a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 847 Exporting as DPX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 848 Exporting as AS-11 . .
Using an XLR Adapter for Consumer-Level Analog Output. . . . . . . . . . . . . . . . . . . . . . 878 Preparing Record Tapes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 878 Striping Record Tapes (Recording Black with Timecode) . . . . . . . . . . . . . . . . . . . . . . . 879 Recording Bars and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 879 Enabling Assemble-Edit Recording . . . . . . . . . . .
EDL: List Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 917 EDL: Formatting Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 918 Cut List: List Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 920 Change List: List Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Offline Formats for HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 948 File Transfer for the Online Session. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 949 System Compatibility for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 949 Preparing Graphics for the Online Session . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Changing the Text Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 975 Editing Story Text (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 976 Rearranging Text in a Story (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 976 Marking Text (iNEWS Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Logging in to MediaCentral | Production Management. . . . . . . . . . . . . . . . . . . . . . . . . . . . 1007 Configuring Production Management Settings in Media Composer . . . . . . . . . . . . . . . . . . 1009 Additional Production Management Settings in Media Composer . . . . . . . . . . . . . . . . . . . 1012 Defining the Media Creation Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1012 Administrator Settings for Media Composer Clients . . . . . . . . . . .
Sending Messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1052 Performing a Send-to-Playback as a Background Process from Media Composer . . . . . . 1054 Chapter 28 Interplay Synced Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1056 Synced Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Transcoding of Mixed Resolution Clips During a Send to Playback . . . . . . . . . . . . . . 1098 Monitoring Transfers from Within the Avid Editing Application . . . . . . . . . . . . . . . . . . . . . . 1098 Transfer Status Window Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1099 Sorting the Transfer Status Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1099 Clearing the Transfer Status Window . . . . . . . . . . . . . . . . .
Quality Matching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1137 Quality Matching Reference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1139 Example of Quality Matching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1140 Chapter 32 MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Audio Ducking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1167 Audio Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1168 Audio Multiple Mix Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1169 Audio Project Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Remote Play and Capture Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1244 Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1244 S3D Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1246 Safe Colors Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Changing the Project Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1331 Changing the Sequence Format . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1332 (Media Composer | Symphony Option) Converting a 24p NTSC Sequence to 1080p/23.976 . . 1332 Converting a 23.976p NTSC Sequence to 720p/23.976. . . . . . . . . . . . . . . . . . . . . . . . . . . 1333 Editing at 60 fps . . . . . . . . . . . . . . . . . . . . . .
Using This Guide This guide contains the task-oriented instructions, conceptual information, and reference information you need to use the features of your Avid editing application. The contents of this guide is also available in the Help. This guide is intended for all Media Composer and Media Composer | Ultimate users, from beginning to advanced. For details on the features provided in the different Media Composer Models see https://www.avid.com/media-composer/comparison.
1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2. Check the latest information that might have become available after the documentation was published. You should always check online for the most up-to-date release notes or ReadMe because the online version is updated whenever new information becomes available.
1 Editing Overview The topics in this chapter provide an overview of the editing workflow: • Editing Workflow • Starting a Project • Preparing to Edit • Editing a Sequence • Outputting a Sequence Editing Workflow Your editing workflow depends on a variety of factors. For example, you might work on a standarddefinition video project, a film project, an HD project or a greater than HD project.
Starting a Project For more information, see “Working with Audio” on page 598. 10. Export the sequence or output a digital cut. For more information, see “Exporting Frames, Clips, or Sequences” on page 823 or “Generating Output” on page 861. If you are working in an offline to online project, see “Conforming and Transferring Projects” on page 947. Starting a Project Whenever you start to work on a new project, follow these basic steps: 1.
Editing a Sequence Editing a Sequence When you edit your video and audio, follow these basic steps: 1. View your clips and mark IN and OUT points, or create subclips based on selected portions of your master clips. For more information, see “Viewing and Marking Footage” on page 370. 2. Build your sequence in Source/Record mode in the Timeline. See “Creating and Editing Sequences” on page 438. 3. Use Segment, Trim, and Effect modes to fine-tune your edits and effects.
2 Getting Started Before you begin working with Media Composer, turn on your system, customize your mouse, optimize your system and then start Media Composer.
Using the Mouse Scroll Wheel for Navigating Option Command To select or deselect a check box or an option in a dialog box. Press Right Arrow, Left Arrow, or the space bar. To move up or down in a menu, or increment a Press Up Arrow or Down Arrow. numeric value. Using the Mouse Scroll Wheel for Navigating You can use the mouse scroll wheel to navigate in Media Composer, as described in the following table.
Optimum Performance (Windows) 2. Select a speed from the Vertical Scroll Speed menu. Normal is the default setting. Normal scrolls one item at a time. Moderate scrolls two items at a time, and Fast scrolls four items at a time. To assign functions to additional mouse buttons: 1. Select File > Settings, and then double-click Mouse. The Mouse Settings dialog box opens. 2. Select Tools > Command Palette. The Command palette opens. 3. Select Button to Button Reassignment at the bottom of the Command palette.
Optimum Performance (Windows) In Control Panel > Performance Information and Tools > Power Options > Change when the computer sleeps > Put the computer to sleep, select Never. • Change Advanced Power Settings. In Control Panel > Performance Information and Tools > Power Options > Change when the computer sleeps > Change advanced power settings > High Performance (instead of Balanced) Hard disk > Turn off hard disk after Setting: Never.
Optimum Performance (Mac) Optimum Performance (Mac) The following list contains suggestions for ensuring optimum performance when working with Media Composer on a Mac system: • Do not select the option that puts the hard disk to sleep when possible. In System Preferences > Hardware Energy Saver, deselect Put the hard disk(s) to sleep when possible. • Set sleep options to Never in Energy Saver preference. In System Preferences > Hardware Energy Saver, select Never. • Disable screensavers.
Starting Media Composer (Mac) Starting Media Composer (Mac) Your Media Composer is in the following location: Macintosh HD/Applications/Avid Media Composer For most users, the desktop or Dock is a more convenient location to start Media Composer. The installation process places a shortcut alias icon on the desktop. n c n For more information to make an alias and use the Dock, see your Mac documentation. Media Composer does not start properly if you move the application file from the Media Composer.
Quitting and Turning Off Equipment A message box opens. 3. Do one of the following: t Click Leave to quit Media Composer. t Click Cancel to return to the Select Project dialog box and select another project. To view remaining storage on your media drives: 1. Click Help > About Media Composer. Click the Hardware tab. The Hardware tool opens. 2. Click the appropriate drive tab. For more information, see “Using the Hardware Tool” on page 89. c Quit Media Composer before you turn off your equipment.
3 Working with Projects When you start Media Composer, the system displays the Select Project login window. The Select Project window is where you create a new project or open an existing project. Media Composer allows you work with projects in a private location or one that can be shared with other users. Project Selection Window Overview The following illustration and table provides an overall description of the Select Project dialog.
Project Selection Window Overview Element Description 1 User Displays the login name of the user currently logged into the system. To change to a different user, log out and log in as that user. 2 User Profile Displays the name associated with the current settings. By default Media Composer uses the login name. The list button changes profiles or creates a new one. For more information, see “Understanding User Profiles” on page 1164.
Creating a New Project 4 Element Description(Continued) Browse button Lets you navigate to a different folder. The projects in this folder appear in the project list. See “Opening and Closing Existing Projects” on page 60. n You cannot type into the User or Folder text boxes. 5 Project list Displays a list of the Avid projects in the currently selected folder. Double-click a project to open it.
Creating a New Project Option Format SD HD High-Res A combination of the video format (e.g. Ultra HD), frame dimension (e.g. 3840 x 2160), color space (e.g. YCC 709), aspect ratio, (e.g. 16:9) and the frame rate (e.g. 23.97). Choose the most appropriate combination for your output format. You can select from presets that are based on the common formats used for delivery.
Creating a New Project Option Raster Dimension (Resolution) SD HD High-Res Select either 4:3 or 16:9 Always uses the 16:9 aspect ratio Automatically calculated based on project resolution Sets the frame size for the project. The dimensions are the number of pixel columns (width) by the number of pixel rows (height), for example 1920 by 1080. You should set this resolution according to the delivery requirements of your project. e.g. HDTV broadcast, Cinematic release, etc.
Creating a New Project Option Edit timebase When editing with high frame rates, you will have the choice of editing within standard editing rate boundaries. Media Composer will accommodate frame rates that are divisible by 2. For example, when editing 50p and 60p projects, the editing timebase is set to 25p and 30p respectively in order to avoid artifacts when moving these projects to downstream processes that operate at lower 'standard' rates.
Creating a New Project Option Color Space SD Set the color coordinate system to be used for interpreting color values in your media and transforming them to the selected color space for Media Composer. If you change the color space after clips have been dropped onto the timeline, you will be asked if you want to create a new sequence or if you want the change to be applied to the current sequence. Clips will need to be rendered with the new color space.
Creating a New Project Option SD HD High-Res Mask Margins You can specify a mask area over the current project frame to see how the image will appear when delivered at different frame sizes. Stereoscopic Specifies how to handle stereoscopic clips for the various editing functions within your project. You can only work with stereoscopic material in an HD project. If you do not need this option, select Off. Off Turns Stereoscopic functionality off.
Avid Projects and Avid Users Folders Option Film SD High-Res Available for 23.976p, 24p, 25p, 720p, and Not 1080p film projects. Click the Film button and available. select a format for film gauge tracking from the Default Film Type menu. Audio Transfer Available for 24p PAL projects.. Rate Matchback HD Not available. Available for 25i PAL, 30i NTSC, 720p, and 1080i Matchback projects only.
Opening and Closing Existing Projects n (Windows only) The location of the Avid Users folder depends on the installation path for Media Composer. Files and Folders Created For Projects When you create a new project, Media Composer creates a folder with the name that you entered when you created the project. The following three files are stored within the project folder: • A project file (.avp) • A project settings file (.xml) • A bin file (.
Deleting a Project To browse for a project in a location other than the default Shared and Private folders: 1. Start Media Composer. The Select Project dialog box opens. 2. Click the Browse button. The Browse for Folder (Windows) or Project Directory (Mac) dialog box opens. 3. Navigate to the folder that contains the project you want. 4. Click OK (Windows) or Choose (Mac). 5. Select a project in the Projects list. 6. Click OK.
Changing Project and User Names The deleted project no longer appears in the Select Project dialog box. c n Deleting a project also deletes any bins that are in that project. Media related to a deleted project is not deleted with the project folder. For more information on deleting media files, see “Deleting Items from a Bin” on page 261 and “Deleting Media Files with the Media Tool” on page 337. Changing Project and User Names You cannot change project or user names from within Media Composer.
Avid Attic Folder 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. Drag a project folder or a user folder to the targeted storage location. 6. When the system finishes copying the files, unmount the drive or eject the media and store it.
Avid Attic Folder 3. Double-click a project folder, and then double-click the Bins folder. The Bins folder opens and displays a folder for each bin in the project. 4. Double-click the folder for the bin you want to retrieve. 5. If the bin folder is not already in the Details view, select View > Details. The bin folder displays the backup bin files and their creation dates. A backup bin file has the same name as the bin, with a number appended.
Avid Attic Folder The bin folder displays the backup bin files and their creation dates. A backup bin file has the same name as the bin, with a number appended. For example, a bin named Source Clips might have backup bin files named Source Clips.1 and Source Clips.2. 6. Command+click the files you want to retrieve. 7. Option+drag the selected backup bin files to the desktop. This makes a copy of the files, leaving the original files in the Avid Attic folder. To copy backup files to a new bin: 1.
4 Windows and Panels in the User Interface Use the following to familiarize yourself with the Media Composer user interface. • The User Interface • Customizing the Avid User Interface • Using Workspaces The User Interface When you first launch the Media Composer and select your project, the application opens with a Bin Container, the Composer Window, and the Timeline. These windows open as connected panels.
The User Interface The user interface is customizable. You can arrange the windows to fit your needs. Windows can be arranged and moved in multiple ways. Some windows can be docked or floating. You can also tab docked and floating windows. • Docked - A window that is docked (connected) within the paneled User Interface. • Floating - A window that is undocked. You can move a window by simply clicking in the vertical title bar and dragging it to another location on the screen. All windows can be floating.
The User Interface 3. Drop the window by releasing the mouse. The window now appears docked at the selected location. To tab windows: 1. Press the Alt key while dragging the vertical title bar of the window you want to tab to another window. 2. Drag the window to the vertical title bar of the window to which you want to tab. You will see the vertical bar display as green.
The User Interface 3. Release the mouse. The windows are now tabbed. Some windows can be tabbed to the vertical title bar of another window that is paneled. And those windows can also be tabbed to the vertical title bar of a window that is floating. To dock a window with multiple tabs: 1.
Customizing the Avid User Interface Gray box at top of vertical title bar. 2. Drag to the location where you want to dock the tabbed window. Locations where you can dock the tabbed window will appear green. 3. Drop the window by releasing the mouse. The tabbed window now appears docked at the selected location. n If you have a multi-tabbed window and you only want to move one of the windows to a docked panel, simply drag the tab of the window you want to move and move that window.
Customizing the Avid User Interface The Interface Settings dialog box allows you to set the highlight color for buttons.
Customizing the Avid User Interface Window Location of Changes Bin Changes the font and point size of the text in the Bin window; saves as a Bin setting (not a Bin View setting). Composer monitor Changes the font and point size of the sequence or source clip name text; saves as a Composer setting. Script Changes the font and point size of the text in the Script window; saves as a Script setting. Timeline Changes the font and point size of clip text; saves as a Timeline View setting.
Using Workspaces Multiple Monitor Support If you have multiple monitors, Media Composer will detect how many monitors are connected and populate a Host Panels menu located under the Windows menu. When you select another monitor, the newly added monitor will be populated with a Host background panel where you can drag and dock windows.
Using Workspaces You can assign up to 12 buttons that let you switch between workspaces. Workspace settings are user settings, so different users can have separate workspace arrangements. This is useful if there is more than one user accessing the same Avid system. Each user can assign up to 12 workspaces. You can also link the mode buttons in the Timeline palette to specific workspaces.
Using Workspaces You can adjust the width of the workspace toolbar. Simply right-click on a workspace and select an option. You can choose to show both the workspace icon and text, icon only, or to hide the workspaces. If you choose to hide the workspace tool bar, the workspace bar closes and a workspace icon appears at the top of the application allowing you to quickly select a workspace from the pulldown menu.
Using Workspaces If you choose to hide the workspaces, you can have them reappear by doing one of the following: • Click the workspace icon at the top right of the window and select Show Workspace Bar. • Select Windows > Workspaces > Show Workspace Toolbar When you create a New Workspace, it will appear in the Workspace bar. Linking User Settings and Workspaces You can link User settings to a workspace.
Using Workspaces To link a workspace to another setting: 1. Select Windows > Workspaces > workspacename for the workspace you want to link. 2. In the Settings create a new setting for any setting you want to link to your workspace. For information on creating custom settings, see “Duplicating Settings” on page 1160. 3. Double-click a setting that you want to link to your workspace, and change the settings you want to customize — for example, click Timeline and then select the Timeline settings you want.
Using Workspaces 8. Select Link to Named settings. 9. Type the name of the custom settings to which you want to link the workspace. For more information about creating and naming custom settings, see “Working with Settings” on page 1159. n You can link workspaces only to User settings. 10. (Option) Click the Bin Layout menu and select a layout you want to link to the workspace. For more information, see “Using Bin Layouts” on page 79. 11. Click OK.
Using Workspaces To assign a workspace button: 1. Select Tools > Command Palette. Workspace buttons in the Workspaces tab of the Command Palette 2. Click the Workspaces tab. 3. Select Button to Button Reassignment. 4. Click a workspace button and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard setting. The workspace button appears in the new location. To assign a bin layout button: 1. Select Tools > Command Palette. 2. Click the Workspaces tab. 3.
Using Workspaces Keyboard settings and toolbar button mappings for workspaces are user settings. Bin layouts are project settings. When you link bin layouts to workspaces, to keyboard settings, or to toolbar buttons, you can access these layout assignments only when you work in a project containing a bin layout with the same name as when you created the link. For this reason, you should be careful to maintain a consistent bin layout naming convention for your projects.
5 Using Tools The Tools menu provides quick access to essential tools that you can use in your projects. In addition to the tools available from the Tools menu, you can also add a controller to your system that you can use as an alternative to your keyboard and mouse for editing footage.
Using a Deck Controller The tab display adjusts to display the next tool either on the left or the right. t Click the Tab menu, and then select the name of the tool you want to view. The selected tool displays in the tab window. To organize tools by changing the order of tabs: t Click the tab of a tool you want to move, and drag it to a new position in the tab row. To close a tool tab: t Click the Close button in the tab.
The Command Palette Element 3 Deck controls Description Provide a standard range of playback capabilities, including fast forward and rewind, stop and play, step backward and step forward, pause, and eject. 4 Deck Selection menu Lets you specify a deck with deck control parameters that you can customize. 5 Tape Name button Lets you associate a tape name with the controller and select a tape. For more information, see “Selecting a Source Tape” on page 136.
The Command Palette n When you map buttons to the keyboard, the mapping might be specific to the current editing mode. For example, buttons mapped to the Page Up key or the Page Down key revert to the default key functions when you enter Effect mode. After you exit Effect mode, the keys return to the mapped function. The following are examples of buttons you might want to map: Buttons you use to subcatalog clips. Left to right: Make Subclip, Find Bin, and Add Marker.
The Command Palette Button Description (Mac) Add Control Key button (Mac) Add Option Key button For example, on a Windows system, if you map the Add Alt Key button to the Mark IN key (I key), the function of the I key changes to Go to IN Point (which is equivalent to pressing Alt+I). For a list of other functions that use modifier keys, select Help > Shortcuts.
The Command Palette t Open the Keyboard palette by selecting File > Settings, clicking the User tab, and doubleclicking Keyboard. 2. Select Tools > Command Palette. The Command palette opens. 3. Select Menu to Button Reassignment. 4. Click a target button in the Keyboard palette or other palette (for example, the Command palette under a monitor). 5. Select the menu command you want to map to the target button. The initials for the menu command appear on the target button.
Using the Avid Calculator Activating Commands from the Command Palette You can perform a command function directly from the Command palette. For example, you can click the Play button in the Command palette to play the material in the Source monitor. To activate a command from the Command palette: 1. Select Tools > Command Palette. The Command palette opens. 2. Select Active Palette at the bottom of the Command palette. 3. Click the tab from which you want to select a command function. 4.
Using The Console Window c Do not use the programming features of the Console without guidance from Avid. Contact your Avid Reseller with specific questions. (In North America, you can contact Avid Customer Support.) The Console window provides quick access to bin information such as total duration of selected clips or total items in a bin including hidden items. You can also use the Console window to display information about a clip, segment, or sequence in the Timeline.
Using the Hardware Tool Typing alldrives in the Console window turns this feature on and off. Typing alldrives 2 restores the default behavior where only media drives are available. By default, network drives are filtered by resolution when the option Filter Network Drives Based on Resolution option is selected in the Media Creation settings. For more information, see “Media Creation Settings” on page 1236.
6 Logging When you import shot log files or log directly into a bin, you provide Media Composer with frameaccurate clip information that it uses to capture the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.
Avid Log Specifications • A column contains the word “Required” if the Title must be included in the log. • The final column contains notes about the Title or values. You can decide not to display a defined Title (including a required Title), except for Name. Name must always be displayed. The maximum number of combined global, standard, and custom Titles in a log file is 64. For an example of a simple log file, see “Sample Avid Log” on page 96.
Avid Log Specifications 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).
Avid Log Specifications FPS [Tab] Title for video frames per second rate for capturing the individual clip. If omitted, the global entry applies. Film TC [Tab] Title for the timecode used on the film. Ink Number [Tab] Title for the ink number used for the clip. KN Duration [Tab] Title for the length of the clip, expressed in feet and frames. KN End [Tab] Title for the ending key number for the clip. KN Start [Tab] Title for the starting key number for the clip.
Avid Log Specifications [Tab] Add any category of information you want. Add as many Titles as you want, but do not use more than a total of 64 global and column Titles in the file. Press the Tab key between each Title. Do not press the Tab key after the last Title. [Enter] or [Return] [Enter] or [Return] Press [Enter] (Windows) or [Return] (Macintosh) twice (do not press Tab) after the last Title. Data Entries The data entries come after the Custom column Titles.
Avid Log Specifications [Tab] Under Camera Title. Identify the camera, using letters or numbers. For multicamera shoots. [Tab] Under Camroll Title. Identify the camera roll, using letters and numbers. [Tab] Under Duration Title. Enter the length of the video clip, Start to End. <23.98> <24> <25> <29.97> [Tab] Under FPS Title. Enter the video capture rate for this clip only. If omitted, the global entry applies. Use 23.98 fps (23.
Avid Log Specifications [Tab] Under TC 24 Title. Identify the start of the clip for 24p timecode. [Tab] Under TC 25p Title. Identify the start of the clip for 25p timecode (PAL pulldown). [Tab] Under TC 25 Title. Identify the start of the clip for 25-fps timecode (PAL). [Tab] Under TC 30 Title. Identify the start of the clip for 30-fps timecode. [Tab] Under Take Title. Identify the take, use letters and numbers.
Creating an 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.
Double-Checking Log Files To create an Avid Log by using a word processor or text editor: 1. Enter shot log information according to the specifications described in “Avid Log Specifications” on page 90. 2. Save your file as a text file in the Save As dialog box. You can use the file name extension .txt, but it is not required. c Media Composer only accepts text files (ASCII format). After you double-check the log, import it into Media Composer.
Logging Directly into a Bin n To change the logged timecode format, select Clip > Modify. For more information, see “Modifying Clip Information” on page 272. Naming Tapes When you enter tape names in the Capture tool, consider the following: n • Tape names must be alphanumeric characters (A to Z, 0 to 9). They can include uppercase and lowercase characters. The maximum length of a name is 32 characters.
Logging Directly into a Bin 1 Capture/Log Mode button 6 Timecode display 2 Mark IN button 7 Deck controls 3 Channel Selection buttons 8 Deck Selection menu 4 Clip Name text box 9 Source Tape Display button 5 Clip Comment text box If you forget to connect and turn on the power to the deck before you open the Capture tool, click the Deck Selection menu and select Check Decks to reinitialize the deck control. 4.
Logging Directly into a Bin 6. Insert your tape into the deck. The Select Tape dialog box opens. Select “Show other project’s tapes” to display the tape names and associated project names for all bins. Because the media file database does not open when you start Media Composer, tape names of all online media files do not appear automatically. If the tape name does not appear in the Select Tape dialog box, click the Scan for Tapes button. The system displays tape and project names. 7.
Logging Directly into a Bin t To log using timecode: If the footage starts at an IN point or ends at an OUT point, type the timecode in the text box next to the Mark IN button or the Mark OUT button. Then press the Go to IN button or the Go to OUT button to scan the tape forward to the mark. Capture tool Go to IN button (left) and Go to OUT button (right) After you set the mark, the Mark IN button changes to the Mark OUT and Log button or the Mark IN and Log button, depending on the first mark you set.
Logging Directly into a Bin Pausing the Deck While Logging If the deck is playing while you log clips, you can direct Media Composer to pause the deck after you set an IN point and an OUT point. You can then enter the name and comment for the clip you want to log. To pause the deck while logging: 1. In the General tab of the Capture Settings dialog box, select the “Pause deck while logging” option. 2. Set up your deck and the Capture tool as described in “Logging with Avid-Controlled Decks” on page 99. 3.
Logging Directly into a Bin Logging with Non-Avid-Controlled Decks You can use the Capture tool to log clips directly into a bin from a source that is not controlled by Media Composer. For example, you can log clips from a deck that is not connected to the system, or from handwritten or printed log information for a tape that was previously logged but is not currently available. n For NTSC projects, when you log within the Capture tool, you should leave the deck empty.
Logging Directly into a Bin 1 Capture/Log Mode button 8 Deck Selection menu 2 Channel Selection buttons 9 Source Tape Display button 3 Message bar 10 Mark Memory button 4 Clip Name text box 11 Go to Memory button 5 Clip Comment text box 12 Clear Memory button 6 Timecode display 13 Clear IN and OUT buttons 7 Deck controls 14 Mark IN and OUT buttons 8. Click the Capture/Log Mode button until the LOG icon appears. 9. Click the Source Tape Display button.
Understanding the Pulldown Phase A dialog box opens. 10. Click Yes to open the Select Tape dialog box. 11. Double-click the name of the tape in the dialog box, or click New and enter the name of the tape. 12. Click OK. 13. Use the Channel Selection buttons to select the tracks you want to log. 14. Type the start timecode in the Mark IN text box. 15. (Option) Enter a clip name and comment in the corresponding text boxes. 16. Type the end timecode in the Mark OUT text box.
Understanding the Pulldown Phase Set Pulldown Phase option in the Film and 24P Settings dialog box 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. The illustration shows the relationship between film frames and video frames. A B C D A1 .1 A2 .
Setting the Pulldown Phase The Set Pulldown Phase setting lets you log, batch capture, and capture-on-the-fly more easily, because the correct pulldown phase of any IN point for a particular tape is automatically determined. Setting the correct pulldown phase prevents inaccuracies in cut lists and matchback EDLs. It also prevents incorrectly captured clips that stutter when you play it in 24p NTSC projects.
Film-Related Log Information The following are some important requirements for film-based projects: • The minimum information required for capturing is the data recorded in the Start and End video timecode columns, and the pulldown phase for NTSC transfers, which is noted in the Pullin column (24-fps capture only).
Film-Related Log Information 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. For more information on customizing bin views, see “Saving a Custom Bin View” on page 253. 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.
Film-Related Log 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 Media Composer can accurately eliminate the pulldown fields during capture.
Film-Related Log Information A B C D A1 .1 A2 .2 B1 .1 B2 .2 B3 .1 C1 .2 C2 .1 D1 .2 D2 .1 D3 .2 A B X C D Determining pulldown for keypunched footage. Red lines indicate the location of timecode changes. 4. If there are three keypunched fields, or fields without motion, the pulldown is either B or D. Step through the fields again and note where the timecode changes: - If the timecode changes from the second to the third field, the fields came from a B frame.
Film-Related Log Information 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.
Film-Related Log Information Entering Additional Timecodes You can enter custom timecodes for all clips (including captured, imported, and file-based clips) in the Auxiliary TC and Sound TC columns in the bin. To enter additional timecodes: 1. In one of the Aux TC columns (Aux TC1 through Aux TC5), type an auxiliary timecode that syncs with the video timecode logged in the Start column. You can enter up to five auxiliary timecodes.
Film-Related Log Information For example, use Keykode format or use a two-digit prefix to identify the roll, a hyphen, a fouror five-digit footage count, a plus sign, and a two-digit frame count (for example, AA00924+00). Exporting Shot Log Files You can export a shot log file from Media Composer in one of two formats to make adjustments in a text editor or to import into another system. To export a shot log based on clip information in a bin: 1. Open the bin which contains the clips you want to export.
Film-Related Log Information To export an entire bin: 1. Ctrl+click selected clips to deselect them, so that nothing is selected in the bin. 2. Select File > Output > Export Bin. The Export Bin As dialog box opens. 3. Click the Export Bin As menu, select the appropriate option, and click OK. The system creates a shot log of only the master clips in the bin.
7 Preparing for Capture The following provides information on preparing Media Composer and your capture hardware before you capture media.
Importing Shot Log Files Importing Shot Log Files You can import a shot log file into a bin to make clip information such as start and end timecode available to Media Composer. For more information, see “Logging and Shot Logs” on page 117. To import shot log files into a bin: 1. If you have created Import settings for importing shot log files, select the Import setting you want to use from the Settings list. For information on Import settings, see “Import Settings” on page 1225. 2.
Preparing the Hardware for Capture Item Description(Continued) 16:9 format You can edit with video in the 16:9 aspect ratio for display of wide-screen formats. To view the footage on a Client monitor, you must have a 16:9compatible Client monitor. Remote switch You must set the deck control switch on the front of the source deck to Remote rather than Local to control the deck with the Capture tool. DAT (digital audiotape) When capturing from DAT, you might need to select an appropriate sync setting.
Preparing the Hardware for Capture When you capture audio only, the audio timing reference is taken from the same source as the video output timing. You set the sync source for capture and output timing through the Video Output tool. For more information about connecting a reference signal, see “Selecting the Sync Source for Output” on page 862.
Selecting Settings for Capture For more information about sample rate conversion, see “Selecting the Audio Sample Rate and Controlling Audio Sample Rate Conversion” on page 143 and “Audio Sample Rate Conversion” on page 664. c When using the AES/EBU inputs, if channels 1 and 2 do not require sample rate conversion, none of the other inputs have sample rate conversion applied.
Selecting Settings for Capture 3. Click the Capture tab. 4. Click the Video Resolution menu, and select a video resolution. The Video Resolution menu contains a list of the available resolutions, which depend on such factors as the model of Media Composer, your Avid input/output hardware, and your project format. For HDV projects, no video resolutions are available for capture, because Media Composer automatically selects the correct resolution.
Selecting Settings for Capture Disabling Video Resolutions To simplify the options for media creation, you can use a text file to restrict the resolutions available for capturing, rendering, or importing. If you disable resolutions for media creation, you can still play, export, or perform a digital cut in those resolutions. To disable resolutions: 1. Select File > Media> > Media Creation Settings. The Media Creation dialog box opens. 2.
Selecting Settings for Capture 5. (Windows) Name and save the file: a. Select File > Save As. b. Type DisabledRes in the File Name text box. c. Navigate to Program Files > Avid > Avid Media Composer. d. Click Save and close Notepad. 6. (Macintosh) Name and save the file: a. Select File > Save As. b. Type DisabledRes.txt in the File Name text box. c. Navigate to Applications > Avid Media Composer. d. Click Save and close TextEdit. 7.
Selecting Settings for Capture 2. (Option) Click the Drive Filtering & Indexing tab. n Options for indexing local drives apply only in an Avid Interplay™ environment. For more information, see the Avid Interplay Software Installation Guide. 3. Select one or more drives to filter out: t Select Filter Network Drives Based on Resolution to remove those network drives that cannot support, or handle playback of, the selected resolution.
Selecting Settings for Capture 4. Click the Preroll Method menu, and select one of the following methods. Preroll Method Description Best Available Media Composer first checks the tape for timecode to use for preroll. If there is no timecode, or not enough timecode, Media Composer uses the control track for preroll. If there is not enough control track for preroll, Media Composer adjusts the specified preroll time to accommodate the amount of valid control track available.
Selecting Settings for Capture Capturing to Multiple Media Files You can capture video and audio to multiple media files across multiple drives. MXF is automatically captured to multiple files. Capturing to multiple media files has the following advantages: c • You can create longer clips whose media files would otherwise exceed the file size limitation of 2 GB. • You can group all drives with the multiple file options.
Selecting Settings for Capture Option Description Video Pulldown Cadence Lets you specify how Media Composer handles pulldown frames: • Video rate, no pulldown: Select this option when capturing 24-fps footage that was transferred MOS (roughly translated as “without sound”) to 30 fps by speeding up the film, and the audio was brought into your Avid system separately at 100 percent of the actual speed.
Configuring Decks Option Description Audio Transfer Rate When you create a 24p PAL film project, you define the audio transfer rate in the New Project dialog box. (You do not need to do this for a 25p PAL project because there is no film speedup during the transfer.) You need to keep the audio transfer rate constant for the project.
Configuring Decks 4. Click the Add Channel button. The Channel dialog box opens. n Channel refers to the signal path for deck control, whether directly through a serial port, through a V-LAN® VLXi system connected to a serial port, or through a FireWire® connection. A direct serial port or FireWire connection allows one deck for each channel, while a V-LAN VLXi system allows multiple decks. 5.
Configuring Decks 7. Click OK to close the Channel dialog box. A dialog box asks if you want to automatically configure the channel now. 8. Click Yes if you want to automatically configure the channel. A new channel appears in the display area of the Deck Configuration dialog box, along with the autoconfigured deck. n Do not autoconfigure a DV camera or deck. Not all DV devices respond to the Auto-configure command. Due to this limitation, Auto-configure selects only a generic device template.
Understanding Timecode 14. (Option) If you want Media Composer to check the deck configuration against the decks physically connected to the system, select “Verify configuration against actual decks.” Media Composer checks the deck configuration after you click the Apply button in the Deck Configuration dialog box and when you start a work session. A message box warns you if the configuration does not match the deck. 15. Type a name in the Configuration name text box to name the deck configuration.
Connecting a DV Device The following illustration compares the two types of timecode at the 1-minute mark. Remember that no frames are actually dropped when drop-frame timecode is used. Drop-frame timecode simply skips timecode numbers as necessary to match the actual NTSC scan rate.
Setting Up the Capture Tool Top of Capture tool 1 Trash 8 Audio voice-over (Only appears if enabled in Capture settings.
Setting Up the Capture Tool Bottom of Capture tool 1 Clip Name text box 6 Deck controls 2 Clip comment text box 7 Deck Selection menu 3 Resolution menu 8 Source Tape Display button 4 Single/Dual Drive Mode button 9 Time remaining on target drive(s) 5 Target Drive menus When you are working in a 24p NTSC project, the Capture tool includes a pulldown button. For more information, see “Setting the Pulldown Switch” on page 139.
Setting Up the Capture Tool t Click a bin to activate it and select Bin > Go To Capture Mode. t Select File > Input > Tape Capture. 3. Set the Capture tool to either Log or Capture mode by clicking the Capture/Log Mode button until the correct mode displays. Selecting a Deck in the Capture Tool The Deck Selection menu in the Capture tool contains a list of any decks that are connected to the system, powered up, and initialized when you enter Capture mode.
Setting Up the Capture Tool The Select Tape dialog box opens. 2. If you are working in an NTSC project, play the tape for a few seconds so your system can detect the timecode format of the tape (drop-frame or non-drop-frame). Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box, regardless of the format on the tape, and you might receive a message indicating a wrong tape.
Setting Up the Capture Tool Channel Selection buttons in the Capture tool If you do not see source video or hear source audio in Capture mode, click the Channel Selection buttons to ensure they are not the cause. n When you use an Avid-controlled deck, the TC (timecode) track is selected by default, and the system captures the timecode from the source tape. If you deselect the TC button, the system captures with time-of-day timecode.
Setting Up the Capture Tool n If you change the settings, the settings in the Video Input tool or in the Audio Project Settings dialog box automatically change to the settings you select. Detecting a Valid or Locked Sync Signal On systems using Avid input/output hardware, the Capture tool uses an icon to indicate if the sync source you are using is valid and locked. The icon appears in the message bar of the Capture tool.
Setting Up the Capture Tool Source Playback Speed Film to Video Transfer Settings (Set in Film Settings Dialog Box) Original sound source synced to NTSC 24p NTSC On (0.99) during transfer. For capturing picture and sound from NTSC tape, or soundonly from simul-DAT tapes created during telecine transfer. 29.97 fps Picture Transfer Rate: With 2:3 pulldown NTSC MOS film-to-tape transfer with 24p NTSC Off (1.00) separate audio.
Setting Up the Capture Tool To select a resolution in the Capture tool: t Click the Res (Resolution) menu, and make a selection. Selecting a Target Bin You select a target bin as the destination for the master clips that you create when you capture and log at the same time. In an Avid Interplay environment, the Capture tool includes an option to capture to a local bin or a remote folder. To select a target bin: 1.
Setting Up the Capture Tool This is especially useful when you are capturing long clips to multiple media files. For more information, see “Capturing to Multiple Media Files” on page 127. After you create a drive group, it appears in the Target Drive menu for the project. You can filter some drives out of the available drive list. For more information, see “Setting Drive Filtering” on page 124. You can set target drives in the Media Creation dialog box.
Preparing to Capture Audio Preparing to Capture Audio Media Composer provides you with a wide range of options for audio input: capturing audio with video from tape, capturing audio from a digital or analog deck, capturing through a microphone, or capturing through an external audio device such as an Mbox device, and in various formats and at various sample rates. The topics in this section describe preparations you might need to take before capturing audio.
Preparing to Capture Audio When you are using some Avid input/output hardware devices, you can also control how Media Composer handles audio sample rate conversion during capture. Sample rate conversion on input applies to the following digital inputs: SDI embedded, AES/EBU, SPDIF, and ADAT. To select the audio sample rate: 1. Select File > Settings and click the Project tab. The Settings list appears. 2. Double-click Audio Project. The Audio Project Settings dialog box opens. 3. Click the Main tab. 4.
Preparing to Capture Audio • Import files by using the Import dialog box. • Apply an AudioSuite plug-in that creates new source audio. You select the file format that Media Composer uses when creating audio files by selecting from the Audio File Format menu in the Audio Project Settings dialog box. You should be aware of the following: • You can mix AIFF-C and WAVE audio media files within a project. • Media Composer has limited support for Sound Designer II™ audio.
Preparing to Capture Audio 4. Click the Input Source menu and select the source for the audio you want to capture. 5. Close the Audio Project Settings dialog box. The source you selected is displayed in the Capture tool. You can change the source in the Audio Project Settings dialog box or in the Capture tool. Configuring the Sound Card (Software-Only Systems) Depending on the sound card installed on your Avid system, you might need to customize the configuration of audio input and output.
Preparing to Capture Audio To override the mute feature for surround sound: 1. Select File > Settings and click the Site tab. 2. Double-click Sound Card Configuration. The Sound Card Configuration dialog box opens. 3. Click the Override Mute menu. The menu contains a list of the output sources available in Windows Master Volume control. 4. Click one or more of the output sources to override the Sound Card Configuration settings and to accept the default settings of the Master Volume control.
Preparing to Capture Audio Component Description Meters Dynamically track audio levels for each channel as follows: • Meters show green below the target reference level (default reference level is –20 dB on the digital scale). • Meters show yellow for the normal headroom range, above the reference level to approximately –3 dB. • Meters show red for peaks approaching overload, between –3 dB and 0 (zero) dB. • Thin green lines at the bottom indicate signals below the display range.
Preparing to Capture Audio To check and adjust input levels using an audio input device: 1. Click the In/Out toggle buttons in the Audio tool for the channels that you use for input. The Audio tool displays an I for Input. 2. Play back the source audio (from a videotape or DAT, for example). If the recording includes reference tone, cue to the tone and play it back. 3.
Preparing to Capture Audio For more information, see “Recording Voice-Over Narration Using Audio Punch-in” on page 685. The Audio Project Settings dialog box opens. To choose the number of tracks (4 or 8) to display in the Passthrough Mix tool: t Click the Number of Mix Panes button. When you select 4 tracks, an additional button appears that lets you display the first 4 or last 4 enabled tracks.
Preparing to Capture Audio Pan Value display and pop-up slider in the Passthrough Mix tool. Calibrating Audio Hardware for Avid Nitris DX and Avid Mojo DX By default, Media Composer is calibrated for analog 0 Volume Unit (VU) to be digital –20 dBFS, which matches the default calibration of the Avid Nitris DX and Avid Mojo DX hardware.
Preparing to Capture Audio 7. Click the Open Calibration window. The Audio Hardware Calibration window opens. 8. To change the digital level of the meter’s display of 0 VU, click Set Reference Level. The Set Reference Level dialog box opens. 9. Enter the new reference level in dB. This should be set to match the 0 VU standard in your workflow. Avid recommends a -20 dBfs value. 10.
Preparing to Capture Audio 9. For whichever channels you want to calibrate, switch the Audio Tool channels to input by clicking each In/Out toggle buttons to change the output (O) to input (I). The In/Out toggle buttons in the Audio Tool switch from O to I and highlight in green. The meters levels re-display. 10. Set the tone generator output to the reference level set in the Audio Hardware Calibration window.
Preparing to Capture Video Options vary depending on your Avid input/output hardware. You can calibrate only one channel at a time. 11. Select the appropriate channel. Channels vary depending on your Avid input/output hardware. 12. Click Play Calibration Tone. 13. Repeat this procedure for each channel. Using the Console Window to Check Audio Levels Once you have played back audio through the Audio tool, you can use the Console window to view a list of precise information about the peak levels.
Preparing to Capture Video 1 2 3 4 5 6 7 8 1 Waveform Monitor button 4 Vectorscope monitor 7 Settings menu 2 Vectorscope Monitor button 5 Input menu 8 100% bars button 3 Waveform monitor 6 Preset buttons For information about settings in the Video Input tool, see “Video Input Tool Settings” on page 1256.
Preparing to Capture Video Calibrating Video Input You should calibrate video input levels to ensure the continuity of picture quality between tapes. Before you calibrate the video input, check the following: c • Make sure your monitor is properly calibrated for displaying footage accurately. For more information, see your monitor’s hardware documentation.
Preparing to Capture Video Top: full-field color bars (the leftmost bar is 100% white). Bottom: SMPTE standard split bars (the leftmost bar in the top row of bars is 75% white, the second bar in the center row of bars is 7.5 black level, and the second bar in the bottom row of bars is 100% white). 5.
Preparing to Capture Video NTSC (top) and PAL waveform values in the Video Input tool. NTSC values are measured in IRE, with the white level at 100 IRE (digital 235), the black level at 7.5 IRE (digital 16), and the 75% white level at 77 IRE (digital 180, the horizontal dotted line in the display). For NTSC-EIAJ, the black level falls at 0 IRE. PAL values are measured in volts, with the white level at 1 V (digital 235) and the black level at 0.3 V (digital 16).
Preparing to Capture Video Luminance Settings for Video Input The following table describes recommended luminance settings for video input. Parameter Full-Field Bars at 75% or 100% Signal Level SMPTE Bars Black level (setup) Adjust Line slider to approximately 190 White level (gain) Adjust Line slider to approximately 150 Adjust Black or Brightness slider to place black level at: Adjust Black or Brightness slider to place black level at: • 7.5 IRE (for NTSC) • 7.5 IRE (for NTSC) • 0.
Preparing to Capture Video Green Line in VHS Video Some VHS tape decks do not output the full 240 lines of video normally included in the VHS format. As a result, after you capture from a device such as a VCR, a green line might appear at the bottom of the monitors in Media Composer. This line is at the bottom of the visible area of the picture, and is not seen in a standard consumer monitor in most cases.
Capture Preparations Check List To create a customized default Video Input Tool setting: 1. Select Tools > Video Input Tool. The Video Input tool opens. 2. Adjust the Calibration settings. For more information, see “Calibrating Video Input” on page 156. 3. Click the Settings menu in the Video Input tool, and select Save As. The View Name dialog box opens. 4. Type Default, and click OK. You must use this spelling and initial capitalization.
Capture Preparations Check List o Configure your deck or decks using Deck Configuration and Deck Preferences settings. See “Configuring Decks” on page 129. o Insert a tape into the deck, and set up the Capture tool for source tape, source deck, pulldown switch (24p projects), and other requirements. See “Setting Up the Capture Tool” on page 133. o Select audio settings, and set up the Audio tool. See “Preparing to Capture Audio” on page 143.
8 Capturing Media This chapter provides information on capturing media from video or audio input. When you capture, you convert source material into master clips that contain reference information and media files that contain the digital audio and video.
Capturing and Logging at the Same Time Capturing and Logging at the Same Time When you capture without entering log information in a bin ahead of time, Media Composer creates clips and associated media files while you capture. You manually cue source footage with an Avidcontrolled deck, using the deck controls in the Capture tool. If you entered log information in a bin, see “Batch Capturing from Logged Clips” on page 177.
Capturing and Logging at the Same Time Naming Clips and Adding Comments in the Capture Tool You can type clip names and comments before or during the on-the-fly capture of a clip. This information is saved in the clip Name and Comments columns in the bin. You can add comments about such things as color correction or directions for editing. If you do not type a clip name before or during capturing, Media Composer provides a default clip name. You can edit a clip name and add a comment in the bin.
Capturing and Logging at the Same Time You cannot edit the text until after the capture is complete, but you can backspace to retype the comments. n If the Name text box is not visible on the Capture tool, you can type a clip name but you cannot view your typing. To display the Name text box, you must click the arrow before you begin capturing. Capturing by Setting Both Marks To capture by specifying a mark IN and a mark OUT: 1.
Capturing and Logging at the Same Time Capturing by Setting Only One Mark To set only one mark and enter the other mark on-the-fly: t Mark an IN point and click the Record button to begin capturing. Then, click the Record button again to stop capturing on-the-fly and mark an OUT point. This method is useful if you do not need a precise OUT point. You save time because you do not have to shuttle to locate the OUT point before capturing.
Capturing and Logging at the Same Time You can enter this information before you capture a clip or while you are capturing a clip. See “Naming Clips and Adding Comments in the Capture Tool” on page 165. 3. Use the deck controls in the bottom left corner of the Capture tool to locate the position on the tape where you want to start capturing.
Capturing and Logging at the Same Time 5. Click the Pause button at any time to pause play. You can also abort the capture procedure by clicking the Trash button. The clip is discarded. 6. To stop capturing and enter the OUT point of the clip, click the Record button, or press the Escape key on the keyboard. Media Composer creates a new clip in the bin.
Capturing and Logging at the Same Time c c Media Composer can capture across timecode breaks, but it cannot capture across controltrack breaks in the recording (that is, if the recorded footage breaks up into noise between shots). If such breaks in recording exist on your tape, consider using the methods described in “Capturing On-the-Fly” on page 167. Capturing on-the-fly can cause incorrect pulldown and stuttering playback.
Capturing Directly from a DV Device n Because the media file database does not open when you start Media Composer, tape names of all online media files do not appear automatically. If the tape name you are searching for does not appear in the Select Tape dialog box, click the Scan for tapes button to list tape and project names. 5. Provide Media Composer with a tape name in one of the following ways: t Select the name of the tape from the list in the Select Tape dialog box and click OK.
Capturing Directly from a DV Device Capturing DV 50, DVCPRO HD, or HDV Media How you capture DV 50, DVCPRO HD, or HDV media depends on whether you are using Avid input/output hardware and on what type of Avid input/output hardware is connected to your system: If you are using Avid input/output hardware, or if you are not using an Avid input/output hardware device (software-only), you use a 1394 port on your computer (Host 1394).
Capturing Audio from a Music CD Example of a DV offset of 6 frames: tape frames (top) and master clip frames (bottom) To adjust for this device behavior, set the DV capture offset to –6 frames. The result should be a frame-accurate capture. However, the results are dependent on device behavior. If the device behavior for sending streams across a FireWire cable is inconsistent, frame-accurate results on capture are also inconsistent.
Frame Chase Capture 6. Select an audio track. 7. Click the Audio menu, and select CD Player. 8. Click the Source Tape Display button. The Select Tape dialog box opens. 9. Click New. 10. Name the tape, and then select the tape. 11. Click OK. 12. Click the Record button in the Capture tool. Media Composer captures audio to the selected bin. n You can map the Record button from the Play tab in the Command palette to a key on the keyboard. This lets you start capturing by pressing a key.
Frame Chase Capture Frame Chase Capture A Frame Chase capture creates media files directly in Avid MediaFiles\MXF\1 and creates a special type of clip known as an in-progress clip. In-progress clips are represented by In-progress master clip and In-progress audio clip icons. In-progress master clip icon (left) and in-progress audio clip icon (right) An initial check-in to Interplay takes place 10 seconds after the capture begins.
Frame Chase Capture 4. Select options as described in the following table, and then click OK. Option Description Maximum (default) capture time Type a number in the text box to define the expected duration in minutes for a Frame Chase clip that you create during on-the-fly or open-ended capture (that is, when no IN and OUT marks are set in the Capture tool). During capture, clip is When this option is selected, Frame Chase capture is enabled.
Batch Capturing from Logged Clips Batch Capturing from Logged Clips After you import a log or manually log a group of clips into a bin, you can automate the capture process by using Media Composer’s batch-capturing capabilities. When you batch capture, you open a bin, select the clips you want to capture, and select Clip > Batch Capture. Media Composer automatically finds the start and end timecode for each clip and captures it.
Batch Capturing from Logged Clips c You cannot batch capture clips that contain timecode breaks between the logged IN and OUT points. Also, you cannot capture across breaks in the recording (that is, if the recorded footage breaks up into noise between shots). If such breaks in recording exist on your tape, consider using the methods described in “Capturing On-the-Fly” on page 167. Batch Capturing Clips To batch capture clips: 1.
Recapturing and Decomposing t Select “All clips in a group edit” to allow capturing of each clip in a group clip. t If your selections include a sequence for batch capturing, the dialog box prompts you for handle length information. Media Composer creates new master clips based on the length of edited clips in the sequence. t (Option) Select “Extend handles beyond master clip edges” to allow the handles to extend before the beginning and after the end of the original master clip.
Recapturing and Decomposing Decomposing creates new, shorter master clips based only on the material you have edited into a sequence, which saves disk space. You can decompose an entire sequence, or you can use the Expert Decompose feature for additional control. For example, you can use Expert Decompose to decompose only some of the material in a sequence, or use it to “up-rez” your clips from SD to HD. After decomposing, you use the batch-capturing process to recapture footage for the new master clips.
Recapturing and Decomposing You can recapture a sequence in two ways: • Decompose to create new master clips, and then batch capture the clips. • Recapture without using decompose, which creates new master clips and batch captures new media files in a single operation. Although recapturing without using decompose might save a small amount of time, decompose offers much more control and flexibility.
Recapturing and Decomposing For information on the available formats, see “Target Formats for Expert Decompose” on page 182. If you decompose only some of the clips in a sequence, the resulting sequence contains some clips that remain linked to existing master clips and media (the clips you did not decompose) and other clips that are linked to new offline master clips (the clips you did decompose).
Recapturing and Decomposing Existing Format Target Formats Source Rate Change Edit Rate Change 25i or 25p PAL 25i PAL 25p PAL 720p/25 720p/50 1080i/50 1080p/25 No No No Yes No No No No No Yes No No Decomposing Sequences You can decompose sequences to create new master clips that you can then recapture. For more information on this process, see “Understanding Decompose and Expert Decompose” on page 181. To decompose one or more sequences: 1.
Recapturing and Decomposing 5. Click the Handle Length text box and type the number of additional frames you want to capture at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. c If you attempt to trim or add effects with no handles, you receive an error message notifying you that there is insufficient media. 6.
Recapturing and Decomposing Using Expert Decompose If you select the Expert Decompose option in the Decompose dialog box, the Expert Decompose dialog box opens before the decompose process begins. In the Expert Decompose dialog box, you can: • View information about the tapes/sources or clips in the sequences you are decomposing.
Recapturing and Decomposing 3. Right-click on any selected item, and then select one of the following: Command Description Include in Decompose Selects the check box in the Decompose column for each of the selected items. Exclude from Decompose Deselects the check box in the Decompose column for each of the selected items. To deselect all selected tapes/sources or clips: t Click below the last item in any of the information columns.
Alternate Source Capture c If you attempt to trim or add effects with no handles, you will receive an error message notifying you that there is insufficient media. 9. (Option) Select “Extend handles beyond master clip edges” to allow the handles to extend before the beginning and after the end of the original master clip. When you batch capture, deselecting this option prevents capturing across a discontinuous timecode error.
Using Capture Function Keys n n When you use an alternate tape source, the tape does not have to display in the list of tapes. You can create a temporary tape for the capture process and remove it from the list once the batch capture is complete. For more information and additional steps to batch capture, see “Preparing for Capture” on page 117 and “Batch Capturing Clips” on page 178. To batch capture with an alternate source: 1. In a bin, select the clips you want to batch capture. 2.
Using Capture Function Keys The following table lists the default functions. You can change the functions in the Keys tab of the Capture Settings dialog box. Press To F1 Mark the beginning of the subclip while capturing. F2 Mark the end of the subclip while capturing. on-the-fly can cause incorrect pulldown and stuttering playback. Do not use c Capturing the F1 or F2 keys for capturing 24-fps film that was transferred to NTSC video unless you have set the correct pulldown phase.
Handling Errors During the Capture Process 5. Click OK. Handling Errors During the Capture Process You can log errors that occur during the capture process to the Console window. If you are not logging, you can respond to errors if they occur. For more information about the Console window, see “Using The Console Window” on page 87. To enable or disable logging to the Console window during capture: 1. Select File > Settings and click the User tab. 2. Double-click Capture.
Creating Subclips While Capturing For information about creating subclips after capturing, see “Creating Subclips” on page 401. You should be aware of the following while creating subclips while capturing: • When you create subclips in 24p or 25p projects, they are always “hard” subclips. You cannot trim past the edges of the subclip when adjusting transitions and edits. Hard subclips prevent film-tracking information errors for editing and cut lists.
Adding Markers On-the-Fly While Capturing This highlights the subclip IN and OUT points, and Media Composer creates the subclip automatically. 3. While Media Composer is capturing, you can type a name for the subclip. Press the Tab key to type comments about the clip. Adding Markers On-the-Fly While Capturing You can use function keys to add markers on-the-fly while capturing.
Controlling Decks from the Keyboard t Click the Source Tape Display button. The Select Tape dialog box opens. 3. Press Ctrl+N (Windows) or Command+N (Macintosh). A new tape name text box opens. 4. Type the new tape name. 5. Press Enter to register the tape name. 6. Press Enter or click OK to close the Select Tape dialog box. Controlling Decks from the Keyboard You can use the J-K-L keys to control a deck from the Capture tool, Digital Cut tool, and Deck Controller window.
Adding Extra Text Fields in the Capture Tool The New Field Name dialog box opens. 4. In the Field Name text box, type the name you want to appear as a text field in the Capture tool. This is also the name that appears in the bin column heading. 5. Click OK in the New Field Name dialog box. The Field Selection list opens with your new text field selected.
Ejecting Tapes with a Button or Key t Select Edit > Delete. t Press the Delete key. Media Composer deletes the column from the view and the entry from the Field Selection list. Ejecting Tapes with a Button or Key If you click the Eject button and eject a tape, you can bring the fact that the tape must be changed to the attention of any tape operator in a remote machine room. To eject tapes by using a button: 1. Select Tools > Command Palette. 2. Click the Play tab. 3. Select Active palette. 4.
Working in Quick Record Mode n To use Quick Record mode, you must connect a deck that supports servo-lock signals to the system by using a deck control serial cable and a serial adapter. For information about the cable connection, see the setup information that came with your system. If the appropriate conditions for Quick Record are not present, the messages in the following table might appear. The second column recommends what you can do to be ready for the Quick Record mode.
Capturing in Satellite Mode or No Device Control Capturing in Satellite Mode or No Device Control LTC (longitudinal or linear timecode) from an external source lets you capture from multiple sources at the same time as recording to tape. This is called satellite Mode. If your facility has a central timecode generator you can use that clock to send identical timecode to all systems.
Capturing in Satellite Mode or No Device Control Toggle Source button (top), Timecode Source menu and Source Tape Display button (bottom) in the Capture tool 2. Select the audio, video and data tracks. 3. Select the audio and video input. 4. Click the Timecode Source menu, and select one of the following (the devices that appear in the Timecode Source menu originate from the current Deck Configuration settings): Option Description Internal Uses internal system timecode. LTC Input Detects LTC input.
Scheduling a Capture Session The Select Tape dialog box opens. Because the media file database does not open when you start Media Composer, tape names of all online media files do not appear automatically. 6. If the tape name for which you are searching does not appear in the Select Tape dialog box, click the Scan for Tapes button. Tape and project names appear in the list of tapes. 7. Provide a tape name in one of the following ways: t Select a tape name from the list.
Scheduling a Capture Session When the time-of-day timecode is within 10 seconds of the next scheduled capture time (and if the Capture Tool window is still active) the Capture tool enters Coincidence Wait mode (blinking yellow record light) and then begins capturing. When the capture is complete, the Capture tool updates the timecode entry fields for the next scheduled capturing session.
Capturing to the Timeline 5. Click OK. Capturing to the Timeline You can capture footage directly from tape to a sequence loaded in the Timeline in one step, bypassing several steps such as organizing and reviewing clips, marking edit points, and performing edits. By default, Media Composer edits the tracks you select for capturing to the corresponding tracks in the Timeline. You can patch the captured footage to any track in the Timeline.
Capturing Video Without Pulldown into a 24p NTSC Project t If you are recording to the end of a sequence, you can mark just an IN point and then mark the OUT point later on-the-fly. 8. Click the yellow Splice-in button or the red Overwrite button in the Capture tool to select the type of edit. Record button (left) and Splice-in and Overwrite buttons (right) in the Capture tool 9. Click the Record button to begin recording. 10.
Remote Play, Capture, and Punch-In When you select Remote Capture or Remote Punch-In in the Remote Play and Capture Settings dialog box, your Avid editing system performs like a VTR and waits for an external controller to operate the capture functions. n You must be in Deck Offline mode to use Remote Capture. For information on Deck Offline mode, see “Capturing from a Non-Avid-Controlled Deck” on page 170. You must be in Satellite mode to use Remote Capture.
Remote Play, Capture, and Punch-In To enable Remote Capture: 1. Select File > Settings and click the Site tab. 2. Double-click Communication (Serial) Ports. The Communication (Serial) Ports tool opens. 3. Select Remote Play and Capture > port. 4. Close the Communication (Serial) Ports tool. Media Composer saves the setting as a Site setting, effective for all projects. 5. Select File > Settings and click the Site tab. 6. Double-click Remote Play and Capture.
Remote Play, Capture, and Punch-In A check mark appears next to the command to indicate that your system is ready. A yellow outline appears around the Play button in the Source/Record monitor to indicate that Remote Play and Capture is active. The Remote Play and Capture command behaves like a Local/ Remote switch on a playback device, with VTR in Local mode by default when you start your system. 6.
Relinking Clips by Key Number The Audio Punch-In tool opens. Some of the features in the Audio Punch-In tool — such as the preroll and postroll options — do not appear when you open the tool in Remote Play and Capture mode. Input Channels buttons in the Audio Punch-In tool 13. Select the tracks you want to record to by clicking the Input Channels buttons. 14. Load a sequence in the Source monitor. 15. Using the controls on the external controller, set an IN point in the Timeline.
Relinking Clips by Key Number n c For more information about relinking, see “Relinking Media Files” on page 351. Duplicate your sequence before relinking. If you relink to the original sequence, you will lose your links to the original media. To relink clips by key number: 1. After you finish editing the offline sequence, use the List Tool to create a pull list of the clips used in the sequence. For information see “Using the List Tool” on page 897. 2.
Relinking Clips by Key Number 9. Select Relink > Key Number [KN Start] - video only. 10. Select “Relink all non-master clips to selected online items.” 11. (Option) If you did not batch capture the original clips, select “Allow relinking to offline items.” 12. In most cases, select “Relink only to media from the current project.” Deselect this option if you know the new clips were captured with a different project name.
Modifying the Pulldown Phase After Capturing 3. Locate the original clips. Look for a bin with the original clips, or use the Media tool to locate the original clips. For information on the Media tool, see “Using the Media Tool” on page 334. 4. Copy the clips to the bin that contains the duplicated sequence. 5. Select the sequence and the original clips. 6. Relink the clips by key number.
DV and HDV Scene Extraction Step backward (either one frame from the B frame or two frames from the X frame) to locate the correct A frame. Note the last digit of its timecode. Timecode for all A frames in the clip starts either with this digit or this digit plus 5. For example, if the A frame has the timecode 1:00:10:20, timecode for all A frames in the clip ends in either 0 or 5. c. Compare these digits with the last digit of the start timecode (first frame) of the clip to determine the correct pullin.
DV and HDV Scene Extraction Discontinuities in the DV or HDV TOD metadata indicate each new take in a master clip or subclip shot on a DV or HDV camera. Using this feature, you can capture an entire DV or HDV tape as a single master clip and have Media Composer automatically locate all the takes for you, eliminating the need to log manually. You can perform a DV Scene Extraction in two ways and an HDV Scene Extraction one way: • Set up the DV or HDV Scene Extraction option before capturing.
Using the Panasonic VariCam The Capture Settings dialog box opens. 4. Click the DV Options tab. 5. Select DV Scene Extraction. 6. Select one of the following options: Option Description Add Markers Creates marker marks where the TOD information breaks occur while capturing. Create Subclips Creates subclips where the TOD information breaks occur while capturing. Both Creates subclips and marker marks where the TOD information breaks occur while capturing. 7.
Using the Panasonic VariCam t When this option is selected, Media Composer captures every frame (all 60 frames), essentially ignoring the flagged frames.
9 Importing Files When you import files, Media Composer converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. You can specify a target drive to store any corresponding media files.
Creating and Modifying Import Settings The default Import setting and any additional Import settings you create appear in the Settings list. After you select a setting in the Settings list, the parameters remain the default settings for all imported files, unless you change them during import. Once you create a new Import setting, you can select the setting whenever you import a frame, clip, or sequence.
Importing Media Files 5. Select the appropriate options. For more information about Import settings, see “Import Settings” on page 1225. 6. Click OK. To modify an existing Import setting: 1. Select File > Settings. The Settings dialog box opens. 2. Select the User tab, and double-click an Import setting. The Import Settings dialog box opens. 3. Select the appropriate options, as described in “Import Settings” on page 1225. 4. Click OK.
Importing with Multichannel Audio If you are working with stereoscopic files, it is important that you clearly identify the folders for the left and right eye cameras, and keep them well organized. Media Composer imports stereoscopic 3D files just as it would any standard 2D file. After the master clips are created, they need to be converted to stereoscopic clips—see . n For information on using the drag-and-drop method, see “Using the Drag-and-Drop Method to Import Files” on page 237.
Importing with Multichannel Audio To specify the multichannel audio mix for imported clips: 1. Select File > Settings tab and double-click Import. The Settings dialog box opens. 2. Select the User tab and doubleclick Import. 3. Click Edit. The Set Multichannel Audio dialog box opens. 4. Click the format buttons to select one of the following audio track formats for each pair of source channels: Button Track Format Mono Stereo 5.1 Surround Sound 7.
Adjusting Gain Before Importing Audio Files 5. Click OK to close the Set Multichannel Audio dialog box, and then click OK to close the Import Settings dialog box. The Track Formats column in the bin Text view displays the format for all multichannel audio tracks in a master clip. Adjusting Gain Before Importing Audio Files When you import audio files, you can set the gain on a clip without opening the Audio Mix tool.
Sample Rate Conversion and Audio Import Sample Rate Conversion and Audio Import When you import audio to your project, you have the option of converting the sample rate of the source audio files to the project sample rate. You select this option on the Audio tab of the Import settings dialog box (see “Import Settings: Audio Tab” on page 1228).
Photoshop Graphics Import 3. Click the Audio tab, and then select the following options, as appropriate: Option Description Convert source sample rate to project sample rate Selecting this option converts all source audio files to the sample rate of your project. Deselecting this option imports all files at the source sample rate. The default is to convert sample rates on import.
Photoshop Graphics Import paintbrush. Then import it as a layered file, as described in “Importing Photoshop Files” on page 224. In the message box, click Select Layers and select only the layer that contains the graphic elements. Do not select the additional layer. Multilayer Photoshop Graphics A multilayered graphic is a graphic file that was created in Photoshop with two or more layers. You can import multilayered graphics created in Photoshop v6.0 or later.
Photoshop Graphics Import The following illustration shows the layers as they appear in a bin. During the import, Media Composer creates a sequence with each layer on a separate video track. This makes it easy to edit all layers into the final sequence. This sequence preserves the names and order of the layers as created in the original Photoshop file. You can then edit the tracks as necessary to build up to the full collage.
Photoshop Graphics Import Layer Option Supported Notes Opacity Yes The imported layer’s Level is set to the opacity specified in Photoshop. You can adjust opacity levels with the Foreground Level control in the Effect Editor. Layer Group Partial Import ignores layer grouping and instead imports all layers, including grouped layers, as individual layers. To preserve a clipping group, merge the grouped layers into the base layer.
Digital Bars and Tone t Click Flattened Image if you want to import the graphic as a single matte key or clip. Media Composer flattens the file by combining the layers. This selection applies to all files you selected for import. Hidden layers are not combined in the flattened image. Make sure all layers you want in the final image are visible. In addition, layers with partial transparency do not display properly in the flattened, imported image.
Importing Color Bars and Other Test Patterns Importing Color Bars and Other Test Patterns Media Composer supplies files for color bars and other test patterns. You can import 8-bit PICT files or 16-bit TIFF files. To import a test pattern from a file: 1. Open an existing bin, or create a new one for the test pattern. 2. Select the destination bin. 3. Select File > Input > Source Browser. The Source Browser dialog box opens. 4. Navigate to the folder containing the test pattern file.
Setting XDCAM Import Options 14. Rename the clip as necessary. Setting XDCAM Import Options Set the default options to import XDCAM media in the XDCAM tab of the Import Settings dialog box. Use these settings to set default behavior when you import XDCAM media. For more information, see “Import Settings: XDCAM Tab” on page 1229. Importing XDCAM Media XDCAM and XDCAM HD devices store media as MXF OP1a interleaved files. Media Composer does not use these files directly.
Importing XDCAM EX Media There are several ways to access XDCAM media: • Automatically import all proxy media when you load a disc in your XDCAM device. See “Automatically Importing Proxy Media from an XDCAM Device” on page 230. • Copy the proxy media files to a separate location (for example, to a folder copied on an FTP site), transfer them to a local drive or removable disk, and import the proxy media without directly accessing the XDCAM device.
Importing XDCAM EX Media 4. In the Avid AAF section, click Browse and select the folder where you want to place the AAF composition file. 5. In the User Configuration window, click the General tab. 6. In the Copy section, click Browse and select a valid Avid MediaFiles folder destination. This folder holds the OPAtom files and Media Composer recognizes this media after you import the AAF composition. 7. Click OK. 8.
Automatically Importing Proxy Media from an XDCAM Device The clips appear in the bin. Automatically Importing Proxy Media from an XDCAM Device You can use this method to automate the process of importing proxy media from your XDCAM device to Media Composer. To import proxy media from an XDCAM device: 1. Select File > Settings. The Settings dialog box opens. 2. Click the User tab, and double-click Import. The Import Settings dialog box opens. 3. Click the XDCAM tab. 4.
Copying XDCAM Proxy Media to a Local Drive or a Server 8. Type a name in the Disk Label text box. Media Composer uses the disk label for operations such as Batch Import, where you are prompted to insert a specific XDCAM disc that holds the files you want to import. A disk label is required in order to import XDCAM media. 9. Click the Single/Dual Drives button, and select a destination drive for the imported file from the menu. 10. Click Import.
Manually Importing XDCAM Media from the XDCAM Disk Manually Importing XDCAM Media from the XDCAM Disk Use the standard Import function to import XDCAM media into Media Composer. Set the default XDCAM import options in the XDCAM tab of the Import Settings dialog box. For more information on import options, see “Import Settings: XDCAM Tab” on page 1229.
Editing XDCAM Proxy Media 3. Click the XDCAM tab. 4. Select Import Essence Marks as Markers. 5. Click OK. Editing XDCAM Proxy Media When you import proxy media files, a new master clip is created that you can edit in the timeline just like any other clip. You can mix the clips in the Timeline with any supported resolutions, add effects or titles, or perform any other editing function available in Media Composer. XDCAM proxy media is single-frame resolution media.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk Batch Importing High-Resolution XDCAM Media from the XDCAM Disk Once you finish editing your sequence with proxy media, you can replace the low-resolution media with the corresponding high-resolution media with the Batch Import command.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk 3. Click the XDCAM tab. 4. Select Batch Import High-resolution Video. 5. Click the Handle Length text box and type the number of additional frames you want to import at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. The default is 30 frames. 6. Click OK. 7.
Editing and Finishing High-Resolution XDCAM Media Single/Dual Drives button (left) and Video Drive and Audio Drive menu location (right) in the Batch Import dialog box Media Composer imports XDCAM media using the native resolution of the XDCAM files. 12. Click the Video Drive and Audio Drive menus, and select a destination drive or drives for all the media files. You can separate video and audio onto different drives. 13. Click Import. The high-resolution files import.
Importing Sequences from Pro Tools through Interplay Importing Sequences from Pro Tools through Interplay You can import a sequence you have worked on in Pro Tools back into Media Composer. You need to have checked the sequence into Interplay from Pro Tools. To import a sequence from Pro Tools: 1. Open the Interplay Window and navigate to the location of the checked-in sequence. 2. Click the sequence and drag it into your bin.
Reimporting Files 6. Select the file you want to import and drag it to the bin. To select multiple files, Ctrl+click (Windows) or Command+click (Macintosh) the files and drag them to the bin. 7. (XDCAM only) The Import file(s) from XDCAM dialog box opens. Type a name in the Disk Label text box, and then click Import. Media Composer uses the disk label for operations such as Batch Import, where it prompts you to insert a specific XDCAM disc that holds the files you want to import.
Reimporting Files A message box opens. 8. Click one of the following: Option Description Offline only Reimports only the selected imported master clips that are missing their media files. All clips Reimports all the selected imported master clips. For example, click this button if you need to change the video resolution of the imported master clips. The message box closes and the Batch Import dialog box opens.
Batch Import Dialog Box 14. Click Import. The file is imported. Batch Import Dialog Box The Batch Import dialog box lets you select a source file for each master clip that you selected in a bin. Media Composer finds the source file automatically if it is located in the same folder where you last imported the file. For information on working in the Batch Import dialog box as part of the reimporting process, see “Reimporting Files” on page 238. Batch Import dialog box. Top: Selected Clips area.
Sequence Report for AAF Imports Area Control Description Set File Location button Lets you locate sources for files whose sources are not found automatically (displayed in red in the list). Import Target Lets you select a resolution and destination drives. Video Resolution menu Lets you select a video resolution. Video Drive and Audio Let you select a destination drive for the media files. Drive menu Import Options Contains global settings that affect all the files you are importing.
Sequence Report for AAF Imports 5. Select from the following options: Options Description Report As Generic Text Select this option if you want the popup sequence report to open as a file suitable for printing or reading in a text editor. Report As Comma Separated (CSV) Select this option if you want the popup sequence report to open in CSV form, suitable for import into spreadsheet and database applications that accept CSV formatted data.
Sequence Report for AAF Imports Options Description Include Source Summary A Source Summary includes information on the number of sources found, project name, tape name, tape ID, and tape Mob ID. It also displays a list of import paths for any imported clips, such as graphics. If you select Show Offline Sources ONLY, the source summary will list only offline sources. 6. Click OK. 7.
10 Working with Bins The Bin Container The Bin Container consists of the Bin Container Sidebar on the left and the Bin(s) on the right. The Bin Container allows you to organize bins within a single container. The Bin Container can be tabbed or docked with other tools. Bins can only be tabbed or docked with other bins within a Bin Container. Left: Bin Container Sidebar, Right: Opened bin The Bin Container Sidebar displays the contents of your project including scripts, bins, volumes, and folders.
The Bin Container To subdivide the bins in the right panel: t Drag a bin tab into an eligible edge of the Bin Container. (Eligible edges appear as green.) The bin will appear subdivided in the right panel. To open in bin into a new Bin Container: t Drag a bin in the right panel and release the mouse to float the bin. The bin will appear in a new Bin Container with the Sidebar closed. To make the Sidebar appear in this new Bin Container, right click and select Show Sidebar.
The Bin Container You can easily customize how your bins look in the Bin Container. For example, you can add background color to customize the look of your bins. You can arrange the bins in a number of ways. For example, in the image below, the top area of the bin panel displays one bin, the middle area displays multiple tabbed bins, and the bottom displays a script. You can arrange bins horizontally or vertically.
Project Bin Container Splitter between bins Dragging items within the Bin Container Sidebar: t Simply drag the script, volume, or folder into another folder in the Bin Container Sidebar. Dragging items from the Bin Container Sidebar to the right panel: t Press and hold Alt while dragging the bin, script, or volume into the right panel. The item will be tabbed to another bin.
Object Icons in Bins 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. n By default, bins display all existing media objects except source clips and rendered effects. Icon Object Type Description Master Clips A clip that references audio and video media files formed from captured footage or imported files.
Bin Views Icon Object Type Description(Continued) Linked audio clip Indicates a file based audio clip that links directly into a bin through a link plug-in. Effects A clip that references an unrendered effect that you create.
Bin Views Text view in the bin. Bin View menu, Text View button, bin column headings To select column headings: 1. With a bin in Text view, do one of the following: t Select Bin > Choose Column. t Right-click and select Choose Column. The Bin Column Selection dialog box opens. 2. Select the headings you want to add to the bin: t Click the name of a heading to select it. t Click a selected heading to deselect it. t Click All/None to select or deselect all the headings. 3. Click OK.
Bin Views n If you do not select a column, the new columns will be placed at the far right of the bin. Sorting in Bins You can sort clips to arrange them in either numerical or alphabetical order, based on the data in the column you select as the sorting criteria. When you sort clips, any selected items in the bin remain active. You can also sort clips by color if you have assigned colors to the clips. For more information, see “Assigning Colors to Objects in a Bin” on page 263.
Bin Views To sort clips by color: 1. Click the Color column heading in the bin. 2. Do one of the following: t Double-click the column heading. t Select Bin > Sort. The objects in the bin sort by color. Colors sort by hue, saturation, and value. Understanding Bin Views Use the Bin View menu (Text view only) to select different bin views. The Bin View menu appears to the right of the bin tabs. The following table describes the default bin views that are available.
Bin Views Bin tabs (top), Bin View menu, Text View button, Fast Menu button Saving a Custom Bin View To save a bin view: 1. Open a bin, click the Text View button. 2. Resize, add, hide, or rearrange bin columns according to preference to customize your view. The Name column is the default and the only required column heading. The bin view name changes to an italic name with the file name extension .n to indicate that it no longer matches the original view.
Bin Views Using Frame View In Frame view, each clip is represented by a single frame, with the name of the clip displayed below the frame. The system uses the head frame as the default. You can perform the following functions in Frame view: • Enlarge and reduce the sizes of the frames. You must enlarge or reduce all frames together, and you cannot change the sizes of individual frames. • Rearrange the display of the frames in the bin by moving them.
Bin Views To rearrange multiple frames: 1. Do one of the following: t Shift+click the frames. t Lasso the frames by clicking the mouse pointer outside the first frame and drag it to surround the frames with a white dotted line. 2. Drag the selected frames to a new position in the bin. 3. Click the background area of the bin to deselect the clips. To align all frames to an invisible grid: t Select Bin > Align and Fill >Align to Grid.
Bin Views 4. Select one of the following options: Option Description Use color based on object type When selected, a colored border appears around the following: • Blue - Precomputes and source side motion effects • Green - Master clips • Dark Green - Subclips and Group clips • Red - Sequences • Purple - Media files in the Media Tool Use clip Color If you assigned colors to items in the bin in Text View, these same colors will be used as a border for the bin item when in Frame View.
Bin Views Script view in the bin. Script Bin View button, script text To type text in the script box: 1. Click the text box and begin typing. 2. (Option) If the text you type extends beyond the size of the script box, you can use the Page Up and Page Down keys on the keyboard to scroll through the text. This text does not appear in sequences edited from the clips, only in printouts of the bin in Script view.
Bin Procedures Bin Procedures You can manipulate material in the bin in a variety of ways, including selecting, deleting, duplicating, moving, copying, and sifting clips and sequences. When you work with bins, an asterisk appears before the bin name in the bin’s title bar. The asterisk indicates that the changes to the bin have not been saved. Once you save the bin, the asterisk is removed.
Bin Procedures To close a bin tab: t Click the Close button (X) in the tab. Using the Bin Fast Menu All Bin menu commands are also available in the Bin Fast menu located in the upper right corner of the 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.
Bin Procedures To duplicate clips or sequences: 1. Select the clip or sequence that you want to duplicate, or select multiple clips or sequences. 2. Select Edit > Duplicate. A copy of the clip or sequence appears in the bin, with the original clip or sequence name followed by the file name extension .Copy.n, where n is the number of duplicates created from the original clip or sequence.
Bin Procedures The copies appear in the destination bin, and the originals remain in the source bin. The system does not add the file name extension .Copy.n to the clip or sequence as it does when duplicating. If the destination bin’s display was set to show reference clips, the referenced object types do not appear until you have saved the bin.
Bin Procedures The Resolutions to Delete section lists all video resolutions for the clips you selected. It also lists a single entry for all audio sample rates and compressed audio and a single entry for the data (ancillary data) file. Click All to delete all resolutions. However, you still need to select the individual media files that you want to delete. If you don’t want to delete any media files, click None, and all media files are deselected.
Bin Procedures 6. Click a color from the color palette. The bin color changes. When you set the bin background color, the same color is used for the bin tab. Assigning Colors to Objects in a Bin You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects. You can also display colors in bins and in the Timeline. For information on displaying colors in the Timeline, see “Displaying Clip Colors in the Timeline” on page 517.
Bin Procedures Accessing the Custom Color Picker for Color Palettes You can access the custom color picker for color palettes. You can access the custom color picker from: • Bin Clip Color • Timeline Local Clip Color • Timeline Track Color • Bin Background Color • Bin Container Sidebar Click the OS Color Palette button to open the OS Color Picker. Also note that RGB values are displayed in a tooltip when the mouse is hovered over a color chip.
Bin Procedures To unlock previously locked items: 1. Select the items in the bin. 2. Select Clip > Unlock Bin Selection. You can use the clip-locking feature along with archiving software to automatically archive all locked media files. Selecting Offline Items in a Bin Offline items are clips, subclips, or sequences that are missing some or all of their original media files or that have never been captured. To identify offline items, do one of the following: t Select Bin > Select > Offline Items.
Bin Procedures To identify media relatives: 1. Open the bin that contains the selected clip or sequence. 2. Open any other bins that might contain the media relatives that you want to find. 3. Resize and position the bins so that you can see their contents. Text view is the best display for viewing as many objects as possible. 4. Select the clip or sequence, and select Bin > Select > Media Relatives. The system highlights all related objects in all open bins.
Working with Bin Columns Working with Bin Columns The topics in this section describe how to work with the columns of information that appear in the bin when you are in Text view. For more information on Text view, see “Using Text View” on page 249. For information on modifying the information that appears in bin columns, see “Modifying Clip Information” on page 272. Moving, Aligning, and Deleting Bin Columns You can move, align, and delete columns in a bin.
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. For more information, see “Displaying Timecodes in a 24p or 25p Project” on page 270. To duplicate a timecode column: 1. Click the column head you want to duplicate.
Working with Bin Columns To apply the same text to a column for multiple items: 1. Select the items in the bin to which you want to apply the same text. 2. Right+click the column and select Set column for selected clips. 3. Enter the text you want to appear in the column for the selected items in the bin. The text appears in the cells. Adding a Metadata Bin Column Heading When you link to third-party media, each manufacturer has its own metadata information associated with the media.
Working with Bin Columns Bin Left Lock Use the Bin Left Lock to lock the columns when performing horizontal scrolling. Move the Bin Left Lock to the column location you want to lock in place. When you use the horizontal scroll bar to continue accessing columns in the bin, the columns to the left of the Bin Left Lock remain in place. In the example above, the Bin Left Lock is at the Track Formats column.
Working with Bin Columns n For information to display timecodes in the Timeline and the Tracking Information display, see “Displaying Timecode Tracks in the Timeline” on page 522 and “Displaying Tracking Information” on page 376. After you add a timecode column (TC 24, TC 25, TC 25P, TC 30, or TC 30NP) to a bin, you can use the Duplicate command to convert the values for master clips and subclips to the appropriate timecode for that column.
Modifying Clip Information Adding Timecode Values to the Timecode Columns To add timecode values to the timecode columns: 1. Open a bin or the Media tool. 2. Add the Start column and the timecode column with the format you want to use. 3. Select the Start column. 4. Select Edit > Duplicate. The Select dialog box opens. 5. Select the timecode heading from the list. 6. Click OK.
Modifying Clip Information If you work in an Interplay environment, the list of bin column headings include audio sample rates and video resolutions. Select from these headings to display multiple sample rates and resolutions in the bin. For more information, see “MultiRez Bin Headings” on page 1132. You can modify information in bin columns. For example, you can type a new name for a clip or correct the start and end timecodes.
Modifying Clip Information Bin Column Heading Description AuxInk Film Film gauge for the auxiliary ink number. Ctrl+click the cell, and then select the gauge. See “Selecting a Film Gauge” on page 282. Cadence Type of pulldown present on the source NTSC tapes when in a 23.976 or 24p project. Modifiable after capture (Ctrl+click and choose from the menu). All clips with the same tape name change according to your selection. Camera Camera used to film this clip.
Modifying Clip Information Bin Column Heading Frame Description Displays the same frame that displays when you select Frame view. See “Using Frame View” on page 254. n It takes longer for the screen to display frames than text. Frame Count Duration Displays the frame count duration of the clip. Frame Count End Displays the end frame count for the clip. This number is automatically adjusted if you change the Frame Count Start. Frame Count Start Displays the start frame for the clip.
Modifying Clip Information Bin Column Heading Description Mark IN Timecode for the IN point, if you set one for the clip. Modifiable after capture — altering the mark IN also alters the IN to OUT duration. This replaces any previous mark. Mark OUT Timecode for the OUT point, if you set one for the clip. Modifiable after capture — altering the mark OUT also alters the IN to OUT duration. This replaces any previous mark. Marker Displays the highest priority marker.
Modifying Clip Information Bin Column Heading Description Pullout Telecine pulldown of the last frame of the clip. Pullout can have the values A, B, X (matchback only), C, or D. For 24p projects and matchback projects only. (NTSC only) Reel Displays the reel information from the camera or capture device for those devices that support REEL info. Reformatting Options Set the media conversion mode to use when working with media of different sizes and aspect ratios in the same sequence.
Modifying Clip Information Bin Column Heading Description VFX Reel Source reel identification for the FX shot. Video Clip video format (resolution, color space and field motion type). Vendor A list of vendor headings is provided for use with Avid Marketplace. See “Adding Vendor Columns to your Avid Bin” on page 1391. Video Data Rate Displays the data rate of a linked clip. If no information is derived from the clip, the column is left blank.
Modifying Clip Information If the pointer does not change to an I-beam, you might be selecting a column that cannot be directly modified. 4. Type the new information, and press Enter. To modify selected data using the Modify command: 1. Click the Text View button in the bin. 2. Click the icon to the left of the clip, sequence, or other object you want to modify. Ctrl+click (Windows) or Cmd+click (Macintosh) each additional object you want to modify. 3. Select Clip > Modify > Modify Clip.
Modifying Clip Information Type of Modification Options Description Set Timecode By Field Start or End Changes either the start or end timecode. You can only alter start timecodes after capture. Hour, Minutes, Seconds, Frames Lets you enter custom 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.
Working with Film Information in Bins Type of Modification Options Description Active Format Description Lets you set the Active Format Description (AFD) in the data track. AFD information allows you to display the video of one aspect ratio on a display with another aspect ratio. See “Adding the Active Format Description to the Data Track” on page 935” Active Format for 4x3, 16x9, or Use Project Format.
Working with Film Information in Bins Tracking Frames Based on File Name Bins can display a digital file name for each frame in addition to key numbers, ink numbers, and other reference numbers. Tracking frames with the frame number is useful when using the film scanning process where each frame is an independent file. It is also useful when working with effects and animation processes that are dependent on a frame-based counting scheme.
Creating a Storyboard - 65mm, 15 perf (used in IMAX® films) - 65mm, 10 perf - 65mm, 8 perf - 65mm, 5 perf - VistaVision® Tracking 3-Perf Counts You can track 3-perf counts in film projects. The perf value is an extension of the key number, and appears in the KN Start, Ink Number, and Aux Ink Number bin columns. A sample key number might look like this: KJ 12 1234-3456-10.3 The “.3” at the end of the key number represents the perf value.
Setting the Bin Display 6. Use the keyboard to step through each clip and display the reference frame you want to use for each clip. 7. Select and drag one or several clips at a time to a new location to rearrange the clips in sequential order. 8. Enlarge or reduce the size of the frames as necessary. 9. Align the rearranged frames along invisible grid lines. 10. (Option) Change the font and background color for the storyboard. 11. When the storyboard is complete, select File > Save Bin. 12.
Sifting Clips and Sequences To sift clips or sequences: 1. Select Bin > Sift Bin Contents. (You can also access the Sift options from the bin context menu or bin Fast menu.) The Custom Sift dialog box opens. 2. Click the Criterion menu, and select one of the sifting options. 3. Click the first Text to Find text box, and type the text that you want to use as a sift criterion. When sifting by color, type the exact name of the color (using uppercase and lowercase letters) in the text box. 4.
Sifting Clips and Sequences 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. If you type a value in the Text to Find text box in the Custom Sift dialog box, click the Column or Range to Search menu, and select Start to End Range. Some column pairs explicitly define a range, for example, Start and End or Mark IN and Mark OUT.
Working with Restricted Material Bin Column (Implicit Ranges) Column or Range to Search Menu Item 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. Select Bin > Sift Bin Contents. The Custom Sift dialog box opens. 2. Type the timecode (or keycode) number for the range in which you want to sift. 3.
Working with Restricted Material Restriction marker on a clip in the bin When you first open a restricted clip or load a sequence containing restricted clips, a warning message box opens. The warning appears every time you open or display a clip on restricted material in this session, not just on the present clip. The same warning appears when you try to perform a digital cut, send the sequence to playback, or export.
Printing Bins To see changes in Restriction comments while you are editing: 1. Change the comments in Avid Interplay Assist. 2. In Media Composer, select Tools > Remote Assets. 3. Navigate to the changed clip, and drag it into the bin again. The changes appear in the Restriction window. Printing Bins To print entire bins: 1. Make sure your printer is correctly set up. 2. Select the Text, Script, or Frame bin view of the bin you want to print. 3. Select File > Page Setup.
Filtering Items in the Bin To create a Favorite Bin: 1. Click File > Settings. Click the User tab 2. Double-click the Bin Settings. The Bin Settings window opens. 3. Select the “Favorite Bins show at” option, and choose either Top of the Bin Container Sidebar or Bottom of the Bin Container Sidebar. 4. Open the bin you want to make a Favorite Bin. 5. Do one of the following: t Select Bin > Add Bin to Favorites. t Click the Bin Fast Menu and select Add Bin to Favorites.
Using the Bin Container To filter items in a bin: 1. Open the bin. 2. Enter text in the filter text box. The search will display only those items in the bin that match the search criteria. n If individual columns are selected, the search is performed on the information in the selected columns. If no columns are selected, the search is performed on the Name column.
Using the Bin Container 2. Click the new bin name and type in a new name. 3. Press Enter. A corresponding bin file is placed in the Avid Projects folder, and a backup copy is placed in the Avid Attic folder. For more information, see “Avid Attic Folder” on page 63. To place a bin in a folder: t Drag the bin to the folder icon. Renaming a Bin Each new bin that you create takes the name of the project and is numbered incrementally.
Using the Bin Container 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. n The Other Bins folder disappears from the Bins list when you delete all the bins in the Other Bins folder. Deleting bins from the Other Bins folder does not remove the bins from your system; only the pointers to the bins are removed.
Using the Bin Container 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 Bin Container: 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 Bin Container n 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. Click the bins or folders you want to keep (or view), and drag them from the Trash to the Bins list in the Bin Container. 3. Double-click the bin or folder to view it. To empty the Trash in the Bins list: 1. Click the Fast Menu button, and select Empty Trash. A message box opens. 2.
Using the Bin Container Saving Bins Manually To save a specific bin: 1. Click the bin to activate it. 2. Select File > Save Bin. To save selected bins: 1. In the Bins tab, click a Bin icon to select it, and then Ctrl+click any additional bins. 2. Select File > Save All. The system saves all the selected bins. n The Save Bin command appears dimmed if there were no changes since the last time the active bin was saved. To save all the bins: 1. Click the Bin Container. 2. Select File > Save All.
Working with Bins and Projects in an Avid Shared Storage Environment The search will display only those bins that match the search criteria. Working with Bins and Projects in an Avid Shared Storage Environment Avid NEXIS and Avid ISIS shared storage let you share bins and projects across the network. When you place your bins and projects on Avid Workspaces (drive volumes), several users can work on the same project at the same time.
Working with Bins and Projects in an Avid Shared Storage Environment In an Avid shared storage environment, Media Composer creates and stores projects and bins on the client’s internal drive. If you move or save these projects and bins to the workspace, only one client can work on the project at a time. If two or more users work simultaneously on the same project, only one user can update the files. Other users can open and play sequences but cannot make any changes to them.
Working with Bins and Projects in an Avid Shared Storage Environment The bin appears with a Bin Lock Status button. You can click the red (locked) or green (unlocked) Bin Lock Status button to view a history file that shows which computers and users have modified the bin and the date and time of the modifications. When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Considerations for Working with Shared Bins and Projects” on page 300.
Working with Bins and Projects in an Avid Shared Storage Environment n You can release the lock by Alt + clicking the green icon. Considerations for Working with Shared Bins and Projects Suggestions for Improving Performance When Working with Shared Bins The following information is provided to improve performance when working with shared bins in an Avid shared storage environment. • Do not use the same name for your editing system machine name and your user name.
Working with Bins and Projects in an Avid Shared Storage Environment Limitations When Working with Shared Bins and Projects If an editor other than the creator deletes a media file, other editors cannot see that media file go offline immediately. If an editor tries to play that file, a “media file not found” message might appear in a monitor window, and an access violation error might occur.
Managing Bins and Memory Both editors can modify their copies of the bin, but only the editor that controls the lock can save that bin. The other editor is warned that the bin is locked but is allowed to save a copy of the changed bin. Avid recommends that you use the “Save Bin Copy As...” button and continue working.
Setting the Media Cache This operation deletes cached data for the online master clips only. Memory might also be used by other parts of your Avid editing application and will not be reduced by using the Clear Memory button. Setting the Media Cache Media Composer allows you to establish how much memory can be utilized for caching thumbnails in memory as well as disk. Caching images in memory allows thumbnails to quickly be recalled as you load or scroll in bins or sequences.
The Inspector To select the columns to be displayed in the Inspector: 1. Right-click in the Inspector window. 2. Select Choose Columns. The Choose Columns dialog opens.
The Inspector n Use Alt +click to expand or collapse the options in the dialog. 3. Click to select the information you want to see in the Inspector. 4. Click OK. The selected data appears in the Inspector window. To rearrange the order of the metadata displayed in the Inspector: 1. Simply click a column heading and drag it up or down within the Inspector to change its location. To save the layout of the Inspector: 1. In the Inspector Window, make sure to arrange the order of the metadata as desired. 2.
The Inspector 3. Name the setting. 4. Click Save. When you want to use this layout for future use, simply select it from the Inspector Profile pulldown menu. To keep the information in the Inspector static: 1. If you want to keep the information in the Inspector set to one particular item, right click in the Inspector and deselect Follow Selection.
11 Linking File-Based Media File-based media can be acquired from a third-party device (a camera, reader, or drive), from a CD or DVD, from a folder on your system, or from a virtual volume (a server connected to your system). To move the media into your Avid editing system, you have the option to use the Avid Media Access linking method which links the file based media directly into a bin through a plug-in, or you can use the import method which imports the media onto your system.
Viewing the Installed Plug-Ins Viewing the Installed Plug-Ins To see which plug-ins are installed in your system. To view a list of the installed plug-ins: 1. Select Help > About Avid Media Composer 2. Click the Configuration tab. Scroll in the window to see a list of installed plug-ins and their version numbers. Avid Generic Plug-In The Avid Generic plug-in natively supports the following format for linking and playing.
Linking File Based Media through the Source Browser 5. Use the master clips to edit the sequence. 6. (Option) Rename the clips to help organize your material. 7. You can either transfer your media to your hard drive and then transcode or consolidate your sequence or clips, or consolidate directly from the third party device. Consolidating your media helps when you work with multiple cards. If you remove a card from the reader, consolidating lets you view your sequence with all the media online.
Linking File Based Media through the Source Browser Source Browser in Frame View: (from top to bottom) Navigation tools and breadcrumbs; Middle area: Navigate and display media panes; Source Browser Settings. Bottom area: Link or Import and select Settings, Choose bin to commit media and Processing Media progress indicator Navigation Tools and Breadcrumbs The top area of the Source Browser provides navigation tools and shows the path to the currently displayed location of your media.
Linking File Based Media through the Source Browser Item Description 6 Breadcrumbs: Displays the path to the currently selected folder. Explore Media Drives Area of Source Browser The left area of the Source Browser is where you navigate to your media drives. In this area you can also view your Favorite folders or media drives. You can also view the most recently viewed folders or drives. Display Media Area of Source Browser The right pane of the Source Browser displays the media.
Linking File Based Media through the Source Browser Item Description 1 Media display area. 2 Text View button. Click to display the media in text view 3 Frame View button: Click to display frame representations (thumbnails) of the media clips. 4 Search Field: Enter text in the search field to easily find clips. 5 Thumbnail slider: Move to enlarge or reduce the thumbnail. (Frame view only) 6 Scroll bar: Scroll to display more columns.
Linking File Based Media through the Source Browser Previewing File Based Media You can preview your file based media in the Source Browser before you commit the clip(s) into a bin. To preview media in the Source Browser: 1. Do one of the following: t Select File > Input > Source Browser. t Right-click in the bin and select Input > Source Browser. t Click the bin Fast Menu and select Input > Source Browser. The Source Browser Window opens. 2. Browse to the location of the media you want to preview.
Linking File Based Media through the Source Browser 5. Place your cursor so it hovers over the thumbnail of the clip. While hovering, move the cursor to the edges of the thumbnail to preview the footage. You can also use the JKL keys to play through the thumbnail. 6. (Optional) You can also drag a clip from the Source Browser to the Source monitor to review the clip in higher resolution. Dragging to the Source monitor does not commit the clip to the bin. 7.
Linking to QuickTime Media Linking Files to a Bin After locating and/or previewing your media files in the Source Browser you can link to them. To link to File Based Media: 1. Select File > Input > Source Browser. 2. Select the Link option in the bottom left of the Source Browser window. 3. Click the Settings button at the bottom of the Source Browser to access the “Link Settings” on page 1232 to set the applicable link options for your media. 4. Navigate to and select the files to which you want to link.
Linking to QuickTime Media QuickTime files use the .mov file name extension. After you link a QuickTime file, the file drops the .mov file name extension. QuickTime media is linked at the data rate at which it was recorded. A QuickTime workflow is as follows: 1. Create a QuickTime movie with a supported codec in a 3rd party application such as Adobe AfterEffects or Apple’s Final Cut Pro. Avid supports the Same as Source and Custom export settings options when you export with Avid QuickTime codec.
Linking to QuickTime Media 8. Click Link at the bottom left of the Source Browser window. 9. Navigate to and select the .mov file(s) you want to link. Ctrl+click or Shift+click to select multiple files. To link to multiple files, you can select a folder that stores multiple QuickTime files. 10. Select your target bin and click Link at the bottom right of the Source Browser Window. The clips appear in the selected bin. A link icon appears next to the clips. 11. Use the linked clips to edit your sequence.
Linking to AVCHD Media 3. Locate the folder where the files exist and select the files in the folder that require relinking. 4. Click OK. The clips appear linked in the bin. If all the clips you wanted to relink to do not reside in the selected folder, you will receive a dialog indicating how many files were not relinked. Open the Console window to see the name of the file or files that were not relinked.
Linking to MXF Media n n When you transcode a sequence, the system automatically defaults to convert both audio and video. You cannot transcode video only with AVCHD. For information on transcoding your sequence, see “Using the Transcode Command” on page 343. Linking to MXF Media Material Exchange Format (MXF) is a wrapper or container format which encapsulates media and rich production metadata into a single file, which is useful for media storage and exchange.
Linking to RED Media n When you consolidate, if you want to keep your clips linked to the original source, select the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files dialog box. Linking to RED Media You can link to a specific R3D file on the volume or link to the entire volume. RED ONE cameras record metadata which displays in an Avid bin. The metadata includes: edge code, timecode, lens parameters, audio settings and any video image processing information.
Linking to DPX Media 5. Choose the video quality from the Transcode & Consolidate tab of the Media Creation setting. For more information, see “Preparing your RED Clip for Transcode, Mixdown, or Render” on page 321. 6. Transcode your sequence or clips. 7. Remove the RED drive or card.
Linking to DPX Media The DPX plug-in can link to RGB files that have 8-bit, 10-bit (filled using Method A only), 12-bit (filled using Method A only), and 16-bit components. It can only link to files that contain a single image element for example, interleaved RGB). It can link to files of either byte order (MSB or LSB). The DPX plug-in cannot link to files that are encrypted or run-length encoded. For information on Method A, see Annex C of the SMPTE spec 268M-2003.
Linking to DPX Media Option Description Reel name based on: Select from where to read the Reel name: Frame Count: • Embedded in source file • Source file name • Source file path Select from where to start the frame count: • Start frame count at 0 • Start frame count at 1 • Convert timecode to frames • From the File name 4. Select File > Input > Source Browser. The Source Browser window opens. 5. Click the Link button on the bottom left of the Source Browser window. 6.
Linking to OpenEXR 7. Ctrl+click or Shift+click to select multiple files. 8. Either drag and drop the clip(s) to the bin or select the Target Bin at the bottom right of the Source Browser and click Link. The clips appear in the bin with a link icon. n Make sure that all the files in your DPX sequence have the same metadata such as height, orientation, interlace/progressive, etc. especially if you replace one or more files in your DPX sequence with files written by a different DPX writing application.
Linking to an AS-02 Bundle t Select File > Input > Source Browser. 2. Click the Link button at the bottom left of the Source Browser window. 3. Navigate to the folder containing the OpenEXR files. 4. Select one of the files in the sequential list of OpenEXR files. 5. Select the Target Bin where you want to link the OpenEXR files. 6. Click the Link button at the bottom right of the Source Browser. One master clip containing the sequential files is linked in the bin.
Linking to an AS-11 Sequence To link to an existing AS-02 Volume: 1. Select File > Input > Link to Volume for Export. 2. Select the folder where the AS-02 bundle resides. 3. Click OK. 4. A new volume bin opens with the AS-02 assets. Linking to an AS-11 Sequence Media Composer supports the Advanced Media Workflow Association (AMWA) AS-11 specification. This specification is used in broadcast environments. The specification defines a set of rules that constrain the specification.
Linking to Broadcast Wave and AIFF Files To Link to a Broadcast Wave or AIFF File: 1. Select File > Input > Source Browser. The Source Browser window opens. 2. Click Link in the bottom left of the Source Browser window. 3. Navigate to the location where the BWAV or AIFF files reside and select the files you want to link to. 4. Select the Target bin and click Link on the bottom right of the Source Browser window. The clips appear in the bin. A link appears next to the clips.
Linking with Multichannel Audio Linking with Multichannel Audio You can use the Link Settings dialog box to define the audio track formats for the audio channels in your linked media, up to a maximum of 64 audio channels for the clips in your bins. This allows you to specify which source channels are treated as mono or multichannel audio tracks in your project, rather than having to modify the clips in your bin after you link to the media.
Linking with Multichannel Audio 5. Click the format buttons to select one of the following audio track formats for each pair of source channels: Button Track Format Mono Stereo You must map source audio channels in mono or stereo pairs. For example, you cannot map A1 to a mono track and A2 and A3 to a stereo track. Instead, map A1 and A2 to mono tracks, and A3 and A4 to a stereo track. If the source media does not have an audio channel on A2, Media Composer ignores the channel. 6.
Linking Clips with Ancillary Data 4. Name the setting by doing the following: a. Click the custom name column. b. Type a name. c. Press Enter. You can select this new setting whenever you link clips. Linking Clips with Ancillary Data The following steps describe a typical workflow for linking XDCAM or MXF clips with ancillary data.
Linking Clips with Ancillary Data When you consolidate the XDCAM or MXF clip or the sequence that contains the XDCAM or MXF clip with ancillary data, the ancillary data track stays with the consolidated clip or sequence. n For information on consolidating your sequence, see “Consolidating Media” on page 339. For information on transcoding your sequence, see “Using the Transcode Command” on page 343.
12 Managing Media Files When you capture footage, the system creates digital media files on the media drives connected to your system. In addition to the bins where you organize the clips that reference these media files, Media Composer provides tools for directly managing these media files.
Understanding Unmounting Drives If you want to transfer media from one workgroup to another, you can use the Interplay Transfer application. Interplay Transfer receives and queues transfer requests from one or more clients. Transfers are then initiated by the Interplay Transfer server to off load the client. For more information about the Transfer setting, see the Avid Interplay Transfer Setup and User's Guide. You can also use Avid Interplay Transfer to share files between workgroups.
Unmounting Drives You can unmount one or several drive volumes mounted on the desktop at any time from within Media Composer. You can also remount all the drives and return them to the desktop. However, you cannot mount selected drives because Media Composer cannot interface with selected drive individually. For more information, see “Unmounting Drives” on page 334.
Using the Media Tool Basic Media Tool Features The Media tool provides many of the same controls for viewing and managing information that you use with bins: n • The three display options in the Media tool function like the bin display views: Text view, Frame view, and Script view. • You can use Text View headings and options for columns of clip and media file data.
Using the Media Tool If some media seems to be missing when you use the Media tool, that media might be stored in a folder not indexed by Media Indexer. If you want to see all local media in the Media tool, all your local storages must be properly indexed. For information on configuring Media Indexer, see the installation documentation for Avid Interplay. Opening the Media Tool To open the Media tool: 1. Select Tools > Media Tool. The Media Tool Display dialog box opens. 2.
Using the Media Tool Example of media objects in the Media tool. Top to bottom: a master clip, a precompute clip, and a media file. Deleting Media Files with the Media Tool You can use the Media tool to delete selected media files without harming the related master clips, subclips, and sequences. c If you use the Media tool to delete selected media files, you no longer have access to visuals of the deleted material.
Using the Media Tool p 4. Select the media objects that you want to delete: Option Description Video media file (V) After deletion, the master clip linked to that file is black, with the message “Media Offline” displayed. Related subclips and sequences are affected in the same way. Audio media file After deletion, the master clip linked to that file is silent. Subclips and (A1, A2, A3, A4, A5, sequences created from the master clip are affected in the same way.
Consolidating Media Consolidating Media When you consolidate media files, Media Compose finds the media files or portions of media files associated with selected clips, subclips, or sequences. It then makes copies of them, and saves the copies on a target drive that you specify. There are three basic reasons to use the Consolidate feature: n • To copy media onto one drive for storage or transfer to another system.
Using the Consolidate Command Consolidating a subclip. Left: the original master clip, the subclip created from it, and its original media file. (on, for example, drive A). Right: the new master clip, the new subclip, and the smaller subclipped copy of the original media file (on drive B). Sequences When you consolidate a sequence, Media composer copies only the portions of media files edited into the sequence and creates new master clips for each clip in the sequence. The file name extension .
Using the Consolidate Command n If you have any compressed audio (MP2 audio) in the clip or sequence you selected to consolidate or transcode, a message appears informing you that selected items contain MP2 audio and cannot be consolidated or transcoded. You should relink this MP2 audio to an uncompressed audio format. If you do not relink to an uncompressed audio format, the selected clip or sequence with the MP2 audio is skipped. The Consolidate/Transcode dialog box opens. 4.
Using the Consolidate Command Option Description(Continued) Create new sequence(s) Select this option to create a new sequence from the consolidated clips (appears only if you selected a sequence). Consolidate only linked media Select this option if you want only linked media consolidated. Delete original media files when done Select to delete original media files automatically.
Using the Transcode Command 7. Click Consolidate in the lower right corner. The Copying Media Files dialog box opens. 8. Select an option for how you want your clips to link to the new media. n If you want to keep your clips linked to the original source, select the option “Keep Master clips linked to media on the original drive.” For more information, see “Consolidating Media” on page 339. 9. Click OK. Media Composer creates new media files and new clips which are linked according to your selection.
Using the Transcode Command New clips created through the Transcode operation are in the project format. When you transcode a clip across formats, for example if you transcode a 16:9 clip in a 4:3 project, the Reformat bin setting determines how the clip is conformed to the new format. For more information, see “Modifying the Reformat Attribute for a Clip” on page 456. To use the Transcode option: 1. Select a clip or sequence in a bin. 2. Select Clip > Consolidate/Transcode.
Using the Transcode Command n If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. 7. Select the appropriate options. Option Description Video and audio on same drive(s) Select to store the transcoded media files on the same target drive. Deselecting this option lets you select separate drives for the audio and video media files.
Background Consolidate and Transcode Option Description(Continued) Linked Source Scaling/ Sets the playback quality for linked media. You can choose Full, Half Quality (Better Quality), Half (Good Quality), Quarter, Eighth, Sixteenth. The default setting is Full. Apply source transformations Color encoding - Select this option if you want to transcode clips with their applied color adapters. Frame Flex - Select this option if you want to transcode clips with FrameFlex formatting.
Background Consolidate and Transcode Once you start a consolidate or transcode operation, selected master clips, subclips, and sequences appear in your bin as offline media. As the job progresses, you can monitor and manage the consolidate or transcode process in the Background Queue Window. Once completed, the offline media automatically link to the new formats and then you can begin to work with them in your project.
Loading the Media Database Element 1 Tool menu Description Provides options for the Background Queue Window: • Clear Inactive Jobs — clears the Background Queue Window of all jobs not currently transcoding. • Show Job Groups — allows you to display or hide specific job groups listed in the menu. 2 Clip or Sequence name Lists either the name of the transcoded sequence above the clips within the sequence or the name of the transcoded clip.
Refreshing Media Directories n The information in this topic applies only to media on local drives or on unmanaged shared storage drives. The information does not apply to shared storage managed by Avid Interplay. For more information, see the Interplay documentation. Bins contain references to media files based on the contents of the bin. Media Composer does not maintain the entire database in memory at all times.
Deleting Unreferenced Clips and Media Deleting Unreferenced Clips and Media Unlike the bin files stored in project folders, media files require considerable storage space. When you finish either a rough cut or a final version of a sequence, you can quickly free storage space by deleting the media and clips that are not referenced by the sequence. You perform this procedure only on clips selected in bins.
Finding a Related Media File Finding a Related Media File The Reveal File command lets you select a clip in a bin and automatically open its related media file. This command is useful if you want to delete, move, or label the media file. To find a related media file: 1. Select the clip in a bin for which you want to find the media file. The clip is highlighted. 2. Select File > Reveal File.
Relinking Media Files n In an Avid Interplay environment, relinking through the Relink dialog box is limited to non-master clips (subclips and sequences). For more information, see “Using the Relink Dialog Box in an Avid Interplay Environment” on page 1126. When you select subclips or sequences and select the Relink command, the system searches for master clips that contain the same material included in the selection.
Relinking Media Files 3. Select options.
Relinking Media Files Option Description Allow relinking to offline items Allow relinking to offline elements: Relinks to clips that are offline. All available drives are searched regardless of the setting for “Relink to media on volume.” Relink by: Timecode Allows you to relink to Start, Aux TC1-TC5, or Sound Timecode. Source Name Allows you to relink to a number of relink options:Tape Name or a Source File ID, Tape Name or Source File Name, Keynumber, Name, Camroll, Labroll, Disk Label, More.
Relinking Media Files Option Description Relink if quality: If you select Specific Resolution as a relink method, this menu lets you specify the range of the relink search: Is greater than or equal to: If the selected resolution is not available, then the nearest resolution that is better (more pixels, less compression) than the requested one and that has the closest video format (image size, field topness) is used.
Relinking Media Files To relink a clip by resolution: 1. Select the object or objects in the bin that you want to relink. 2. Select Clip > Relink. The Relink dialog box opens. 3. Select Relink Method > Specific Resolution. 4. Select an option from the “Relink if quality” menu. 5. Select a project format from the Format menu. 6. Select a resolution from the Resolution menu. The default resolution is determined by the current Media Creation setting for Capture. See “Media Creation Settings” on page 1236.
Relinking Media Files Relinking Tape and File Based Media You can relink between imported and linked media and captured tape based media. Usually you can only relink between clips with the same source file name or clips with the same tape name. By selecting the “Allow relinking between tape and file media” option, the system can relink by comparing the tape name to the source file name or the source file name to the tape name.
Unlinking Media Files 5. (Option) Select “Relink only to media from the current project.” 6. (Option) Select “Match case when comparing tape names.” 7. Click OK. The clips are relinked to the original media files. Relinking Moved Projects If you move projects between systems with similar media existing at each site but captured separately, your clips and sequences display the message “Media Offline.” You can use the Unlink and Relink commands to reconnect the files at either site.
Sequence and Clip Information Summary Example 1: Preparing for Online Editing When you move your sequence from an offline system to an online system, you can run an effect summary and a source summary report. The Effect Summary displays a list of all effects, including a separate list of plug-ins used. The Source Summary lists all the tapes you need for recapture and all of the import paths for imported graphics.
Sequence and Clip Information Summary 2. (Option) Do the following: t If you selected specific tracks, click Enabled Tracks Only. t If you set In and Out points, click Use Marks. If you want to run a report on the entire sequence regardless of tracks or marks, do not select either of these options. 3. Select the Summary Info options you want to include in your report. For information on report options, see “Summary Information Options” on page 360. 4. Click Generate Report.
Sequence and Clip Information Summary Summary Option Suboption Description Create Effect Summary This displays the types of effects and how many were found in your sequence, the breakdown by effect type, and an effect plug-in summary. If you have selected individual tracks or selected IN and OUT points, only those effects that fall within those parameters appear. Create Effect Location List This displays the location of an effect.
Creating Dynamic Media Folders Creating Dynamic Media Folders Dynamic Media Folders (DMFs) are user-created folders that allow you to work more efficiently with file-based media. DMFs allow you to manage and process media even when Media Composer is not running.
Creating Dynamic Media Folders 2. Create a new folder by clicking the + icon in the Dynamic Media Folders window. The Select Folder window opens. 3. Navigate to the folder on which you want to perform the action and click Choose. A DMF is added to the list. 4. Click the Profile Editor button to create a profile that you want associated with the DMF. The Profile Editor opens. 5. Click the Menu bars to open the default profile summary and default Link Settings and Actions. 6.
Creating Dynamic Media Folders Setting Option Description Plugin Link Using Select which Plug-in you want Media Composer to use when performing links for the files added to the selected DMF folder. If you are linking to Volumes, Avid recommends you select the Autodetect Plug-in. Bins Use active bin When this option is selected, Media Composer uses the currently active bin to store linked clips.
Creating Dynamic Media Folders Setting Option Description Frame Count for DPX Select how you want Frame count to appear in the DPX bin column: column and Tracking Information. The frame count will appear as a 7 digit number in the DPX bin column. The DPX pre-fix is derived from the Labroll bin column. If no data exists in the Labroll column, then the DPX prefix will be empty.
Creating Dynamic Media Folders 8. Click the Menu button on a row to access the desired copying, consolidating and/or transcoding actions you want to be performed on the files. Choose from the following options: Action Option Description Copy to Folder Copy to: Click the Set button to choose the location where you want the files copied to. Auto Relink when complete Files are automatically relinked when the copy is completed. Checkin to Interplay Checks in assets to Interplay.
Creating Dynamic Media Folders Action Option Description Video Drive Audio Drive Select the applicable drives. 9. You can also reorder the actions by priority by dragging one above or below the other. 10. Click Save to save the Profile. 11. Name the Profile and click OK. 12. Assign the profile to the DMF by choosing the profile from the drop down list. 13.
Starting and Stopping Avid Background Services The new assets will populate the Media Composer Bin according to the Bin setting you chose in the Profile Editor. Any clips that have been consolidated or transcoded will also populate the bin as .new files. If some clips are still being processed, they will populate the bin as offline. When they are ready, the Acquire icon will redisplay next to the DMF. You can monitor the background progress of these files by selecting Tools > Background Queue.
Starting and Stopping Avid Background Services Option Description Pause Allows you to explicitly pause the background services for the specified amount of time. This might be useful if you are experiencing a slow down due to background services and need to temporarily stop the services from running. If the pause time period ends and you are in the middle of a play operation, the pause time period is extended.
13 Viewing and Marking Footage Before you begin editing, you can review your footage, add markers and comments to clips, mark IN to OUT points, and create subclips. By viewing and marking your material in advance, you can concentrate on editing and refining your sequence at a later time without having to pause and set marks each time you load a new clip.
Customizing the Composer Window and Monitors Viewing Method Description In the Source monitor You can load clips and sequences into the Source monitor to view and mark or subcatalog shots for use in a sequence that you build in the Timeline. For more information, see “Loading and Clearing Footage” on page 387. In the Record monitor You can load a sequence into the Record monitor to view, mark, or modify an existing sequence.
Customizing the Composer Window and Monitors Composer window with monitors using 4:3 aspect ratio Use the Composer Settings dialog box and the menus within the Composer window to configure various displays and functions. For information on all Composer settings, see “Composer Settings” on page 1182. n Illustrations of the Composer window in this chapter show two button rows, one information row, and including the Center Duration display.
Customizing the Composer Window and Monitors To resize the Composer Monitor: 1. Drag the bottom right corner of the Composer Monitor. If you select the Flow Data Dynamically option on the Window tab of the Composer Settings dialog box, the data above the monitors displays in either one or two rows, depending on the size of the Composer window. The window is resized and black pillar boxes or letter boxes appear as necessary as the video is played. To set the monitor to Resize to Image: 1.
Customizing the Composer Window and Monitors To hide or display the video in a monitor: t Right-click the monitor, and select Hide Video. (This option only appears if the Composer Window is floating.) The video disappears or reappears. When the video is hidden, the Hide Video command has a check mark beside it. To hide the controls in a monitor: 1. Select File > Settings. The Settings dialog box opens. 2. Click the User tab, and double-click Composer. The Composer Settings dialog box opens. 3.
Customizing the Composer Window and Monitors To enable colors for the Source/Record monitors and pop-up monitors: 1. Select File > Settings. The Settings dialog box opens. 2. Click the User tab, and double-click Interface. The Interface Settings dialog opens. 3. Click the Timeline & Viewers tab. 4. Enable Show Source/Record colors in Composer. 5. Click OK. The Source monitor timeline turns green and the Record monitor timeline turns blue. Popup monitor timelines will also be green.
Customizing the Composer Window and Monitors If you toggle the Source/Record button in the Timeline to set the Timeline in Source mode, the enable tracks buttons will be swapped to display the Source (green) track buttons to the right and the Record (blue) buttons to the left. Displaying a Second Row of Buttons You can choose to display a second row of buttons under the Source/Record monitors. You can use this row of buttons in the same manner as the top row of buttons.
Customizing the Composer Window and Monitors Tracking information in the Composer window. Left to right: First row of information (bottom) and second row of information (top). center duration display, and Tracking Information menu. Click anywhere in the information display area to display the Tracking Information menu. By default, the tracking information area displays no data until you select a tracking format. There is no display of tracking data when there is no material loaded in the monitor.
Customizing the Composer Window and Monitors Examples of the three panes in the Tracking Information menu for the Source monitor (left) and for the Record monitor (right) Panes in the Tracking Information Menu The Tracking Information menu has three panes. You can select an option from pane 1, pane 2, or pane 3 to be displayed above a monitor. The following table describes the contents of the three panes: Pane Description Pane 1 Lets you select a format for the tracking information.
Customizing the Composer Window and Monitors Pane Description(Continued) Pane 1 example when you select Sequence > Timecode > TC1 Pane 1 example when you select Source > V1 Pane 2 Lists Source or Sequence timecode options, such as master timecode (Master), duration of the entire clip (Duration), IN to OUT duration (In/Out), absolute timecode (Absolute), and time remaining (Remain). The format type that you select from pane 1 determines the tracking format that is displayed.
Customizing the Composer Window and Monitors Pane Description(Continued) Example of Pane 2 in the Tracking Information menu Pane 3 Displays the timecode for the source track of a specific track (V1, A1, A2, and so on). The information is continuously updated based on the location of the position indicator. Tracking Format Options The following table describes the tracking format options. Option Description Master Displays master timecode at present location.
Using the Info Window Using the Info Window The Info window displays statistical information about clips and sequences. You can open the Info window from the Source monitor, the Record monitor, a pop-up monitor, a bin, or a Script window. The Info window updates the information automatically. You can copy and paste information from the Info window. n Alt + click a heading arrow in the window to expand/contract all the groups. To display information from the Record monitor: 1.
Playing Video to the Client Monitor When you are working with a 24p or 25p project, you can display additional timecode information in the Timecode window. The output format timecodes TC 24, TC 25, TC 25P, and TC 30 are available from the Timecode menu, as are the source timecodes for clips and subclips. n You need to add the timecode track to the clip or sequence before the timecode tracking formats appear in the Timecode menu.
Activating and Deactivating the Client Monitor Display n When you display video through an external monitor, you might see less responsiveness during certain system functions, such as scrub, single-frame play, effect editing, and effect preview. Video and audio might appear to be out of sync when you have a DV device and a Client monitor attached to your system. The system, however, is functioning normally. For more information, see “Audio and Video Sync Issues” in the Help.
Playing Video to a Full-Screen Monitor To select Video Display settings: 1. Select File > Settings. The Settings dialog box opens. 2. Click the Project tab, and double-click Video Display. The Video Display Settings dialog box opens. The options available in the Video Display Settings dialog box vary depending on the model and configuration of Media Composer. 3. Select or modify the options for video display and click OK. n The options available vary depending on the model of Media Composer.
Adjusting the Play Delay Offset 4. Check the Full Screen Playback Settings to ensure you have them set properly, and close the dialog box when you are done. For more information, see “Full Screen Playback Settings” on page 1219. 5. Select Composer > Full Screen Playback to view the video on a full screen monitor. To disable full screen playback: t Type Shift+Ctrl+F (Windows) or Shift+Command+F (Macintosh).
Using the Tool Palette Using the Tool Palette The Tool palette provides additional buttons for editing and navigating with Media Composer. The Tool palette buttons can appear with or without labels, and you can move the Tool palette to display it in another screen location. You can also map other functions and buttons to the Tool palette for easy access. See “The Command Palette” on page 83. To use the Tool palette: 1. Click File > Settings. Click the User tab. 2. Double click Tool Palette.
Playing Selected Clips in a Loop Playing Selected Clips in a Loop You can view several clips one after another in a continuous loop by selecting Clip > Loop Selected Clips. This feature is useful if you want to view several versions of the same scene. While playing the loop, you can jump to the next clip by pressing the Tab key or jump to the previous clip by pressing Shift+Tab. To play several clips in a continuous loop: 1. Select the clips in the bin that you want to play in a loop. 2.
Loading and Clearing Footage By default, the material opens in a pop-up monitor. If you have the “Double-click loads clip in” option in the Bin Settings dialog box set to “New Pop-up Monitor,” the material opens in the Source or Record monitor. For more information, see “Bin Settings” on page 1174. t Drag the single clip or sequence, or the selected set of clips or sequences, into the Source monitor or the Record monitor.
Controlling Playback Clearing Clips from Monitors You can use the Clip Name menu located above each monitor to clear clips from a monitor. There are two options for clearing clips: • Remove the displayed clip and leave the monitor black but keep the clip loaded. • Remove all the clip names from the Clip Name menu, and leave only the displayed clip loaded. To clear the monitor or the clip or sequence names from the menu: 1.
Controlling Playback Blue position indicator in the monitor position bar (top) and in the Timeline (bottom), with the Timeline ruler above the Timeline. To move the position indicator in the Timeline, do one of the following: • Disable the segment tools (Lift/Overwrite and Extract/Splice-in) and click an area of the segment outside of the active trim region. • Use the Timeline ruler.
Controlling Playback t To snap to the nearest transition, edit mark, marker, or audio keyframe, Ctrl-click (Windows) or Command-click (Macintosh) between the position indicator and that transition, mark, marker, or keyframe, or Ctrl-drag (Windows) or Command-drag (Macintosh) the position indicator toward that transition, mark, marker, or audio keyframe.
Controlling Playback n Button Primary Default Location Function(Continued) Go to Previous Event button Monitors Cues the footage to the previous transition in the sequence. By default, the Go to Next Event and Go To Previous Event buttons cue footage to the head frame of the next transition. You can customize their behavior by selecting other alternatives from the FF/REW tab of the Composer Settings dialog box. For more information, see Composer Settings: Move.
Controlling Playback By default, Media Composer displays the first field of every frame when you step through material. With single-field step, you can view both fields of each two-field frame sequentially to locate a dropout from the source videotape or dust and scratches from the original film footage. To use single-field step: 1. Click the Step Forward One Field button or the Step Backward One Field button.
Controlling Playback Keys Function 1, 2, 3, and 4 keys • 1 key—moves the footage 10 frames backward (NTSC or PAL) or 8 frames backward (progressive formats) • 2 key—moves the footage 10 frames forward (NTSC or PAL) or 8 frames backward (progressive formats) • 3 key—moves the footage 1 frame backward • 4 key—moves the footage 1 frame forward Home, End, Left Arrow, • and Right Arrow keys J, K, and L keys Home key—move to the beginning of a clip or sequence • End key—move to the end of a clip o
Controlling Playback Press the L Key To Play Footage at NTSC Rate PAL Rate 24p Rate 5 times 8x normal speed 240 fps 200 fps 192 fps t Press the J key to move backward at the same shuttle speed increments. t Press the K and L keys together for slow forward (8 fps for NTSC, 6 fps for PAL, and 6 fps for 24p projects). t Press the K and J keys together for slow backward. t Press and hold the K key and tap the L key or the J key to step through footage one frame at a time.
Controlling Playback If you have mapped the Dynamic Play Forward and Dynamic Play reverse buttons to your keyboard, you can adjust the speed increment per keystroke with the Dynamic Play Acceleration slider in the Timeline settings. The Dynamic Play Acceleration default is 3 steps per keystroke or button press. A total of 12 steps will double the play speed. Therefore, the default setting of 3 means that pressing the key 4 times (3 x 4 = 12) doubles the play speed.
Video Quality Options for Playback Using the Mouse for Playback You can use the mouse for one-handed control of playback. You can either jog or shuttle by using the mouse. To jog or shuttle by using the mouse: 1. Do one of the following: t Load a clip or sequence into the Source or Record monitor. t Open a pop-up monitor. t Select a clip in a bin in Frame view. 2. Do one of the following: t Press the N key to activate mouse control for jogging.
Video Quality Options for Playback The first of the following tables describes the video quality options. The second of the following tables lists the options available for each configuration. Video Quality Name and Icon Description Full Quality float Allows you to playback at 32 bit float. Full Quality Processes and plays the full image raster for the project. Uses a bit depth of 8 bits. This option provides the highest video playback quality by processing every image pixel.
Setting the Video Quality for Playback Setting the Video Quality for Playback To set the video quality for playback: 1. Do one of the following: t Click the Video Quality Menu button to cycle through the video quality options available until the button icon indicates the video quality you want. t Right-click the Video Quality Menu button, and select a video quality option. For detailed information on the video quality options, see “Video Quality Options for Playback” on page 397. 2.
Marking and Subcataloging Footage t Click the Mark IN button under the monitor to mark an IN point and stop playback. t Press the Mark IN key when marking a clip in a bin. (The Mark IN key does not stop playback.) By default on United States keyboards, the Mark IN key is the I key. In the monitor, a Sawtooth icon appears on the left to indicate the mark IN frame. Sawtooth icon in the frame, and marked IN point, in the monitor 4. Continue moving through the material. 5.
Marking and Subcataloging Footage To set a new IN point: t Click the Mark IN button or press the Mark IN key when you reach a different frame. To set a new OUT point: t Click the Mark OUT button or press the Mark OUT key when you reach a different frame. To move a mark icon: t Press the Alt key (Windows) or the Option key (Macintosh), drag the mark icon to a new location, and release the mouse button.
Marking and Subcataloging Footage A subclip in Text view in the bin To create subclips: 1. Load a clip into a monitor and mark the material from which you want to create the subclip. For more information, see “Marking IN and OUT Points” on page 399. 2. Do one of the following: t Press and hold the Alt key (Windows) or Option key (Macintosh), and then drag the picture from the monitor to the bin in which you want to store the subclip.
Using Markers Subclips and Audio Sync for 24p and 25p Projects Media Composer allows for the ¼-frame resyncing of audio in the event of telecine errors or for the purpose of adjusting audio sync for intended online mixing, but this subframe syncing can be done only to subclips. Avid recommends that you create subclips after you capture your footage and audio but before you begin editing in order to check or adjust audio sync.
Using Markers There are eight Add Marker buttons in the More tab of the Command palette. Each Add Marker button is a different color, which lets you group markers by color. For example, you can use the red Add Marker button to identify color correction frames and use the blue Add Marker button to identify cutaway shots. You can map Add Marker buttons, as described in “Understanding Button Mapping” on page 83.
Using Markers Example of a marker in the monitor, position bar and in the Timeline You can add markers to your source material while you are in an editing session, as described in “Adding Markers While Editing” on page 405. When you export sequences with markers as AAF files, the marker information is included. A Pro Tools editor can then choose to import the markers as Pro Tools markers. The markers contain the same information as markers in Media Composer.
Using Markers 4. (Option) Type a new name in the Name text box. 5. Type your comments in the comment area of the Marker edit entry window. 6. (Option) Change the color from the Color menu or change the marker name. The colors are listed in order of priority, with Red being the highest priority. If you choose to display the Marker column in the Bin Heading, the highest priority marker is displayed in the column. 7. (Option) Change the track for the marker. 8.
Using Markers When you open Tools > Markers, the Markers window will display the markers for the currently active monitor; the Source monitor, the Record monitor, or the pop-up monitor. The marker icon lets you easily identify a single frame marker (oval) and a spanned marker. To delete a marker, click to select the marker in the Markers dialog box, and press the Delete key. Adding Markers On-the-Fly while Playing To add markers on-the-fly while playing: 1. Load a sequence or clip.
Using Markers 5. (Option) Map different Add Marker buttons to different keys to be able to add more than one color of marker. To add comments to the markers: 1. Stop playing. 2. Do one of the following: t Double-click the marker in the position bar under the monitor. t Click the large oval on the frame in the monitor. The Edit Marker dialog box opens. The marker name, color, frame, and track information appear. By default, the marker name is the user name logged onto your system. 3.
Using Markers Finding Marker Comment Text You can search for text within the Marker Comment field across all sequences and master clips within the project, including opened or closed bins. To search for Text within Markers: 1. Press Ctrl+F (Windows) or Cmd+F (Macintosh), or select Edit > Find. The Find window opens. 2. Click the Markers tab. 3. Type a word or phrase that you want to use as search criteria in the Find text box. 4.
Using Markers To edit Marker information in the Marker edit entry window: 1. Do one of the following: t Click the oval Marker icon in the Source or Record monitor. t Double-click the marker in the position indicator bar. 2. In the Markers window, right-click a marker item, and then select Edit Marker. The Edit Marker dialog box opens. 3. Do one or more of the following: t Select from the Color menu to change the color of the Marker icon. t Type a new marker name.
Using Markers Deleting Markers You can delete markers using the Delete key, or the Markers window. To delete a single marker: 1. Select a marker in the Timeline or in the position bar. 2. Press the Delete key. The selected marker is removed. To delete markers using the Markers window. t See “Working in the Markers Window” on page 412.
Using Markers Working in the Markers Window You can perform a number of basic procedures in the Markers window. You can select markers, go to the frame marked by a marker, display marker frames or additional information, sort markers, change marker column widths, change marker colors, and delete markers. You can also: • Export and import markers For more information, see “Exporting and Importing Markers” on page 413.
Using Markers To hide a column: 1. Do one of the following to hide a column: t Right-click a column heading and select Hide Column. t Right-click a column heading, select Choose Columns, and deselect the column in the list. The column disappears from the view, and surrounding columns close to fill the space. To move a column in the Markers window: 1. With the Markers window open, click the heading of the column that you want to move. 2.
Using Markers To export markers: 1. From the Markers window, right-click and select Export Markers and select Text or XML. A dialog box opens, asking if you want to export only the selected markers or export all markers. 2. Click All or Selected. You will be prompted to select a location and file name for your markers. 3. Navigate to a location. 4. Type a file name and click Save. The marker is saved as a either text file (.txt) or XML (.xml) file. To import markers. 1.
Using Markers Copying and Pasting Markers Using the Markers Window You can use the Markers window to copy a single marker or multiple markers and then paste them into another clip or a sequence. The copied marker is placed in the same frame position when it is pasted into the new clip. If the frame position does not exist in the new clip, then the paste does not occur. You can also use a text editor to cut and paste markers in the Markers window.
Using Markers t Ctrl+click (Windows) or Command+click (Macintosh) multiple markers. 2. Do one of the following: t Select Edit > Copy. t Press Ctrl+C (Windows) or Command+C (Macintosh). 3. Open a text editor application, and paste the selection into the document. The marker information displays in the text document. Printing the Contents of the Markers Window You can print the complete contents or the current view of the Markers window.
Finding Frames, Clips, and Bins 10. Click Print. The system prints the marker information displayed in the Console window. Disabling the Marker Edit Window If you want to add markers without including comments, you can modify the behavior of the Marker edit window so that it does not open each time you create a new marker. This lets you add markers quickly and then edit marker information later.
Finding Frames, Clips, and Bins The system interprets the numbers you type with the numeric keypad according to the type of tracking format you have selected from the Tracking Information menu (timecode or frames). If you have two rows of information displayed above the monitor, the system looks at the top row. For more information on selecting the display of tracking information, see “Displaying Tracking Information” on page 376.
Finding Frames, Clips, and Bins Format Description Current timecode To find a timecode that starts at the same hour, minute, or second as the current timecode, type only the last digits. For example, if the current timecode is 1:05:12:13 and you type 425, the system finds the frame at 1:05:04:25. 5. Press Enter on the numeric keypad. If you have performed Step 3 on a notebook computer, or a keyboard that does not have a dedicated numeric keypad, press the Enter key.
Finding Frames, Clips, and Bins Searching for a Clip or Sequence with Text Find Text find allows you to enter text and search bins, Scripts and the Timeline for the information you enter. You can customize your search by selecting to only search the active bin or search all bins across a single project. Bins do not have to be open for the system to search in them, Find searches all bins and scripts within your project. The text find feature is included with Media Composer.
Finding Frames, Clips, and Bins n The Bin Index status at the bottom of the window indicates if the data files in your bins have been indexed. A full green display indicates that your files have been indexed and are ready to search. A partial green display indicates that the index is in process and if you perform a search, your results might not be complete. If you want to stop the indexing process, click the Settings button at the bottom left of the Find window and click Stop Indexing.
Finding Frames, Clips, and Bins Current Script The system searches for the text criteria in the last active script. The script must be open and active in order for the system to search within the script. 7. A script text search displays all matches in the script. To find the next occurrence of your text criteria, press Ctrl+G (Windows) or Cmd+G (Macintosh) in your script. 8. If you select Current Script, you can select “Whole words only” to search for only that word. 9.
Finding Frames, Clips, and Bins The Set Font dialog box opens. 3. Select the Font and Font size you want to appear in the Find window. 4. Click OK. The Find Window displays the applicable font and font size. Searching for Items in the Timeline When you search for items in the Timeline, the Find window will display the Timeline elements matching the search text. To search the Timeline: 1. Load the sequence in the Timeline. 2. Press Ctrl + F to open the Find window. 3. Click the Timeline and Monitors tab.
Finding Frames, Clips, and Bins To choose the location of the SearchData folder: 1. Start Media Composer. 2. In the Select Project window, click New Project. The New Project dialog opens. 3. Select the Search Data Folder menu. Select one of the following options: t Default - Selects the default location. t Other - Changes the location from the Default option. 4. Choose the folder where you want the SearchData folder to reside. 5. Click OK.
Finding Frames, Clips, and Bins Match framing does not create a permanent sync relationship between clips but provides a convenient way of locating, marking, and editing matching material. The Match Frame button appears by default in the second row of buttons below the Source monitor. To match frame from footage in the Record monitor, you must map the button from the Other tab of the Command palette to the Record monitor palette or the Keyboard palette.
Finding Frames, Clips, and Bins 3. Select the appropriate tracks in the Timeline. For more information, see “Understanding the Track Selector Panel” on page 548 and “Selecting Tracks for Matching Frames” on page 426. The system searches all selected tracks in the Record monitor for the frame on all selected tracks in the Source monitor. 4. Click the Reverse Match Frame button in the Other tab of the Command palette. Media Composer cues the sequence to the matching frame on the record side.
Sequence and Clip Information Summary Media Composer opens the bin and highlights the clip. Locating a Master Clip from a Subclip in a Sequence You can use the Match Frame and Find Bin buttons together to find the original clip in the bin for a subclip that was edited into a sequence. n For this operation, you must have the monitors in the two-monitor display and the Match Frame button must be mapped below both the Source and Record monitors. To locate a master clip from a subclip: 1.
Sequence and Clip Information Summary Example 1: Preparing for Online Editing When you move your sequence from an offline system to an online system, you can run an effect summary and a source summary report. The Effect Summary displays a list of all effects, including a separate list of plug-ins used. The Source Summary lists all the tapes you need for recapture and all of the import paths for imported graphics.
Sequence and Clip Information Summary 2. (Option) Do the following: t If you selected specific tracks, click Enabled Tracks Only. t If you set In and Out points, click Use Marks. If you want to run a report on the entire sequence regardless of tracks or marks, do not select either of these options. 3. Select the Summary Info options you want to include in your report. For information on report options, see “Summary Information Options” on page 429. 4. Click Generate Report.
Sequence and Clip Information Summary Summary Option Suboption Create Effect Location List Description This displays the location of an effect. Depending on the criteria you selected, this displays track, start timecode, end timecode and effect name. Skip Non-Renderable Effects Select this option if you do not want any non-renderable effects, such as pan/volume effects, to appear in the report.
14 PhraseFind The PhraseFind option (phonetic find) searches and finds audio dialogue throughout bins in a single project. See the following: • Using PhraseFind • The Results Window • Filtering Your Find Results • Find Window Attributes Using PhraseFind PhraseFind is a Media Composer optional feature. You can purchase the feature and then activate the feature in Avid Link. Media Composer installs the English language for PhraseFind automatically.
Using PhraseFind n The PhraseFind Index status at the bottom of the window indicates if the phonetic files in your bins have been indexed. A full green display indicates that your files have been indexed and are ready to search. A partial green display indicates that the index is in process and if you perform a search, your results might not be complete. If you want to stop the indexing process, click the Settings button in the Find window and click Stop Indexing.
Using PhraseFind 7. If you would like to open the clip(s) in a Source monitor when you double-click a clip in the Results window, then select Load into monitor. The Load into monitor option is selected by default. Double-clicking a phonetic clip loads the clip into the Source monitor and places the blue position bar on the frame immediately before the dialogue starts. A Mark IN point displays on the frame immediately preceding the audio dialogue, the bin opens and the clip highlights inside the bin.
Using PhraseFind To resize the Results window: t Click and drag the corner of the window to enlarge or reduce the size of the window. The window adjusts. If you enlarge the window, more results display in the Results window. To display columns: 1. Click the Select Columns button. The Click column names to select dialog box opens. The default columns are pre-selected (Creation Date, Duration, Video, Start, End, Tracks, Mark IN-OUT, IN-OUT). The Icon, Name and Bin columns always display.
Using PhraseFind You can deselect the default columns. 3. Click OK. The columns you selected appear in the Results window. To move columns: t In the Results window, click and drag a column heading. The column moves to the new location. To sort a column: t Click a column heading to sort the results in ascending or descending order based on that column. The column reformats. You can sort all columns. After you click a column heading, the ascending or descending icon appears.
Using PhraseFind If the last filter appears, the system removes the text criteria and the column selection and leaves the filter. n The system saves your last find. If you close and reopen the Find window, the last find you perform is saved in the Results window. Find Window Attributes The following table describes the attributes available in the Find window for PhraseFind and text find. Results Window Attributes Description Find: Allows you to enter your search text criteria.
Using PhraseFind Results Window Attributes Description Load into monitor Loads the clip in the Source monitor when you double-click the clip in the Results window. Whole words only Available when you select Script Text. Select this option when you only want to find that word. For example with this option selected, if you enter “eat,” the system will only find eat. Not eating, eats, neat. Select Columns Opens a dialog box which allows you to select columns to display in the Results window.
15 Creating and Editing Sequences This chapter introduces you to procedures that you use to build a sequence, as described in the following topics: • Entering Source/Record Mode • Creating a New Sequence • Making a First Edit • Creating an Instant Rough Cut • Undoing or Redoing Edits • Editing Additional Clips into the Sequence • Mixing Frame Rates and Field Motion Types • Mixing Frame Sizes and Aspect Ratios • Refreshing Sequences to Use Current Clip Attributes • Lifting, Extracting, and
Creating a New Sequence Depending on the model of Media Composer, the Source/Record Mode button might appear in a default location, for example, in the second row of buttons below the monitors. You can map the Source/Record Mode button to any mappable button location, or use it directly from the Command Palette. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 85.
Creating a New Sequence Changing the Name and Timecode for a Sequence To rename a new sequence and set a start timecode: 1. Do one of the following: t From a bin, right-click a sequence and select Sequence Report. You can select multiple sequences for generating reports. t With a sequence loaded in a monitor, right-click the monitor and select Sequence Report. The Sequence Report dialog box opens. Starting timecode text box in the Sequence Report dialog box.
Creating a New Sequence To change the start timecode of a sequence in a bin: 1. In the bin, click the start time for the sequence in the Start column. 2. Type a new timecode. Track Display for New Sequences When you create a new sequence with the New Sequence command and no material is loaded in the Source monitor, the Timeline displays a default set of tracks—the master timecode track (TC1), at least one video track (V1), and at least two audio tracks (A1 and A2).
Making a First Edit Alternatively, you can do the following: • Deselect Auto-create New Tracks to have the existing tracks in the sequence remain the same when you edit in new source material. This lets you create new tracks selectively as you edit. • Deselect Auto-enable Source Tracks to leave the tracks of newly loaded material in whatever state they were in when they were last loaded. This lets you turn on the source tracks more selectively as you edit.
Making a First Edit To begin editing: 1. Load the first clip into a monitor. For more information, see “Loading and Clearing Footage” on page 387. 2. (Option) If you have not already marked In and Out points for the clip in advance or created a subclip, view and mark the clip. For more information, see “Marking and Subcataloging Footage” on page 399. 3. Click buttons in the Track Selector panel to select the tracks you want to include in the edit.
Creating an Instant Rough Cut Screen display for the first edit in a sequence. Top: monitor window with the source clip on the left and the sequence on the right. The Splice-in button and the indicator of the end of the last frame for the edit are highlighted. Bottom: the new edit in the Timeline.
Undoing or Redoing Edits The clips splice together to form a new sequence based on the order in which they were listed in the bin. Undoing or Redoing Edits You can undo or redo up to 100 previous actions listed in the Edit menu. You can undo or redo a just completed command, or you can search through a submenu to undo or redo all commands leading back to a particular command.
Editing Additional Clips into the Sequence Existing material moves beyond the spliced material, lengthening the overall duration of the sequence. 4 1 2 1 2 3 4 3 A splice-in edit. Clip 3 in the sequence moves down when you splice clip 4 in at the insertion point (red line). To perform an insert edit: 1. Load a clip into the Source monitor. 2. Mark an In point and an Out point. 3. Mark an In point in the sequence as follows: a.
Editing Additional Clips into the Sequence Performing a Replace Edit The Replace Edit button (blue) replaces a clip in the sequence (video, audio, or both) with new source material, while maintaining the original In and Out points of the previous edit. 4 1 2 3 1 2 4 A replace edit. Clip 4 replaces clip 3 and maintains the IN and OUT points for the original edit. n By default, the Replace Edit button is located on the Edit tab of the Command Palette.
Mixing Frame Rates and Field Motion Types Enabling Single-Mark Editing Single-mark editing lets you establish a single mark, and then use the location of the position indicator to determine the second mark when making the edit. You can use this procedure in several ways to save steps: • You can mark an In point in the Source monitor and then perform a splice-in, overwrite, or replace edit without marking an Out point.
Mixing Frame Rates and Field Motion Types Motion Adapter effects are different from other effects in several ways: n • You do not apply Motion Adapter effects manually. The Motion Adapter effect does not appear in the Effect Palette and does not have an effect icon. Media Composer applies Motion Adapter effects and sets their parameter values automatically.
Mixing Frame Rates and Field Motion Types Illustration Description In the bin, the Field Motion column provides field motion and frame layout information for a clip. Motion Adapter effects use the Field Motion attribute value to determine their Source parameter value. For more information, see “Modifying the Field Motion Attribute for a Clip” on page 452 and “Refreshing Sequences to Use Current Clip Attributes” on page 458.
Mixing Frame Rates and Field Motion Types If you need to make other adjustments, promote the Motion Adapter effect to a Timewarp effect. The full set of Timewarp effect parameters become available and you can freely change or animate the speed at which the clip plays. The illustration shows the Motion Adapter effect in the Motion Effect Editor, with the Type list and the Promote button active, and other parameters inactive.
Mixing Frame Rates and Field Motion Types To promote a motion adapter to a Timewarp effect 1. Move the position indicator to the mixed rate clip that uses the motion adapter you want to adjust. 2. Click the Motion Effect button. The Motion Effect Editor opens. 3. Click the Promote button. The motion adapter is promoted to a Timewarp effect and all standard Timewarp effect parameters are available. 4. Adjust the Timewarp parameters as necessary to create the motion that you want for the clip.
Mixing Frame Rates and Field Motion Types Option Description 2:3 Film Only available for clips or subclips created in 30 fps projects. Use for a clip or subclip that contains 2:3 pulldown. Video material can contain pulldown frames in a number of circumstances, such as the following: Progressive • The telecine process inserts pulldown frames when it transfers film footage shot at 24 fps to 30 fps video.
Mixing Frame Rates and Field Motion Types sequences, such as an older Media Composer application. You can also use transcoding for general clip conversion tasks such as removing 2:3 pulldown from 29.97i sources (to generate 23.976 sources), or generating NTSC material from a PAL source. Once the transcode process completes, you can edit with the clips directly, or you can batch capture or import if you have access to original sources at the new rate.
Mixing Frame Sizes and Aspect Ratios Effect Templates and Mixed Rate Material You can use effect templates that you save in bins with clips of all frame rates and in sequences of any project type. When you apply a template, Media Composer adjusts keyframes if necessary to account for differences in frame rate. Dynamic Relink and Mixed Rate Material You can enable the Dynamic Relink feature to work with mixed rate clips.
Mixing Frame Sizes and Aspect Ratios Media Composer changes the aspect ratio of the monitors, and resizes and repositions any material in the project’s sequences that does not match the new aspect ratio so that it conforms to that aspect ratio. You see these changes when you next open and view an affected sequence. You do not need to re-edit the media into the sequence, and the source media remains unchanged. To recreate titles at the new aspect ratio: 1.
Mixing Frame Sizes and Aspect Ratios Reformatting Options Reference The table describes the choices available under the Reformat bin heading and their effect when you edit a clip into a sequence of a different size or aspect ratio. These options have no effect on clips that do match the project size and aspect ratio. For information on how to set the reformatting options for a clip, see “Mixing Frame Sizes and Aspect Ratios” on page 455.
Refreshing Sequences to Use Current Clip Attributes Option Description Center crop, preserve aspect ratio Scales and crops the clip to be the smallest size possible while filling the entire frame. The resulting image is centered in the frame. The illustration shows two examples. When you edit a 16:9 clip into a 4:3 sequence (left), the resulting segment is cropped at the sides. When you edit a 4:3 clip into a 16:9 sequence (right), the top and the bottom of the segment are cropped.
Lifting, Extracting, and Copying Material n Command Description Linked Plug-in Settings Refreshes the sequence so that clips whose linked source settings have changed now use the attributes set on the master clip. Stereo Correction Effects Refreshes the sequence so that all source-side effects applied to stereoscopic clips in the bins are updated accordingly in the sequence. Audio Slip Refreshes the sequence so audio slip effects applied to the clips are updated in the sequence.
Lifting, Extracting, and Copying Material The Copy to Clipboard function makes a duplicate of selected material in the sequence and leaves the material intact. When you copy material, the sequence remains unaffected. You can then insert the material elsewhere in the sequence or into another sequence. To lift material: 1. Mark In and Out points at the start and end of the material in the sequence that you want to lift. 2. Select the tracks containing the material.
Adding Notes to Clips in the Timeline n Material in the Clipboard does not appear as a clip in the bin and is deleted when you close the project. To save a portion of a sequence for future use, mark the section and create a subclip. To place a marked section of the sequence into the Clipboard at any time: t Click the Lift, Extract, or Copy to Clipboard buttons.
Adding Notes to Clips in the Timeline To add notes to the clips in a sequence: 1. Click one of the Segment buttons (located in the Timeline palette), and highlight the clip to which you want to add a note in the Timeline. Segment Overwrite button (red) and the Segment Insert button (yellow) 2. Right click and select Add Timeline Clip Note. The Timeline Clip Note dialog box opens. 3. Type your notes in the text box, and click OK.
Adding Notes to Clips in the Timeline To edit comments in the Timeline Clip Notes window: 1. Select the sequence in the Timeline. 2. Select Tools > Timeline Clip Notes. All the Timeline notes for the selected sequence appear in the window. 3. Double-click the note you want to edit in the Timeline Clip Note column, type new text and press Enter. The clip note is updated in the Timeline Clip Notes window and in the sequence. To delete comments in the Timeline Clip Notes window: 1.
Adding Notes to Clips in the Timeline 4. Select and multi-select items in the Timeline Clip Notes window that you want to locate in the Timeline. The corresponding clips are highlighted and selected in the Timeline if the clip note is not located in a nested effect. If one clip note is selected, the blue bar will move to the beginning of that clip. To export the information in the Timeline Clip Notes window to a text file: 1. Select the sequence in the Timeline. 2. Select Tools > Timeline Clip Notes.
Playing Back a Sequence t Select Set Font from the Timeline Clip Notes window Fast menu. 3. Select the Font and enter the Font size you want to appear in the Timeline Clip Notes window. 4. Click OK. The Timeline Clip Notes window displays the applicable font and font size. Playing Back a Sequence You can play a sequence at any time to see the results of your editing. You can view the sequence in the Record monitor or a Client monitor.
Playing Back a Sequence Playback Performance Tips As you edit, you might find the playback performance of Media Composer diminishing as the sequence grows in length and layers. This happens when you use a great deal of system memory for playback of large and complex sequences. The following are a few tips for improving playback performance: • Close bins that are not in use. • Reduce the number of clips in the open bins. • Unmount drives that are currently not in use.
Playing Back a Sequence 3. Do one of the following to have Media Composer reserve memory for the system whenever Media Composer is running. t Click the Set Low button to set the memory allocation to the lowest recommended amount based on your system configuration. t Click the Set High button to set the memory allocation to highest recommended amount based on your system configuration t Use the slider to select a desired memory allocation. 4. Click Apply. 5. Click OK.
Playing Back a Sequence 3. Select Enable Playback Video Frame Cache. n Enabling the cache can improve performance by reusing recently played frames. Increasing the Video Memory increases the number of frames that are available for reuse. 4. Click Apply. 5. Click OK. Enabling Frame Cache for Effect Editing Operations Selecting the “Enable FX Editing Video Frame Cache” option improves performance during effects editing by reusing recently played frames.
Playing Back a Sequence 4. Click OK. You will see a performance improvement when performing video effect editing. Playing a Limited Duration of a Sequence Long sequences with many effects can be time-consuming to work with in the Timeline. Working with a shorter sequence can save time. The Play Length Toggle feature lets you switch between playing the entire sequence and playing a limited duration centered around the current position of the sequence.
Understanding Sync Breaks Understanding Sync Breaks Sync breaks occur when a frame-accurate relationship between two clips or between the audio and video tracks within a single clip is offset during editing. Media Composer provides several features to avoid, track, and remove sync breaks.
Fixing Sync Breaks Task Tips Trimming Sync lock tracks to avoid breaking sync or use the Alt (Windows) or Option (Macintosh) key function for adding black during trims. For more information, see “Maintaining Sync While Trimming” on page 592. You can also perform dual-roller trims, which maintain duration, instead of single-roller trims.
Understanding Sync Lock Add or extract the exact number of offset frames displayed in the Timeline. To fix sync when Segment editing: t Select and move the entire out-of-sync segment. You can move the segment forward or backward in the opposite direction of the break to reverse it. For more information on editing segments, see “Working with Segments” on page 532. To customize the Sync Breaks display: t Click the Timeline Fast Menu button, and select Sync Breaks > option.
Understanding Sync Lock Syncing with Tail Leader You can add tail leader to the audio or video material to provide a useful visual reference in the Timeline for tracking and fixing sync breaks across any number of tracks. Film editors traditionally use standard head and tail leaders for this purpose. You can create your own leader according to any specification, as described in “Creating Video and Audio Leaders” on page 481.
Ganging Footage in Monitors t (Option) Use the Find procedure to go to a marker quickly with text. For more information, see “Finding Frames, Clips, and Bins” on page 417. To adjust the sync break: 1. Measure the sync break: a. Move the position indicator to the leftmost marker and click the Mark In button. b. Move the position indicator to the other markers, and click the Mark Out button. 2. Check the In to Out duration of the marked section. To restore sync: 1.
Sync Point Editing To gang footage in monitors: 1. Load a sequence into the Record monitor. 2. Load one or more clips into the Source monitor and pop-up monitors. 3. Click the Gang button for each monitor that you want to synchronize (the Record monitor is always ganged). 4. View the footage in any of the monitors. As you move through footage in one monitor, the footage in all other monitors freezes. The footage is updated when the play stops.
Autosyncing Clips The orange mark on the Overwrite button signals Sync Point editing is active. 7. Select the source and record tracks for this edit, then click the Overwrite button. The system completes the sync point edit. Autosyncing Clips When you capture footage that includes both audio and video, Media Composer automatically establishes sync when it creates clips in the bin. Autosyncing applies to audio and video clips that you capture separately, usually from two separate sources.
Autosyncing Clips Creating an Autosynced Subclip To create an autosynced subclip: 1. Highlight two or more clips in the bin. 2. Select Clip > AutoSync. The Sync Selection dialog box opens. 3. Select an option, based on the following: Option Description Film TC/Sound TC Use this option if you sync clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not in a 24p or 25p project.
Understanding AutoSequence The subclip is created and named by default after the video clip with the file name extension .sync.n, where n is the incremental number of subclips created with the same name. You can change the name according to preference. You can load an autosynced subclip into the Source monitor and immediately edit it into a sequence. n In a 35mm 4 perf or 35mm 3 perf project type, you can "perf slipped" the subclip up to a 1/4 frame in either direction for even tighter sync.
Resyncing Subframe Audio To add audio or video to your original videotape: 1. (Option) Use the AutoSync command to create synchronized subclips from your tape’s master clips and your audio or video clips. 2. Open the bins that contain the clips you want to include in the sequence. 3. Select the clips. 4. Select Clip > AutoSequence. The system creates a synchronized sequence with the clips you selected. The new sequence appears in the Record monitor and in the Timeline.
Resyncing Audio for a Selected Subclip • n From imported audio media (OMFI, AIFF-C, or WAVE format), master clips generated by AudioSuite plug-ins, or tone generator media You cannot slip at the perforation level of the imported QuickTime audio media. The batch import process does not create new clips; therefore, slipping at the perforation level is not available when you batch import audio clips from Symphony versions earlier than v3.5.3 and Avid versions earlier than v10.5.3.
Creating Video and Audio Leaders Setting One Mark In this example, you set only the mark In on the source side. By default, Media Composer uses the location of the position indicator as the mark In for the sequence and calculates both Out points based on the length of the source clip. One mark IN set (left) and three phantom marks (right) You can see Media Composer calculations instantly and can make the edit after you set just one mark.
Performing Audio Slip To create tail leader for audio tracks: 1. Load a clip that includes a section of captured tone into the Source monitor. 2. Create a subclip according to your chosen specifications. 3. Name this new subclip Head Leader or Tail Leader. 4. Load this subclip into the Source monitor. 5. To prepare the sound levels for leader without a sync point (no audio pop), open the Audio Mixer tool and bring the audio level all the way down for the entire clip. 6.
Performing Audio Slip 4. From the pulldown menu, choose the channel you want to display and if you want to display Timecode or Frames. 5. (Option) To navigate to a location in the clip, click in the Source Setting window, click on the video display, and start typing a number to access either the Timecode or frame value. Or, you can press Alt + left or right arrow keys (Windows) or Option + left or right arrow keys (Mac) to navigate to your markers and/or IN and OUT points in the master clip.
Performing Audio Slip 6. Use the bottom slider to zoom in on the audio display. 7. Slip the audio left or right by doing one of the following: t Grab the bottom audio waveform until a hand appears and drag the audio waveform left or right to adjust the audio. t In the left pane of the Source Settings dialog, use the slider to adjust the slip values.
Performing an Insert Edit to an Exported Sequence t Use the Presets to choose from 4 perf and 3 perf audio slips. 8. Click Apply. 9. Click OK. 10. Edit your master clip into your sequence. The master clip appears in your Timeline with an Audio slip effect. You can make additional audio slip adjustments on the selected audio track by editing the effect in the Effect Editor. Performing an Insert Edit to an Exported Sequence You can perform a file-based insert edit to an already exported sequence.
Performing an OP1a MXF Mixdown • XAVC Intra 100 - • 1080 (23.98p, 25p, 29.97p, 50i, 59.94i) XAVC 4K Intra CBG Class 300 and XAVC 4K Intra CBG Class 480 - UHD 3840x2160 (23.98p, 25p, 29.97p, 50p, 59.94p) - 4K 4096x2160 (23.98p, 24p, 25p, 29.97p, 50p, 59.94p) To perform an insert edit to an exported sequence: 1. Select your sequence and export it using the MXF OP1a plug-in. (The sequence is exported as an .mxf file.) 2. Click OK. 3. Load the sequence in the Timeline. 4. Make your changes. 5.
Performing an OP1a MXF Mixdown 4. Select the video and audio resolution. 5. Click OK. An MXF master clip is written to the bin. The clip includes the audio, video and data.
16 Script-Based Editing The following topics provide information about working with script-based editing: • Understanding Lined Scripts • Script Integration — Lining in the Digital Realm • Understanding the Script Window • Working with the Script Window • Working with Script Text • Working with Page or Scene Numbers and Searching in a Script • Linking Clips to a Script • Interpolating Position for Script Integration • Working with Slates in the Script Window • Working with Takes in the Sc
Understanding Lined Scripts 33/1 33A/1 33A/2 33B/133B/2 33B/3 33C/1 33C/2 Each vertical line drawn through the scene represents a single take from the moment the director says “Action” to the moment the director says “Cut.” Each scene might require several camera angles and positions, with one or more takes, all of which are lined and identified alphanumerically. The following table summarizes the lining techniques and numbering system shown in the example.
Script Integration — Lining in the Digital Realm Script Integration — Lining in the Digital Realm Script integration in Media Composer enhances the traditional lined script system described in “Understanding Lined Scripts” on page 488. Unlike the traditional lining of a script, digital script integration usually happens after the shoot. For example, the assistant editor uses the notes of the continuity person as the basis for script integration.
Script Integration — Lining in the Digital Realm Script marks The double arrows marking the takes at various points represent marked lines of dialog in the script that are synchronized to matching dialog in the source clip. Script marks are especially effective during editing, allowing the editor to quickly locate dialog and piece together parts of a scene.
Understanding the Script Window Left to right: narration track synced to the script, B-roll shots ready to be loaded and cued (color indicates preferred shots), music cuts linked to appropriate sections of the script. Understanding the Script Window You begin the script integration process by importing a script into a project. The script appears in a script bin, and opens in a Script window.
Working with the Script Window When you save a Script window, the saved file has an .avc file name extension. You can navigate to any point in the text of a script by using basic techniques available in most word processors. You can also use several search features, as described in “Working with Page or Scene Numbers and Searching in a Script” on page 496. You can resize a Script window at any time to show more script or to enlarge the right margin.
Working with the Script Window To explore the Script window: t Use the bar on the right to scroll up or down. t Resize the window by dragging the size box in the lower right corner. t Press the Page Down or Page Up key to move one screen at a time. t Press the Home or End key to move to the beginning or end of the script. t Press the Up Arrow or Down Arrow key to move your line selection up or down by one line. To adjust the left margin of an imported script: 1. Select Script > Text Layout.
Working with Script Text The Script window text lines will fit in the available width of a page. If Word Wrap is not selected, lines will increase in length and not wrap. You might need to scroll to see the ends of lines that go beyond the width of the page. To open the Info window from a Script window: 1. Press the Alt key (Windows) or the Option key (Macintosh), and click the Takes tab. 2. Drag the window to a new location to leave the Info window open.
Working with Page or Scene Numbers and Searching in a Script 2. Highlight the text you want to edit. You can use normal editing Ctrl+X, Ctrl+ C, and Ctrl+V commands to cut, copy, and paste. You can also place your cursor in the text and type to add new text. Note: If you use the enter key while editing text, a new row is created. Each row can each have a sync mark. If you create a single row with a lot of text, only one sync mark is created for that text.
Working with Page or Scene Numbers and Searching in a Script 3. Type a new number for the scene or page, and click OK. 4. If the renumbering affects page or scene numbers that precede or follow the current change, then repeat these steps as necessary. To delete a page or scene number: 1. Select the first line of the scene or page. You can also delete all page or scene numbering throughout a range of the script by selecting the range of lines or the entire script. 2. Press the Delete key.
Linking Clips to a Script 2. Click the Show Find Tools button to open the Find options. 3. Enter the text you want to search for in the Find text box and click the arrows to find the text. You can enter replacement text in the Replace text box. Click the arrows again to find the next instance. You can also choose to replace all instances of the text. 4. Click the Edit Mode button again to exit Edit Mode. Linking Clips to a Script You can link clips to the script by hand. To link clips to the script: 1.
Interpolating Position for Script Integration t You can sort the Scene/Take column for an alphanumeric list of clips that matches their relative order in the script. t If you are not working with scene and take information (for example, in a video documentary project), you can provide your own numbering for the clips in a custom column, or you can sort the clips manually in Frame view according to their order in the script.
Working with Slates in the Script Window When you set Interpolate Position, Media Composer matches the length of the take in the script to the length of the clip in the Source monitor. The position indicator in the Source monitor corresponds to wherever you double-click in the take. If you set a script mark in the take, the portions of the take on either side of the script mark are matched to the portions of the clip on either side of the IN point in the Source monitor.
Working with Slates in the Script Window To hold slates on screen, do one of the following: t Select Hold Slates Onscreen in the Script Settings dialog box before you open the Script window. For more information, see “Script Settings” on page 492. t Select Script > Hold Slates Onscreen. To hide or show the slate frames, do one of the following: t Select or deselect Show Frames in the Script Settings dialog box before you open the Script window.
Working with Takes in the Script Window To move a slate, do one of the following: t To move a slate horizontally, drag it to the left or the right. If necessary, resize the Script window by dragging the size box. t To move a slate vertically without moving the position of the take lines in the script, drag it up or down. The take lines remain fixed over the text to which they have been previously linked.
Working with Takes in the Script Window Selecting multiple takes is especially useful when you add or delete color or off-screen dialog indicators. See “Using Color Indicators in the Script Window” on page 504 and “Indicating OffScreen Dialog in a Script” on page 504. t Drag a lasso through an entire region of the script. All takes within the lasso are selected. To add another take to an existing slate: 1. Select the region of the script that the take covers. 2.
Indicating Off-Screen Dialog in a Script To load multiple takes into the Source monitor: t Select multiple takes, and then double-click any take you selected. To play back a take, do one of the following: t Double-click a take to load it into the Source monitor, and then click the Play button or press the Play key. The clip plays back and stops when it reaches the end. t Select a take in the script, and then click the Play button at the top of the Script window.
Script Marks • Line changes in dialog. • Use of multiple cameras. To apply color to takes: 1. Select Script > Color > color. 2. Select the region of the script that covers the range within the take or takes that you want to highlight with color. 3. Select one or more takes. 4. Click the Set Color button in the Script window toolbar. The color appears only in the highlighted script region of the selected takes. You can switch the indicators on or off by clicking the button repeatedly.
Script Marks The take is selected in the slate, the selected line of the dialog is highlighted, and the clip loads into the Source monitor. 3. Click the Play button, or press the Play key. The take plays in the monitor. You can also step (jog) or shuttle through the footage, place the position indicator on the exact frame, or scrub the audio to find the exact line of dialog. The clip does not have to be playing. 4.
Script Marks Using Real-Time Screening and Marking The Script window provides controls for automating the process of screening and placing script marks for a single take or across multiple takes. To use real-time screening and marking: 1. Select one or more takes. 2. Click the Record button in the Script window toolbar. The first selected take changes to green in the Script window, Media Composer loads the clip into the Source monitor, and the clip begins to play.
Script Marks To stop the playback loop: t Press the space bar. Marking with ScriptSync ScriptSync uses phonetic-indexing technology to analyze the audio portion of a clip and match it to lines of the script text. To add script marks with ScriptSync: 1. Select one or more takes that include audio. 2. Select all clips and takes in the Script that you want marked up. 3. Select Script > ScriptSync. The ScriptSync dialog box opens. 4. Select options as described in the following table.
Script Marks 7. Check through the marks. If ScriptSync missed any, add them manually as described in “Placing Script Marks Manually” on page 505. Loading and Playing Marked Segments Once you place marks syncing lines in your script to points in the source clips, you can quickly load and cue takes for selected lines of dialog. You can load a single take, or you can load all the coverage for any given range of lines.
Finding Clips and Script The mark is deleted. Finding Clips and Script After you place script marks, which synchronize lines in the Script window to frames in the source clips, you can use the Find Script or Find Bin buttons to search back and forth between the two items. To find the script linked to a loaded clip: 1. Place the position indicator in the clip at the line of dialog (or within a range of dialog) that you want to find. 2. Click the Find Script button in the Other tab of the Command palette.
Editing From the Script Window Revising the Script During or after each session, or when a scene or segment is completed, the editor or assistant editor can update the Script window to reflect the final edit decisions made during the day. This maintains a complete record of the elements used to construct the scene or segment, as well as all existing alternatives. You can quickly retrieve all the source material in one window whenever you need to make further changes.
Setting Pre-Roll for Script Window Splicing a Script Range You can splice clips linked to ranges of script directly from the Script window into the sequence. To use this feature with accuracy, you should carefully add script marks to the ranges of script during the screening and marking phase. For more information, see “Script Marks” on page 505. To splice a range: 1. Mark an IN point or place the position indicator at the location in the sequence where you want to splice in the segment. 2.
Refreshing Locked Scripts The pre-roll is included when you access the script mark. Refreshing Locked Scripts Media Composer uses a locking mechanism to help you keep track of who is currently working in a shared script. Only one user can edit the script, but multiple users can read the script Script lock icon colors and status updates in the script titles help you see the status of the Avid shared scripts.
17 Using the Timeline Media Composer represents each edit and effect on a timeline to help you track and manipulate the elements of your sequence. The Timeline continuously updates as you work, displaying icons and information that you can customize in various ways. The Timeline also has its own set of editing tools for creating and revising edits and transitions across multiple tracks. The audio and video tracks in the Timeline play in the Record monitor.
Customizing Timeline Views For more information, see “Displaying Clip Colors in the Timeline” on page 517. • Hide or display audio waveforms or pan and gain automation. For more information, see “Audio Displays in the Timeline” on page 609. • Hide or display the Track Control panel. The Track Control panel defaults to hidden the first time you start Media Composer. For more information, see “Using the Track Control Panel” on page 525.
Customizing Timeline Views Option Description(Continued) Render Ranges Indicates unrendered or partially rendered effects; see “Using Partial Render” in the Help. Dissolve Icons Switches the display of transition dissolve icons. Clip Frames Switches the display of start frames for each segment in the Timeline. Clip Text Displays a submenu of clip text display options. Sync Breaks Displays a submenu of sync break display options; see “Fixing Sync Breaks” on page 471.
Customizing Timeline Views Option Description(Continued) Zoom Contains the following options: • Zoom In - Zooms the Timeline into a detailed view for a selected area; see “Zooming and Focusing in the Timeline” on page 530. • Zoom Out - Restores the Timeline to the previous view before zooming in; see “Zooming and Focusing in the Timeline” on page 530. • Show Entire Sequence - Shows the entire sequence within the Timeline.
Customizing Timeline Views • Clips whose frame rate does not match the sequence frame rate (mixed-rate clips). • Clips that do not match the video resolution type of the project — for example, HD clips in an SD project, or SD clips in an HD project. • Clips to which you assign a local color in the Timeline. • Clips to which you assign a color in the bin. When working in a MultiRez environment, you can also use colors to track available resolutions.
Customizing Timeline Views 2. Select one or more of the following: Option Description Resolution Tracking Colors clips to indicate the availability of particular resolutions in a MultiRez environment. For more information, see “Using Clip Coloring to Show Available Resolutions” on page 1127. This option is only available if you are working in a MultiRez environment. Offline Colors clips that have offline media.
Customizing Timeline Views 3. Click a color in the grid. The color you select becomes the display color for that option. To reset the display colors for the Resolution Tracking, Offline, Mixed Rates, and SD/HD options: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Click Default Colors. The Offline, Mixed Rates, and SD/HD color swatches reset to their default colors.
Customizing Timeline Views To assign a local clip color: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Select Timeline Local, and then click OK. 3. Select one of the segment tools in the Timeline palette, and select a clip you want to color. 4. Right click the Timeline Fast Menu and select Set Local Clip Color and pick a color from the palette: The assigned local color appears in the clip in the Timeline.
Customizing Timeline Views Displaying Timecode Tracks in the Timeline When you are working with 24p or 25p projects (PAL with pulldown), you can display separate tracks for 24, 25, 25P, and 30 timecodes in the Timeline. You can also display an edgecode track (EC1)in the Timeline. You can hide the timecode tracks by deselecting them in the Show Track submenu of the Timeline Fast menu. The master timecode also displays in the Timeline ruler above the Timeline.
Customizing Timeline Views Temporal (motion) adapters appear with a T, spatial (FrameFlex) adapters appear with an S, and Color adapters appear with a C. If there is a render dot on the clip it will appear on the effect icon. If there is no effect icon, the render dot will appear on the adapters. Changing the Background Color the Timeline You can easily change the background color of the Timeline. To change the background of the Timeline: 1. Select File > Settings. The Settings dialog box opens. 2.
Customizing Timeline Views n For the Timeline to page or scroll, you might need to display more detail in the Timeline to expand the sequence. Click the slider and drag it to the right to expand the Timeline. All effect icons are hidden as you scroll. To set the playback option: 1. Select File > Settings. The Settings dialog box opens. 2. Click the User tab, and double-click Timeline. The Timeline Settings dialog box opens, displaying a list of your current Timeline settings.
Customizing Timeline Views You can click either window to activate it and bring it forward at any time, or you can click the title bar of the Timeline window and drag it to the Bin monitor to place each window in its own monitor. The Track Control Panel Timeline tracks include a Track Control panel that provides features useful when you edit audio tracks.
Customizing Timeline Views Track Control panel, with the Track Control Panel button above the Timeline Displaying Source Material in the Timeline You can display source material in the Timeline. This feature is useful when you edit with a sequence or subclip created from a sequence. You can also use it to look at the contents of any source clip in a Timeline display. n Heads and Tails view is disabled when you are displaying material from the Source monitor.
Customizing Timeline Views Displaying the Timeline Top Toolbar You can display a top toolbar in the Timeline for easy access to editing buttons. You can also map additional buttons to the Timeline top toolbar. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 85. To show the Timeline top toolbar: 1. Select File > Settings. The Settings dialog box opens. 2. Click the User tab, and double-click Timeline. The Timeline Settings dialog box opens. 3.
Customizing Timeline Views 4. (Option) If you want to replace a Timeline view, select a view name from the list that you want to replace. Media Composer applies the current Timeline view to the selected name and displays that name in the Settings list. To restore the default view in the Timeline: t Click the Timeline Fast Menu button, and select Default Setup.
Navigating in the Timeline 5. Continue assigning different Timeline Views to the TV buttons. 6. Select Button to Button Reassignment. 7. Click a Timeline View button and drag the button to another location (for example, the Timeline toolbar) or the Keyboard setting. The Timeline View button appears in the new location. For more information, see “Mapping User-Selectable Buttons” on page 85. 8. Click OK.
Navigating in the Timeline Timeline window: (left to right) Timeline Top toolbar, Track Control panel, Position indicator, with the Timeline bottom toolbar under the Timeline (left to right: Timeline Fast Menu, Focus, Toggle Source/Record in Timeline, Video Quality, Client Monitor, Step In, Step Out, View Menu, Search in visible timeline text, Find to the left, Find to the right, Zoom Out, Scale bar, Zoom In, Scroll Bar) Switching to the Timeline Position Bar To switch to the Timeline position bar: 1.
Navigating in the Timeline The Zoom In and Zoom Back commands do not depend on the placement of the position indicator. You can select any portion of the Timeline to expand and contract. • You can use the Focus button to quickly change your view of the Timeline so that you focus on a few seconds of material on either side of the position indicator. The Focus button centers the position indicator and scales the Timeline so each second of time in the sequence fills 90 pixels in the display.
Working with Segments Controlling Movement in the Timeline While working in the Timeline window, you can use modifier keys to control the movement of both the position indicator and any segments that you move. The motion mode indicator in the Timeline toolbar displays a specific icon, depending on the keys you press to facilitate your movement within the Timeline. Motion Mode Icon Description Snaps the position indicator to head frame. Snaps the position indicator to tail frame.
Working with Segments There are two basic ways to edit segments: • Select one of the segment tools on the Timeline palette (Lift/Overwrite or Extract/Splice-in). This lets you manipulate segments by positioning the cursor over the segment and performing either a Lift/Overwrite or Extract/Splice-in edit. Timeline showing the active Lift/Overwrite selection tool • Select both segment tools on the Timeline palette.
Working with Segments Guidelines When Lassoing Segments • Position the pointer above the tracks before dragging. If you click within the tracks, you either select a segment or a transition (if an edit tool is active on the Timeline palette) or you relocate the position indicator to that position. To lasso segments in the middle of the Timeline between multiple tracks, press and hold the Alt key (Windows) or Option key (Macintosh) while you drag the lasso.
Working with Segments n When you draw a lasso, if neither segment tool in the Timeline palette is selected, Lift/Overwrite mode is enabled by default. To switch the mode, click the Extract/Splice-in button, after drawing the lasso. To deselect one or more selected segments, do one of the following: t To deselect an entire track, click the Track button in the Track Selector panel.
Working with Segments n If you prefer the old behavior where you did not see the clip moving in the Timeline, go to the Timeline Settings and enable Wireframe Dragging. Move Clips Up and Down in the Timeline Two commands allow you to easily move clips up and down the Timeline. The Move Clip Up and Move Clip Down buttons are on the Edit tab of the Command Palette. The Move Clip Up and Move Clip Down keys are assigned to the up and down arrows of the default keyboard settings.
Working with Segments To duplicate the current sequence in the Timeline based on selection: 1. Load the sequence in the Timeline. 2. Select clips in the Timeline using a combination of lassoing, shift+clicking or by selecting an option from the Select menu. (Access the Select menu by right clicking in the Timeline.) The options in the Select Menu: Timeline Context Menu Option Description Select > To the Left Selects all the clips to the left of the current position indicator in the Timeline.
Working with Segments The following apply to linked clip selection: • Track linking affects segments. If you use the same master clip in more than one place in your sequence, each segment maintains its own linking relationship unless the segments overlap in the Timeline. • When you select a non-video track, clip linking selects only the first appropriate video segment. Other video segments are not selected. • When you select a trim roller, clip linking selects trim rollers on all linked segments.
Working with Segments When you use the multiple segment selection buttons, Media Composer activates the Segment Extract/Splice-in button if you have not selected one of the segment buttons on the Timeline palette. You can also use the Shift key to add segments on enabled tracks to the current selection. To select segments on enabled tracks using the multiple segment selection buttons: 1. Move the position indicator to the first or last segment you want to select. 2.
Working with Segments To select filler when using the Segment Tools: 1. Select File > Settings. The Settings dialog box opens. 2. Select the User tab, and double-click Timeline. The Timeline Settings dialog box opens. 3. Click the Edit tab. 4. Enable the Select Filler with Segment Tools option. When using the Segment tools, filler will be selected. If you do not want filler selected when using the Segment Tools, make sure the Select Filler with Segment Tools option is deselected.
Working with Segments Four-frame display. The two outer frames indicate ending and beginning frames of clips before and after the segment. The two inner frames represent the start and end frames of the segment. The offset counter is highlighted. When you drag the segments, the original highlighted segment remains in place, while a “ghost” segment enclosed in a dotted white box moves along with the pointer until you release it at a new edit point.
Working with Segments 5. Click the segment, and drag it to its new position. As you drag the segment, the monitors maintain their Source/Record configuration rather than shift to the four-frame display or two-frame display. Maintaining Sync with Segment Edits When you use the Lift/Overwrite tool, the application adds filler to the sequence to maintain sync. When you move segments in the Timeline using Extract/Splice-in, the sync might be broken.
Working with Segments If you move audio segments, you can only move segments on mono tracks to other mono tracks and segments on stereo tracks to stereo tracks. To perform a segment edit: 1. Do one of the following: t Select both of the segment tools on the Timeline palette, and then position the mouse pointer over the top of the segment (for Lift/Overwrite operations) or the bottom of the segment (for Extract/Splice-in operations). t Select one of the segment tools on the Timeline palette.
Working with Segments 3. Drop the copied segment in the new position in the Timeline. Dragging Nonadjacent Segments You can drag nonadjacent segments in the Timeline. You must be in Overwrite mode to drag the segments. To drag nonadjacent segments: 1. Make sure you are in Lift/Overwrite mode by selecting the Lift/Overwrite button in the Timeline Top Toolbar. 2. Select the nonadjacent segments that you want to move. 3. Move the segments to the desired location.
Working with Segments To delete segments quickly: 1. Select one of the segment tools on the Timeline palette: The mouse pointer arrow changes to a red or yellow arrow when inside the Timeline, depending on which segment tool you selected. - Lift/Overwrite (red) deletes the segments but leaves blank space or silence in their place. The total duration of the sequence remains the same, and sync is maintained. - Extract/Splice-in (yellow) deletes the segments and closes the remaining gaps.
Working with Segments Cutting, Copying, and Pasting in the Timeline You can use the shortcut keys for cutting, copying, and pasting segments selected in the Timeline. To cut or copy and paste segments: 1. Do one of the following: t Select both of the segment tools on the Timeline palette, and then position the mouse pointer over the top of the segment (for Lift/Overwrite operations) or the bottom of the segment (for Extract/Splice-in operations).
Working with Segments To specify that the segment tools in the Timeline palette be enabled one at a time: 1. Select File > Settings. The Settings dialog box opens. 2. Click the User tab, and double-click Timeline. The Timeline Settings dialog box opens. 3. Click the Edit tab, and select Only One Segment Tool Can Be Enabled At A Time. 4. Click OK. Bin Editing into the Timeline You can use the segment tools on the Timeline palette to edit clips directly from a bin into the sequence in the Timeline.
Working with Multiple Tracks The Timeline reflects the new edit. After the edit is completed, the segment tool you selected remains active until you click the active segment tool button to deactivate it. To perform a direct edit from a bin into a sequence: 1. Mark an In or Out point in the Timeline, or move the position indicator to the location where you want the clip to appear. 2. Select a clip in the bin. 3.
Working with Multiple Tracks Track Selector and Track Control panels, with Source tracks (left) and Record tracks (right). See the following table for a list of Track Selector buttons. Icon Button Video Track Monitor button Video Track, Source and Record Sync Lock button Audio Mono Track Monitor button Audio Stereo Track Monitor button Audio 5.1 Surround Track Monitor button Audio 7.
Working with Multiple Tracks Selecting Tracks You can select tracks on the source side or the record side of the Track Selector panel to control your options for editing. For example, you might select the source and record tracks for V1, A1, and A2 to edit picture and audio from the source clip into the sequence. To edit the picture without sound, select only V1 source and record tracks. To edit the sound without the picture, select only A1 and A2 source and record tracks.
Working with Multiple Tracks Understanding Track Monitoring The following information describes how track monitoring functions and your options for monitoring tracks. For procedures on monitoring or soloing tracks, see “Monitoring and Soloing Tracks” on page 552. Monitoring Video The Video Track Monitor button determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing.
Working with Multiple Tracks Solo monitoring provides several advantages: • You can eliminate slow cueing and playback when working with a complex sequence by monitoring a specific track. • You can view any individual layer of a composited effect. • You can isolate an individual audio track with a single mouse click (without manually deselecting the other audio tracks). • You can isolate audio tracks for audio scrubbing without having to deselect monitoring of all other audio tracks.
Working with Multiple Tracks Track Selection panel, with video and audio tracks selected for solo monitoring To deselect solo monitoring: t Click the Track Monitor button or the Solo button again. Patching Tracks When working with multiple tracks, you can encounter a circumstance in which you must edit source audio or video onto a track other than the parallel track displayed in the Track Selector panel.
Working with Multiple Tracks Audio patch from a source track to an audio record track (left) and the new source track order identifying the patch (right). n After you patch tracks, it is helpful to display the destination track of the clips in the Timeline. Select Clip Text > Clip Tracks from the Timeline Fast menu to display the destination track. To undo a patch: 1. Click in the Record monitor or Timeline. 2. Select Timeline > Restore Default Patch, or manually repatch to the previous track.
Working with Multiple Tracks The clips swapped into the sequence start at the beginning of the clip or subclip unless you mark an In or an Out point. When Out points are used, the sequence backfills the duration on the clip being replaced, starting from the Out point. 4. Move the position indicator in the Timeline to the clip you want to replace. 5. Select Tools > Command Palette. 6. Click the Play tab. 7. Click the Alternate Edit button. The system replaces the clip and performs an Edit Review command.
Working with Multiple Tracks The clip plays back as filler. Muted clips can be edited like non muted clips. You can select, move, trim, etc. The clip keeps its timing and position in the sequence. To unmute a muted clip in the Timeline: 1. Locate the muted audio or video clip the sequence in the Timeline. 2. Right click the clip and select Unmute clips. The clip is no longer muted. Disabling a Video Track Media Composer allows you to disable a video track in the Timeline.
Working with Multiple Tracks Understanding Locking and Sync Locking Media Composer provides two ways of locking tracks and sync locking tracks. You can sync lock selected tracks so that trimming one track also trims the other tracks. Sync locking is useful when you work with multiple tracks and want to maintain sync between two or more tracks.
Working with Multiple Tracks To unlock tracks: 1. Select the tracks you want to unlock. 2. Do one of the following: t Select Clip > Unlock Tracks. t Right-click in the Timeline, and select Unlock Tracks. t If you want to unlock a single track, right-click the track selector button and select Unlock Track. The Lock icon disappears and the tracks are unlocked. To sync lock tracks, do one of the following: t Click a Sync Lock button to activate the Sync Lock icon for each synchronized track.
Working with Multiple Tracks - New > Audio Track > 5.1 Surround. - New > Audio Track > 7.1 Surround. - New > Data Track. The new track appears in the Timeline. To add a track in the Timeline by dragging a clip: 1. Click to select an existing clip in the Timeline. 2. Drag the clip vertically up or down the Timeline. 3. Once you let go of the clip, a new track is added to the Timeline. n You can only create as many tracks as you are dragging.
Working with Multiple Tracks To add a custom name to a track in the Timeline: 1. Right-click the Track Selector button, and select Rename Track. The Comments window opens. 2. Type a new name for the track. 3. Click OK. n When you rename an audio track, the corresponding name along with the track number appears in the Audio Mixer tool. To remove a custom track name: 1. Right-click the Track Selector button, and select Rename Track. The Comments window opens. 2. Click Remove.
Working with Multiple Tracks n If splitting stereo tracks to mono tracks causes your sequence to exceed 24 audio tracks, or if splitting to mono cannot maintain the relative order of tracks or the left/right channel alignment, Media Composer cannot complete the operation and an error message displays. You can reduce the number of audio tracks in your sequence and retry the operation.
In to Out Highlighting in the Timeline Backtiming Edits Backtiming an edit is effectively the reverse of the process you normally use for marking footage: instead of marking from the In points forward, you mark according to the Out points. For example, you might have a track of audio (music or voice) that ends at a specific point, and you want to synchronize a video clip to end on a particular clip. You can backtime the edit to match the end points of the tracks.
Editing in Heads or Heads Tails View Editing in Heads or Heads Tails View While in the early stages of editing a project, you can rearrange clips in the sequence visually by using Heads view or Heads Tails view. These display formats are useful for rearranging simple straight-cut edits. c If you rearrange a split edit (in which the audio extends beyond the video, or the reverse), the system cuts all tracks to the same edit point.
Working with Add Edits (Match Frames) 4. Do one of the following: t Click the Top button to extract footage from the start of the clip or segment to the position indicator. t Click the Tail button to extract footage from the position indicator to the end of the clip or segment. Working with Add Edits (Match Frames) The Add Edit function places an artificial edit point between frames of a clip.
Dupe Detection n By default, the match-frame indicator is white. If a change in level occurs, the match-frame indicator changes to red. To add an edit to filler clips at the position indicator: 1. Move the position indicator to the selected frame. 2. Alt+click (Windows) or Option+click (Macintosh) the Add Edit button. The edit appears on all tracks with filler in the sequence at the position indicator. To remove match-frame edits: 1.
Dupe Detection c Media Composer might mark a special effect optical (such as a blowup) as a duplicate frame. Double-check your sequence for this possibility before deleting frames. To activate Dupe Detection: t Click the Timeline Fast Menu button, and select Dupe Detection. (You can choose to turn on Dupe Detection for Video, Audio, and Data tracks.) Dupe Detection occurs instantaneously and retroactively; if duplicate frames already exist in your sequence, the colored bars appear immediately.
Editing with the Film Track Adding specific handle lengths to dupes (as they appear both in the sequence and in film lists) has the following advantages: • In 35mm single-strand conforming — Editors can better track duplicate frames and provide the negative cutter with more than one safety frame to avoid losing specific frames.
Tracking Color Frame Shifts To adjust your view of the Timeline quickly for frame-by-frame viewing and editing: t Click the Timeline Fast Menu button, and select Zoom > Show Every Frame. The film track displays frames for the topmost video track only. You cannot display more than one film track at a time. To quickly view more frames as you scroll: t Drag the resize box in the lower right corner of the Timeline for a full-screen view.
Finding Black Holes and Flash Frames Example of color-framing boxes. Top: color sync signals are in phase and the boxes align horizontally. Bottom: color-sync signals are out of phase. 3. Trim one frame at a time on one side of the transition or the other until the green boxes align and the color-frame phase bars stop blinking. If you pay attention to color framing while editing, you do not need to think about it when assembling your master tape.
Printing the Timeline d. In the option Find Flash Frames Shorter Than, type the maximum number of frames you want to detect. The default is 10, which indicates the system will detect clips with 9 or fewer frames. e. Click OK. 2. Click the Timeline to activate it. 3. Select the tracks you want to search. 4. Move the position indicator to the beginning of the sequence or before the part of the sequence you want to search. 5. Select Timeline > Find Flash Frame.
Activating and Deactivating I/O Hardware Activating and Deactivating I/O Hardware If the HW/SW button is enabled, the I/O hardware is active. If the HW/SW button is disabled, the I/O hardware is inactive. To activate the I/O hardware: t Click the HW/SW - Disabled button until it is active. The button is gray when hardware is active. This puts Media Composer in Hardware mode. To deactivate the I/O hardware: t Click the HW/SW - Enabled button until it is inactive.
Searching for Text in the Timeline Hardware Switch State Description Hardware is connected but disabled. Hardware is connected, enabled and active. Open IO NDI is enabled and active. (Flashing red) Hardware is connected, enabled, but not active. Open IO NDI is enabled, but not active. n Open IO NDI is not available if you have Nitris DX or Mojo DX video hardware. You have to disable that hardware in order to access Open IO NDI.
Searching for Text in the Timeline 5. Click the Find to the right or Find to the left button. The Timeline blue bar moves to the start of the next Timeline segment whose metadata contains a match for the search string, based on the search menu's filter options. 6. If necessary, click the Find left or right buttons to continue searching for the text in the Timeline sequence.
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18 Working with Trim Edits Basic editing of a sequence initially produces a rough cut, which is loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can use trim edits to fine-tune the transitions between each clip or between whole segments. You can also trim edits as you build a sequence rather than create a rough cut first.
Understanding Trim Displays You can make the following basic kinds of trim edits using the Timeline palette: • Overwrite trim — single-roller trims which either add black or overwrite frames while trimming • Ripple trim — single-roller trims with no sync lock • Dual-roller trim — edits that move the transition boundary between segments without affecting the duration of the sequence Some trims, such as overwrite trim edits, maintain sync between video and audio clips.
Setting Small Trim Display Quick Trim Display If you display only the Record monitor (for example, as you review the final version of a sequence), you can use Quick Trim display for making quick adjustments to transitions in your sequence. Like Small Trim display, Quick Trim display replaces the Record monitor with smaller displays of outgoing and incoming frames. n When you click the Trim Mode button with the Record monitor active, the system enters Big Trim display.
Trim Settings Overview Trim Settings Overview You can customize how trimming works from the Trim Settings dialog box. The Trim Settings dialog box has two tabs: Features and Play Loop. The Play Loop feature continuously replays the last trim you performed for review purposes. You can learn about specific Trim settings as follows: • For setting some default behavior for trimming, see “Dual-Roller Trimming” on page 585.
Selecting Trim Sides The following table describes the kinds of trim you can perform in each zone adjacent to your transition.
Selecting Trim Sides The pointer changes to an overwrite trim or an ripple trim icon over either the A-side or the Bside of the transition, depending on the position of the pointer. t Use the Trim buttons in the Trim tab in the Command palette or the Trim keys on the keyboard to select side A, side B, or both. You can map these buttons to other locations, as described in “Mapping User-Selectable Buttons” on page 85.
Selecting Trim Sides To change only the trim rollers on the video tracks: t Alt+click (Windows) or Option+click (Macintosh) either the outgoing monitor or incoming monitor, or either the A-side or the B-side. The trim rollers change only on the video tracks. To return to the last position of the trim rollers: t Press the Alt key when you click the Trim Mode button. Selecting Additional Transitions You can select additional transitions for trimming in different contexts.
Overwrite Trimming To select transitions on clips linked by common source and timecode: 1. Click the Link Selection button. 2. Click a selection with linked clips. The application selects all transitions on linked segments. For more information on link selection, see “Linked Clips” on page 537. Soloing Audio while Trimming Soloing audio lets you listen to a single audio track while trimming multiple tracks.
Ripple Trimming The cursor changes to a red single-roller trim icon, and the transition displays red trim rollers. 2. Click and drag in the direction you want to trim. The new incoming frame displays in the Record monitor as you trim, and one of the following occurs: - If you trim from an A-side trim handle toward the outgoing segment or from a B-side trim handle to the incoming segment, black filler is added.
Dual-Roller Trimming Dual-Roller Trimming Using a dual-roller trim allows you to move the transition point between segments without changing the duration of the sequence. This adds frames to one side of the transition and subtracts them from the other side. There are several ways to select a transition for dual-roller trimming. Which method you use depends on your editing workflow.
Trimming with Sync Locks On Trimming with Sync Locks On The Sync Rollers for Sync Locked Tracks feature makes it easier for you to see what is happening in the Timeline when you perform a trim. When you enter single roller trim, gray sync rollers appear on unselected sync locked tracks making it easier to see which tracks will be affected by the trim. When you are actually performing the trim you will see the effect that the trim has on the sync locked tracks as you are trimming.
Reviewing Trim Edits If the number of frames exceeds 99, type an f after the number to indicate frame count. For example, to enter 200 frames, type 200f and press Enter. - To move the transition to an exact point in the timecode, type a timecode number larger than 99, including frames. For example, type 102 to enter 1 second and 2 frames (1:02).
Trimming with the J-K-L Keys To review footage starting from the previous transition: 1. Move the position indicator to the transition you want to review. 2. Click the Edit Review button. The position indicator moves before the previous transition and begins to play. In a sequence with multiple selected tracks, the Edit Review command moves the position indicator before the first set of edits that line up on all the selected tracks. 3. To stop play, press the space bar.
End of Trim Indicators t Press the J or L key once to play at normal speed, or more than once to shuttle at higher speeds. When you see the frame where you want to relocate the transition, press the space bar or the K key to complete the trim. The monitors and the Timeline update to reflect the trim. End of Trim Indicators The extent to which you can trim many edits at once is constrained by the amount of footage available to trim.
Creating Overlap Edits n To make adjustments to the playback loop for preroll, postroll, or intermission intervals, see “Reviewing Trim Edits” on page 587. 3. Press a keyboard equivalent to perform a Trim function. If you are having difficulty determining which side of the transition to trim (for example, during a difficult audio edit), use the Go to In and Go to Out keys to review only one side. Media Composer performs the trim before the next playback loop.
Extending an Edit t If the audio transition occurs at the correct place but you want a video transition either before or after the audio cut, trim the video track accordingly. 3. (Option) You can also create an overlap edit for an audio track by using the Audio Mark buttons (see “Marking Audio Clips” on page 403). Extending an Edit Use an extend edit to perform dual-sided (A-side and B-side) trims on selected tracks.
Maintaining Sync While Trimming Maintaining Sync While Trimming Because single-roller trims (A-side or B-side) can change the duration of the track being trimmed, any relationships that exist with other tracks downstream of the trim lose sync.
Slipping or Sliding Segments - When you trim back the A-side of a transition, additional segments locked in sync move back as well. If the segments are staggered and one of the additional sync-locked segments encounters another segment on the same track, you can trim no further and the system emits a warning sound. If you trim the B-side of the transition in the same direction, all other segments locked in sync move forward to stay in sync.
Slipping or Sliding Segments Selecting Segments for Slip or Slide Trimming To select segments for slip or slide trimming by dragging a lasso: 1. In Source/Record mode, select a segment for slipping or sliding. 2. Drag a lasso from right to left around a segment (two or more transitions). Media Composer enters slip trim by default. 3. To switch to slide trim, press and hold the Shift+Alt keys (Windows) or Shift + Option key (Macintosh) while dragging the lasso from right to left.
Trimming in Two Directions When you reach the end of available material while slipping a shot, the trim stops. Similarly, when you reach the next transition while sliding a shot along a track, the trim stops. A red bracket at the transition indicates the limit. After completing the initial slide, you can perform another slide in the same direction. 3. When you finish, exit Slip mode or Slide mode by doing one of the following: t Click another transition for trimming.
Using the Transition Corner Display To trim in two directions: 1. Select one or both of the trim tools on the Timeline palette, and then click the outgoing (A-side) or incoming (B-side) monitor to define which side of the transition to trim. The pointer changes to an overwrite trim or a ripple trim icon over either the A-side or the B-side of the transition, depending on the position of the pointer. 2. Shift+click the other transitions in the Timeline you want to trim. 3.
Using the Transition Corner Display To trim a transition using the Transition Corner Display: 1. Select a transition effect for trimming by doing one of the following: t Position the mouse pointer over the transition you want to trim so the pointer changes to a dual-roller icon, and click the transition. t Lasso the effect in the Timeline from right to left.
19 Working with Audio You edit audio by using many of the same techniques and tools you use to edit video. Media Composer also provides several unique features that facilitate audio editing, such as audio scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between speakers as well as the frequency ranges of segments.
Overview of Audio Tools Overview of Audio Tools The following table describes the general purpose of each audio tool in Media Composer: Audio tool Description Audio Mixer tool This tool adjusts pan and volume levels on clips or whole tracks within a sequence. For more information, see “Using the Audio Mixer Tool” on page 623. Audio EQ tool This tool adjusts the sound characteristics of audio clips in the sequence based on three-band control over high, low, and midrange frequencies.
Overview of Audio Tools To use timecode on an audio track: 1. In the bin, select the appropriate clips. 2. Select Clip > Read Audio Timecode. n If any of the selected clips are not master clips or subclips, you will get a message, saying that they will be ignored. Click OK. The Read Audio Timecode dialog box opens. 3. Select User Bit Timecode to read timecode stored in the user bits of the LTC. If you do not select this option, the system reads the LTC timecode.
Working with Multichannel Audio Tracks Working with Multichannel Audio Tracks Video and audio information in your project can be represented as tracks, channels, and voices. The following list defines these terms as used in this documentation: • • • Tracks - A region of a clip or sequence on which audio or video is placed. - A playback channel represented in a sequence as either a video track or an audio track. You edit tracks in the Timeline. Channels - A physical audio input or output.
Working with Multichannel Audio Tracks 2. Click Track Formats in the list to select it. 3. Click OK. The Track Formats column appears in the bin. Modifying Track Formats in Bins You use the Modify command to set or change the multichannel formats for your audio tracks. For example, this lets you create a stereo track from two associated mono tracks or to split a stereo track into two separate audio tracks. You can set the multichannel format for multiple master clips at the same time.
The Track Control Panel n Track formats for sequences, group clips, or subclips cannot be modified. 5. Do one of the following: t Click the Format buttons to cycle through the available options until you find the appropriate format. t Click the Format menu on a Format button and select the appropriate multichannel format. Option Description Does not modify the audio track formats.
The Track Control Panel Component Description Waveform Turns on or off the waveform display for individual tracks. Clip Volume/Pan Turns on or off the clip volume and pan display for audio tracks. Inactive Disables a track so you can play back your sequence without processing the plug-in effects or automation for the inactive track. Solo Allows you to monitor a single track of audio without deselecting other tracks.
The Track Control Panel To solo an audio track: t Click the Solo button in the Track Control panel for the track you want to solo. The Solo button turns green, and Mute buttons on all other audio tracks turn orange. Solo button (green) and Mute buttons (orange) in the Track Control panel To turn off soloing for the track: t Click the Solo button again. To turn off the solo feature for all audio tracks: t Alt+click (Windows) or Option+click (Macintosh) the Solo button on any track.
Using Audio Scrub Using Audio Scrub You have two options for scrubbing audio in either the sequence or the source material: • Smooth audio scrub — Mimics the variable pitch playback of traditional analog tape • Digital audio scrub — Takes advantage of the digital environment by sampling incoming frames, outgoing frames, or both at a normal pitch and playback rate Digital audio scrub enables you to sample selected frames of incoming or outgoing audio as you move through the footage, without a change in
Using Audio Scrub Active/Inactive buttons, when highlighted, indicate tracks that can play without dropping audio information The Active/Inactive button when highlighted, indicates which tracks can be played if the system has to drop tracks during audio scrubbing. You can isolate specific audio tracks for scrubbing without having to deselect monitoring of all other audio tracks by soloing the audio tracks. See “Soloing Audio Tracks” on page 604.
Using Audio Scrub You can increase these settings to include more frames of audio on either side — for example, when you want to sample whole words or parts of words as you scrub to find edit points within a phrase. You can also reverse the settings to sample frames behind the position indicator (outgoing frames) as you scrub.
Audio Displays in the Timeline t Drag the position indicator. t Click the Step buttons to step through in fixed increments: 1 frame backward, 1 frame forward, 10 frames (8 frames for 24p) backward, or 10 frames (8 frames for 24p) forward. Step Buttons. Left to right, top to bottom: 1 frame backward, 1 frame forward, 10 frames (8 frames for 24p) backward, or 10 frames (8 frames for 24p) forward 4.
Audio Displays in the Timeline Displaying Audio Waveforms Audio waveforms in the Timeline display a sample plot of the entire amplitude of the track. This is the same as the sample voltage values seen on an analog oscilloscope waveform. You can display waveform plots for all audio tracks in the Timeline or you can select individual tracks for waveform display. Media Composer saves cached waveforms for projects. This allows the waveform to draw faster the next time you open the project.
Audio Displays in the Timeline t To enlarge the size of the waveform plot image without enlarging its track, press Ctrl+Alt+L (Windows) or Command+Option+L (Macintosh). This procedure is useful when you view detail in loud passages. t To reduce the size of the sample plot image without reducing its track, press Ctrl+Alt+K (Windows) or Command+Option+K (Macintosh). This procedure is useful when you view detail in quiet passages. 4.
Audio Displays in the Timeline To turn on the display of clip volume values and volume automation values for all tracks, do the following: t Alt+click (Windows) or Option+click (Macintosh) the Clip Volume/Pan button in the Track Control panel for any track, and select Clip Volume or Volume.
Audio Displays in the Timeline 7. Click the Show Mismatched Sample Rates as Different Color menu, and select Yes. Depending on which sample rate you selected for your project, the color black is displayed on those clips. For example, if you selected 48 kHz from the Sample Rate menu in the Main tab in the Audio Project Settings dialog box, the sample plot of these clips (48 kHz) is displayed as black, and the sample plot of all other clips with different sample rates (32 kHz and 44.
Audio Displays in the Timeline For more information, see “Using the Track Solo and Track Mute Buttons” on page 631. • Using the Mute button in the Track Control panel. For more information, see “Soloing Audio Tracks” on page 604. (Windows) To adjust the volume control (software-only models): 1. From the Timeline, click and hold the Master Volume button.
Displaying Audio Formats in Bins 3. On the Windows Mixer, drag the volume control to the audio level you prefer. (Macintosh) To adjust the volume control (software-only models): 1. From the Timeline, click and hold the Master Volume button. Master Volume button (left) and Audio Meter menu button (right) in the Timeline If you do not see the Master Volume button, click the Audio Meter menu button, and then select Show Audio Meters. The Master Volume button displays with the Audio Meters.
Working with Surround Sound Audio The Audio Format column appears in the bin. Working with Surround Sound Audio Media Composer lets you edit audio in mono and multichannel formats, including surround sound audio. You can hear this audio as either mixdown multichannel audio or as true stereo and surround sound using two, six, or eight speakers. Six-channel and eight-channel digital surround sound systems use several different 5.1 and 7.
Working with Surround Sound Audio C LFE L R Lss Rss Lsr Rsr 7.1 EXT surround sound configuration, with left (L), center (C), right (R), left surround side (Lss), right surround side (Rss), left surround rear (Lsr), right surround rear (Rsr), and low frequency effects (LFE) speakers The Output tab in the Audio Project Settings dialog box lets you select which surround sound option you want to use when you export a sequence with surround sound audio. You can also use the Output tab to select the 5.
Working with Surround Sound Audio Surround Mixing Media Composer allows you to mix in surround sound and create output in different formats. You can also mix down your surround sound sequences to mono, stereo, or different surround sound formats. Surround sound audio tracks contain an individual channel for each signal in the track (for example, a 5.1 track has six channels, one each for left, center, right, left surround, right surround, and LFE).
Working with Surround Sound Audio Sequence format Speaker Layout Stereo Mono: L and R channels panned to center Stereo: L and R channels panned to Left/Right 5.1 Mono: All channels panned to center Stereo: C and LFE channels panned to center; L and R channels panned to Left/Right; Lr and Rr channels panned to Left/Right and volume lowered by 3dB 5.1: All channels panned to the appropriate speakers, depending on 5.1 format of the sequence 7.
Working with Surround Sound Audio Assigning Surround Sound Mix Output You can set a surround sound mix output for any sequence in your project. This specifies how Media Composer sends surround sound signals to your speakers and determines what you hear when you monitor the audio in your sequence. Your monitor mix output might differ from your sequence format.
Working with Surround Sound Audio If your workflow does not require analog output to a tape deck, you can use the XLR outputs to provide Center, LFE, Left Rear and Right Rear channels for desktop monitoring. When the analog output is marked for use as desktop surround monitors, you should set the audio connectors as shown in the following table.
Adjusting the Play Buffer Size for Audio (Software-only Models) If you send the HDMI output to a deck, the deck receives the channels in the Timeline in the same order as the channels set in the Direct Out Channel map in the Audio Project Settings window. If you configure your system for surround sound audio, the output is sent in the HDMI standard channel order as shown in the following table.
Using the Audio Mixer Tool encounter audio latency issues when adding audio effects such as volume automation. To counteract these problems, use the Play Buffer Size in Samples slider and the Tool Buffer Size in Samples slider in the Audio Settings window. Avid strongly recommends that you use the default “recommended sample” setting, which is determined by the host audio device connected to your system. For more information on the Buffer Size in Samples sliders, see “Audio Settings” on page 1168.
Using the Audio Mixer Tool t Click the Audio Mixer mode button and cycle through the Audio Mixer mode settings to the mode you want to select. Audio Mixer Tool Controls The following illustrations and tables identify the controls of the Audio Mixer tool in Clip Volume and Pan mode, including controls common to all three modes. The elements described in the following tables appear in all Audio Mixer modes unless otherwise noted.
Using the Audio Mixer Tool Element Description(Continued) 2 Mix Mode Controls how your system interprets audio values during playback: Selection button • Stereo: Stereo sequences are output in stereo as expected. Surround sequences are folded down to stereo, rear and side channels are mixed at -3dB into the corresponding front left and right, center and LFE channels are panned to center. If you have four or more physical outputs, you can choose the output channel pair in Audio Project Settings.
Using the Audio Mixer Tool Element Description(Continued) 4 Render Effect button Lets you render audio effects. For example, if you change the level of a clip that contains a rendered audio dissolve, the effect becomes unrendered. You can use the Render Effect button to rerender the audio dissolve directly from the Audio Mixer tool. Then you can play back the clip immediately to hear the effect of the level change with the dissolve in place.
Using the Audio Mixer Tool Bottom part of Audio Mixer tool Element Description 1 Hide/Show Controls Allows you to choose what to display in the Audio Mixer Tool. Use the triangular openers to hide or show (from top to bottom) the Group/Mirror/Link button, Pan controls, Effect buttons, Mute, Solo buttons, and Faders/Meters. 2 Group buttons 3 Pan value and knobs Displays the pan value and lets you adjust it.
Using the Audio Mixer Tool Element Description(Continued) 5 Track Solo and Track Mute buttons Lets you solo or mute selected tracks. The values persist when you switch to another group, switch to another Audio Mixer mode, and when you close the Audio Mixer tool. For more information, see “Using the Track Solo and Track Mute Buttons” on page 631. 6 Volume Level sliders Lets you adjust the volume level of the clip.
Using the Audio Mixer Tool Opening the top triangular opener opens the track selector sidebar. Use the track selector sidebar to select the tracks you want displayed in the Audio Mixer tool. This helps optimize horizontal space when working with higher audio track-counts. You can sort the columns in the track sidebar. Click the first column heading to sort the tracks according to which are enabled. Click the next column to sort by track numbers.
Using the Audio Mixer Tool The Audio Track Grouping window opens. 4. Select the tracks you want to be included in the group. n You can either click to select the tracks to be inlcuded in the group, or simply enter the track number in the Select Tracks in Group text area. 5. Enter a name for the grouped audio tracks. 6. Click Apply.
Using the Audio Mixer Tool 7. Click OK. The grouped clips will be added to the Groups pane. You can continue to create grouped audio clips, and when you want to enable those tracks, simple click the grouped clip name and those tracks will be enabled in the Timeline. Once an Audio Group is created. You can right-click and do the following: - Modify the Group - Duplicate the Group - Delete the Group - Gang (or Ungang the Group) - Create a new Group from Selected tracks - Disable all Groups.
Rendering and Unrendering Order for Audio Effects The following table describes how to interpret the position indicator lights. Colors Description Both lights are blue. The fader matches the current Timeline volume. Only top light is blue. The fader is higher than the Timeline volume. Only bottom light is blue. The fader is lower than the Timeline volume. Both lights are gray.
Audio Volume Staging and an Audio Editing Workflow because you use volume automation for finishing the audio levels. You need to hear how changes in the volume automation affect the rendered effects. You could add, render, and modify EQ and audio dissolves on the same clip and you still would not unrender the AudioSuite plug-in effect. However, if you change the clip volume on the same clip, the system unrenders the AudioSuite plugin.
Using Clip Volume and Pan Mode In this workflow, the Audio Mixer tool in Volume and Pan Automation mode acts like the level faders on a console for final mixing of the audio material. For more information, see “Using the Audio Mixer Tool” on page 623. Using Clip Volume and Pan Mode The Audio Mixer tool in Clip Volume and Pan mode lets you do the following: • Adjust volume and pan for an individual clip, a whole track, several tracks at once, or a whole sequence.
Using Clip Volume and Pan Mode t To adjust an isolated section of audio on a track, mark In and Out points. t To adjust levels from an In point through the end of the track, mark an In point only. One mark also adjusts the entire track from the beginning of the clip that includes the mark. t To adjust levels globally throughout the track, make no marks. 3. Select Tools > Audio Mixer. The Audio Mixer tool opens. 4.
Using Clip Volume and Pan Mode Top to bottom: Group button, Stereo Link Toggle (Unlinked / Stereo Link / Stereo Mirror) button; Pan controls and pan display; Mini Stereo Pan Controls and display; Audio Level sliders and meters; and Volume Level display in the Audio Mixer tool 8. Decide if you want to adjust pan values. To adjust the pan values in a mix pane, do one of the following: t Click the Pan control (or mini-pan), and then drag the control to a new position.
Using Clip Volume and Pan Mode 11. Repeat steps 7 through 10 until you are satisfied with the pan and volume levels. Media Composer stores the new settings and uses them whenever you play back or capture the sequence. Surround Sound Pan Controls When you work with surround sound sequences, you might need to pan tracks to the appropriate speakers. For example, if your surround sound sequence includes mono or stereo tracks, you might need to pan them to the left rear or right rear speaker positions.
Using Clip Volume and Pan Mode Element Description 3 Stereo Link button For stereo sequences, links the two pan controls so that when you move one Pan Location cursor, the other moves in a parallel direction. 4 Stereo Mirror button For stereo sequences, links the two pan controls so that when you move one Pan Location cursor, the other moves in a mirrored direction — for example, if you drag the Pan Location cursor to the left, the corresponding cursor in the second X/Y grid moves to the right.
Using Clip Volume and Pan Mode t Alt+click (Windows) or Option+click (Macintosh) the Track Selection button, and then select a track. 4. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the keyboard) to play, shuttle, or step through the audio to check for necessary pan adjustments. 5. (Option) If you are working with a stereo track, click the Stereo Link button if you want to link the two Pan controls so that when you move one control the other moves correspondingly.
Using Clip Volume and Pan Mode 6. (Option) If you are working with a stereo track, click the Stereo Link button if you want to link the two Pan controls so that when you move one control the other moves correspondingly. You can also click the Stereo Mirror button so that the two Pan controls mirror each other as you adjust them. 7. Drag the Pan Location cursor to pan the track. The location of the Pan Location cursor determines the pan position of the signal.
Using Clip Volume and Pan Mode Using the Center Percentage and LFE Controls The Advanced Panner provides you with additional controls: • Center Percentage controls whether there is a discrete center channel for the track or a phantom center channel. For example, in film and video production, the center channel often contains dialog.
Using Clip Volume and Pan Mode 6. Turn the Center Percentage control as needed. 7. When you finish adjusting the Center Percentage with the Advanced Panner, click the Close button to return to the Audio Mixer tool. To adjust the LFE control: 1. Select Tools > Audio Mixer. The Audio Mixer tool opens. 2. Select Clip Volume and Pan mode by doing one of the following: t Click and hold the Audio Mixer mode button, and select Auto from the menu.
Using Clip Volume and Pan Mode 6. Adjust the LFE slider as needed. 7. When you finish adjusting the LFE with the Advanced Panner, click the Close button to return to the Audio Mixer tool.
Using Clip Volume and Pan Mode Command Description Adjust Pan/Vols on Track Opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks. For example, when you type –1 in the Volume Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks are lowered by exactly 1 dB when you click OK.
Using Clip Volume and Pan Mode Adjusting Volume While Playing a Clip Volume Effect You can use the Audio Loop Play button to change the volume on an existing Clip Volume effect while you play the clip. The Audio Loop Play button appears in several of the audio effect tools and is also a mappable button in the Play tab of the Command palette. For more information on mapping buttons, see “Mapping User-Selectable Buttons” on page 85.
Using Clip Volume and Pan Mode You can also do any of the following: • Monitor as few audio tracks as possible. • Deselect the video track, if practical. • Use In and Out points to select a narrow interval to adjust. Modifying How Media Composer Interprets Pan The way you record footage in the field and capture it with Media Composer affects the way sound pans between the speakers.
Using Volume and Pan Automation To adjust the pan on clips: 1. In a bin, select the clips you want to pan to the center. 2. Select Clip > Audio > Center Pan. A dialog box opens and asks you to confirm the pan. 3. Click OK. The system pans all the selected clips to the center. Isolating Clip Portions for Audio Adjustment When making audio level and pan adjustments, Media Composer looks at either an individual clip in the Source monitor, a segment in the sequence, or entire tracks.
Using Volume and Pan Automation When you adjust pan parameters, you can select which parameter displays in the Timeline. The pan parameters available depend on your sequence format and the audio track format. The following table lists the volume and pan displays available in the Timeline: Sequence Format Audio Track Format Volume and Pan Parameters Stereo Mono None, Clip Volume, Volume, Pan Stereo None, Clip Volume, Volume, Pan l, Pan R 5.1 None, Clip Volume, Volume 7.
Using Volume and Pan Automation t Press and hold the Ctrl key (Windows) or the Option key (Macintosh) while dragging in the Track Selector panel. When the pointer changes to a cross, drag the cross to expand or shrink the track. If you expand the audio tracks enough, you can display volume data. The following illustration shows the expanded audio track with volume data. 4. Click the Add Keyframe key on the keyboard (“) or the Add Keyframe button on the Tool palette to add keyframes along the Timeline.
Using Volume and Pan Automation This procedure is similar to grouping sliders on an audio mixing board or in the Audio Mixer tool. To delete a single volume automation or pan keyframe: 1. Move the pointer over the keyframe. 2. When the pointer changes to the hand pointer, press the Delete key. n Don’t press the mouse button. If you press the mouse button, you might change the volume. If there are identical keyframes in other active tracks, Media Composer deletes them also.
Using Volume and Pan Automation You can do the following: • Use sliders in the Audio Mixer tool to adjust volume values while you play the clip, as described in “Using the Audio Mixer Tool for Volume and Pan Automation” on page 651. For additional information, see “Audio Mixer Tool Fast Menu: Volume and Pan Automation Mode” on page 652 and “Using Keyboard Shortcuts with Audio Keyframes” on page 653. • Use the stereo pan controls or surround sound controls to adjust pan values as you play the clip.
Using Volume and Pan Automation t Click the Advanced Panner button in the Audio Mixer tool to open the Advanced Panner and adjust the pan controls. For more information, see “Using the Advanced Panner for Surround Sound Panning” on page 639. 9. Click the Record button again to stop recording. Media Composer adds volume automation or pan keyframes to the audio in the Timeline. Because it records every movement of the sliders, there are usually more keyframes than you need. 10.
Using Volume and Pan Automation Command Description(Continued) Adjust Volume/Pan on Track Opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks. For example, if you type –1 in the Volume Adjustment text box, the various audio level settings across all segments of the marked region of selected tracks are lowered by exactly 1 dB when you click OK.
Copying, Pasting and Moving Audio Keyframes Copying, Pasting and Moving Audio Keyframes Enhancements have been made that affect how you select, cut, copy, paste and move audio keyframes. You can select audio keyframes in the Timeline and copy them to a different area of the same clip or to different clips. You can also choose to copy either just Automation Pan or Automation Gain keyframes. Creating a New Keyframe A new keyframe can be created with a keyboard shortcut and clicking in the Timeline.
Copying, Pasting and Moving Audio Keyframes 2. Press Ctrl+C (Windows) or Command+C (Macintosh) to copy the audio keyframes to the clipboard. 3. Either Mark IN or Mark OUT or move the blue bar to the area in the audio track where you want to paste the audio keyframes. You can also select another audio track where you want to paste the keyframes. 4. Press Ctrl+V (Windows) or Command+V (Macintosh) to paste the keyframes. The keyframes are pasted in the Timeline.
Using Live Mix Mode To move a range of keyframes in time: 1. Lasso the range of keyframes or Shift+click the range of keyframes you want to move. 2. Press Option+drag (Macintosh) or Alt+drag (Windows) to move the entire group of keyframes horizontally in the Timeline. Removing Hidden Keyframes When you edit or trim an audio track that contains keyframes, there may be keyframes that are hidden to the left or right of the remaining part of the clip.You can easily remove hidden keyframes.
Using Live Mix Mode Entering Live Mix Mode To enter Live Mix mode: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Live Mix Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Live mode setting. The Audio Mixer tool changes to Live Mix mode. Using Live Mix Mode with an External Controller To use a control surface in Live Mix mode: 1. Connect and configure the control surface.
Using Live Mix Mode 5. Press the Mix button on your controller to open and put focus on the Audio Mixer tool. 6. Enter Live Mix mode in the Audio Mixer tool (see “Entering Live Mix Mode” on page 657). 7. Play and listen to the audio. 8. While the audio plays, you can adjust the faders or turn the pan knobs on the controller. This temporarily adjusts the audio without changing the volume automation or pan settings. 9. (Option) Change to Volume and Pan Automation mode and play the audio.
Using Live Mix Mode The Live Mix mode settings are not tied to the sequence. If you load a different sequence into the Timeline, the Live Mix mode settings on the controller (and in the Audio Mixer tool) do not change. You can think of the Live Mix mode as an external mixer connected to Media Composer. Changing to another sequence has no effect on the Live Mix mode settings.
Using Live Mix Mode Live Mix level settings at 0 dB and -45 dB The following illustration shows a sequence in the Timeline with volume automation applied. The following illustration shows the result after choosing Set Live Mix to Automation In/Out from the Audio Mixer Fast menu. The portion of the Timeline between the In and Out on Track A1 is changed to 0 dB and the same portion of Track A2 is changed by -45 dB to match the Live Mix settings.
Fading and Dipping Audio After changing the levels in this way, you might enter Volume and Pan Automation mode and further adjust the volume between the In and Out points. Fading and Dipping Audio In traditional analog editing, you manually change volume levels to smooth audio transitions between elements in an edited sequence by doing any of the following: • Fading audio up or down. • Crossfading between audio elements on two separate channels. • Dipping audio to a lower level.
Fading and Dipping Audio 3. Click the Add menu, and Select Dissolve. Only dissolves work with audio tracks. 4. Click the Position menu, and select the location for the dissolve. 5. Select a duration for the dissolve by doing one of the following: t Type a duration, measured in frames (30 frames equals 1 second of NTSC footage; 25 frames equals 1 second of PAL footage), in the Duration text box. t Click either the left or right edge of the Dissolve Effect icon, and drag it to change the duration.
Adjusting Audio Clip Gain in the Timeline 5. Apply a dissolve to both Add Edit points, using the techniques described in “Fading and Dipping Audio” on page 661. Be sure to click the Position menu, and select Centered on Cut or Custom Start. After rendering, the audio dips smoothly from the higher levels of the adjacent segments of the track to the lower level applied to the middle segment. Adjusting Audio Clip Gain in the Timeline Modifying audio clip gain can be performed directly in the Timeline.
Audio Sample Rate Conversion 4. Slide the fader to adjust the value of the clip gain or enter a value in the fader text box. Option + Click the fader (Macintosh) or Alt + Click the fader (Windows) to reset the value to zero. n You can also move the position bar to the clip you want to adjust, select Alt + Shift and the Up and Down arrows to adjust the clip in one decibel increments.
Changing the Audio Sample Rate for Sequences and Audio Clips Changing the Audio Sample Rate for Sequences and Audio Clips You can change the sample rate for sequences and audio clips from within the Change Sample Rate dialog box. Because you can combine clips with different sample rates in the same sequence, this feature is useful when you need to ensure that the entire sequence has the same sample rate for a digital cut or export.
Mixing Down Multiple Audio Tracks If you do not mark the section of audio you want to mix down, the system mixes down all of the selected audio tracks. 4. Select Timeline > Mixdown > Audio > To Sequence. The Audio Mixdown dialog box opens. The Source Tracks area lists the source audio tracks and the Range area lists the start and end timecodes for the section of audio you have selected to mix down. 5. Select Mono, Dual Mono, Stereo, 5.1, or 7.
Mixing Down Multiple Audio Tracks To create multiple audio mixes: 1. Load the sequence into the Record Monitor. 2. Select Timeline > Mixdown > Audio > Multiple Mixes. The Mutliple Mix dialog opens. 3. Click the output channel button and select Add Output to add additional output channels or simply click the + button below the channel to add another output channel. You can add up to 24 output channels for the mix. 4.
Mixing Down Multiple Audio Tracks 5. Map the inputs for each output channel by clicking to enable the input buttons for each channel. Holding Shift + hovering over the inputs toggles them on and off. Alt + clicking on a column, toggles all inputs in that column. 6. Select the type of output for each output channel by clicking the channel and selecting either Set to Mono, Set to Stereo, Set to Dual Mono, Set to Surround 5.1, or Set to Surround 7.1.
Splitting Multichannel Tracks to Mono Tracks n Opening a saved Audio Multi-Mix setting from the Project tab of the Settings dialog box allows you to make changes to the setting. You cannot perform a mix when selecting the setting from the Project tab of the Settings dialog box. To choose a saved setting, access the Multiple Mix dialog from Timeline > Mixdown > Audio > Multiple Mixes, and then select the saved setting from the Select Settings pull down menu.
Using the Audio EQ Tool When Media Composer splits a stereo track to two mono tracks, it changes some audio properties of the track: • Removes stereo track effects such as Audio Track Effect plug-in effects. • Converts stereo AudioSuite plug-in effects to mono effects. • Applies any existing volume automation to the resulting mono tracks. • Applies any existing pan automation to the resulting mono tracks, panning odd-numbered tracks to the left and even-numbered tracks to the right.
Using the Audio EQ Tool Top part of the Audio EQ tool Button Description 1 Effect icon Lets you create an EQ template. Drag the icon to an open bin to create the template. 2 Audio Loop Play Lets you make adjustments to an EQ effect while you play the effect. This button is also a mappable button on the Command palette. For more information about using this button, see “Adjusting Volume While Playing a Clip Volume Effect” on page 645.
Using the Audio EQ Tool EQ-Specific Features Bottom part of the Audio EQ tool 1 EQ Parameter display 5 3-band controls 2 Low shelf 6 EQ Range slider 3 Parametric midrange 7 EQ Parameter graph 4 High shelf The Audio EQ tool provides three bands of control: • The first band, the low shelf, has four turnover points (50 Hz, 80 Hz, 120 Hz, and 240 Hz). A turnover point is the point at which the curve starts to return to 0. A shelf affects all frequency values within the range of the shelf.
Using the Audio EQ Tool The Disable option turns off all EQ effects for the sequence. Rendered EQ effects still play correctly. When you apply Audio EQ effects, consider the following: • Apply Audio EQ to entire segments only. You cannot isolate portions of a segment for an Audio EQ effect by using In to Out points. You must use add edits (match frames) to mark off a smaller segment. • Use In to Out points to select a range of complete segments for applying an Audio EQ effect.
Using the Audio EQ Tool 3. (Option) Mark a range of audio segments by adding In to Out points in the track. 4. Select Tools > Audio EQ. 5. Click and hold the Track Selection Menu button in the Audio EQ tool, and select a track to be adjusted. Track Selection Menu button in the Audio EQ tool The Track Selector panel in the Timeline updates to reflect your selection. If you enable multiple tracks in the Timeline, plus signs (+) appear next to the enabled tracks in the Audio EQ tool. 6.
Using the Audio EQ Tool Saving Audio EQ Effects Media Composer treats an EQ setting as an effect. You can save EQ settings in a bin just as you save any other effect template. This makes it easy to save EQ settings and apply them whenever you need them. The following illustration shows an EQ Effect icon in a bin and in the Timeline. Examples of an EQ effect icon in the bin and in the Timeline To save EQ settings in a bin: t Drag the effect icon in the Audio EQ tool to a bin.
Using the Audio EQ Tool If there is no EQ setting on the currently selected clip, selecting Set EQ In/Out deletes the EQ settings on all clips within the In to Out range. For example, because there is no EQ setting on the third audio clip in the following example, Set EQ In/Out deletes the EQ effect from the first and second audio clips. Set EQ In/Out applies only to the audio track currently selected by the Audio EQ tool.
Using the Audio EQ Tool t In Effect mode, press the Delete key. Audio EQ Examples The following procedures are examples of two different ways to use the Audio EQ tool to remove excess bass from an audio track. Assume that a bass drum in the sound track is very pronounced. You want to use the Audio EQ tool to de-emphasize it, but there are voices on the same track as the music.
Using the Audio EQ Tool To isolate the frequency: 1. Use the ¼-octave influence range. 2. Set the midrange EQ parameter to –15 dB. 3. Use the EQ Range slider to move the midpoint of the parametric curve until it isolates the bass frequency. In this case, the bass frequency to de-emphasize is approximately 80 Hz. Once you locate the frequency you want, you can adjust it as needed.
Using the Audio EQ Tool Predefined EQ templates in the Audio EQ tool Fast menu The following illustration shows the contents of the Audio EQ tool when you select the Female Voice with Presence template in the Timeline. As explained in the tool, you cannot change the parameters of a predefined EQ template.
Using the Audio EQ Tool n To see the parameter values of one of the EQ templates that cannot be edited, view the Console window after you apply the effect. For more information, see “Using The Console Window” on page 87. If you create an EQ effect, you can use it again as a template in another sequence or on another track. Media Composer stores predefined EQ templates in a special bin named Site_EQs_Bin.avb.
Recording Voice-Over Narration As you adjust the EQ values on an existing EQ effect, you might not hear the results immediately. It takes a few seconds for the changes to be applied to the clip. You can improve the response time by doing any of the following: • Monitor as few audio tracks as possible. • Deselect the video track, if practical. • Use In and Out points to choose a narrow interval to adjust.
Recording Voice-Over Narration Voice-over button (top) and Audio Input menu (bottom) in the Capture tool 3. Click the Voice-over button in the Capture tool. n The Voice-over button can be activated only if you have the Nitris option, and select the Enable voice-over option in the Edit tab of the Capture Settings dialog box. 4. Click the Audio Input menu, and select the appropriate input. 5. In the Timeline, patch the source track to the record track you want.
Recording Voice-Over Narration You can “rehearse” the voice-over while listening to the sequence. The voice-over is not recorded while you rehearse. You can continue to rehearse until you get it right. While recording, you can watch and listen to the sequence and hear the playback of edited sound tracks. The following illustration shows the features of the Audio Punch-In tool. The following table describes the features of the tool.
Recording Voice-Over Narration Audio Punch-In Tool Feature Description 7 Stop at End or at Mark Out When selected, will stop the recording at the end of the clip, or at the Mark Out. 8 Input Channels button Identify the channels on the audio hardware used for recording. Click the appropriate button to select the channel. Alt+click (Windows) or Option+click (Macintosh) the button to display a menu and select another channel. The selected input channels are not used for playback.
Recording Voice-Over Narration Audio Punch-in Tool Scenarios You can punch-in audio in several ways: • Scenario 1 — Set only an Out point. The position indicator is used as the In point. Set a preroll time. Click the Play In/Out button to loop continuously through the sequence. Click the Record button when you find what you want to punch-in, and then click the Record button again to end recording. • Scenario 2 — Set an In point and an Out point around the material you want to record. Set a preroll time.
Recording Voice-Over Narration 3. Select the input source and input channels that correspond to your hardware setup, and set other values in the window as appropriate. To select the input channels you want, click and hold the appropriate Input Channels button. 4. Click the Timeline Track menus, and select either New Track or an existing track to specify where Media Composer places the audio voice-over in the Timeline. You can only use mono audio tracks for punch-in.
Recording Voice-Over Narration Extended Audio Punch-In You can extend Audio Punch-In beyond the end of the sequence or the Mark Out. To extend Audio Punch-In: 1. Load the sequence into the Timeline. 2. Select Tools > Audio Punch-In. 3. Deselect “Stop at end or at mark out.” 4. Click the Record button to perform the punch-in. The Record button blinks bright red while recording, 5. Continue to click the Record button to record additional voice-overs.
Recording Voice-Over Narration 4. Record your voice-over as described in “Recording Voice-Over Narration Using Audio Punchin” on page 685. 5. As you record, monitor the previously recorded audio tracks along with your current recording from the meters in the Audio tool and from the sound on the speakers. Audio Punch-In Support for Open I/O Devices If your Open I/O device allows you to record and play simultaneously, you can perform an Audio Punch-In.
Using Automatic Voice-Over For more information about Peak Hold, see “Understanding the Audio Tool” on page 147. Using Automatic Voice-Over The Automatic Voice-Over feature (Auto VO) lets you automatically remove certain segments from a sequence based upon their relationship to a selected audio track. You can also use automatic voice-over to quickly create a new sequence that consists only of the background material or only of the interview material.
Audio Ducking Audio Ducking Audio Ducking is a feature that allows you to reduce the audio level of one or more audio tracks when you want to hear the level of another audio track(s). For example, this is useful when you want to lower the music on one track in order to hear the dialogue on another audio track. To set Audio Ducking: 1. Load the sequence that contains audio tracks to which you want to apply Audio Ducking. 2. Click the Audio Ducking button in the Timeline.
Audio Grouping 6. Play the sequence. The audio will playback with Audio Ducking applied. 7. (Optional) If you want to make adjustments to the Audio Ducking, click the Advanced opener in the Audio Ducking dialog and make adjustments by choosing from the following options: Option Meaning Dialogue track parameters Threshold: Enter a value to set how aggressive key frames will be applied when analyzing the Dialog tracks.
Audio Grouping The Audio Track Grouping window opens. 4. Select the tracks you want to be included in the group. n You can either click to select the tracks to be inlcuded in the group, or simply enter the track number in the Select Tracks in Group text area.
Audio Grouping 5. Enter a name for the grouped audio tracks. 6. Click Apply. 7. Click OK. The grouped clips will be added to the Groups pane. You can continue to create grouped audio clips. When you want to enable those tracks, simply click the grouped clip name and those tracks will be enabled in the Timeline. Keep the following in mind when grouping clips. - Selecting a group with a single click adds all of the tracks in that group to the selection.
20 Using External Audio Devices Media Composer supports the following external fader controllers or mixers for volume automation and pan recording, or as control surfaces. n External fader controllers or mixers are optional. You do not need them to perform volume automation or pan recording on Media Composer. • 002 (Windows only) and Command|8 — These units support touch-sensitive flying faders. While recording volume automation, the faders automatically move.
Configuring an External Controller Feature Digi 002 (MC/NC only) Command|8 MC Control MC Mix MC Transport Touch-sensitive faders Yes Yes Yes Yes No Touch-sensitive panners No No Yes Yes No Solo/mute Yes Yes Yes Yes No Supports audio mixing Noa No No No No Latch mode Yes Yes Yes Yes No 1024 1024 1024 Not applicable Number of steps of 1024 fader accuracy a.
Configuring External Controller Settings 4. In the Gain Controller Port menu, select the port that corresponds to your controller. 5. Click OK. n An external fader controller is optional. It is not required to perform volume automation recording. To test the external fader controller: 1. Select Tools > Audio Mixer. The Audio Mixer tool opens. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Automation Mode from the menu.
Configuring External Controller Settings To configure Media Composer for a controller and open the Controller Settings dialog box: 1. Select File > Settings. The Settings dialog box opens. 2. Click the User tab, and double-click Controller Settings. The Controller Settings dialog box opens. 3. Click the Port menu, and do one of the following, depending on your operating system, to select the appropriate port: t (Windows) Select COM1 or COM2 t (Macintosh) Select Port #1, #2, #3, or #4 4.
Using an External Fader Controller or Mixer to Record Volume Automation As you drag between the Command palette and dialog box, the pointer changes to the hand pointer. The new function appears on the controller button. Using an External Fader Controller or Mixer to Record Volume Automation For more information on using third-party controllers with your Avid editing system, see the documentation that came with your device. To record audio gain information using an external fader controller or mixer: 1.
Adjusting the Volume or Pan of Individual Keyframes Adjusting the Volume or Pan of Individual Keyframes To edit the volume for individual keyframes using an external fader controller or mixer: 1. Check the color of the position indicator lights. Position indicator lights If the external fader controller or mixer is on and is correctly attached to the system, at least one of the position indicator lights on each enabled track is blue. 2. Click an audio gain keyframe.
Using the 002 and the Command|8 Feature 002 (Windows only) Command|8 Use as an audio device for Media Composer (play, Yes record, output) No Works with Media Composer for controlling pan and gain and as a control surface Yes Yes Using the Command|8 with Media Composer The Command|8 is primarily a control surface. You can use it for controlling aspects of the user interface as well as for volume automation and pan recording.
Using the 002 and the Command|8 8. (Option) Click Edit Settings to view or modify the button assignments. Mapping Buttons and Menu Commands for the Avid 002 or Command|8 On Windows systems, you can map the buttons in the 002 Controller Settings dialog box to buttons on the Command palette and to menu commands. The buttons on the 002 (for Windows systems only) and Command|8 can have different functions depending on the modifier key you press.
Using the 002 and the Command|8 Groups of controls in the Command|8 Controller Settings dialog box. Top, left to right: Console View controls, Transport and Navigation controls, Display Controls and Foot Switch. Center: Keyboard Modifier switches. Bottom: Open Command Palette button. To view the different button settings on the Controller Settings dialog box: t Press the Shift, Control, Option, or Command key while viewing the Command|8 Controller Settings dialog box.
Using the 002 and the Command|8 As you move the mouse over a button, the cursor changes to a menu icon. 7. Click the button on the dialog box that you want to change. The system highlights the button. 8. Select a menu command. For example, select Tools > Audio Punch-In. The system maps the menu command to the button. 9. When you finish mapping menu commands, click Active Palette on the Command palette or Button to Button Reassignment to map buttons. 10.
Using the 002 and the Command|8 Switching Between the 002 and Command|8 The button mappings for the 002 for Windows systems carry over to the Command|8. The buttonmapping dialog boxes for the 002 and Command|8 are set up differently to match the layout of the controllers, but the same settings are used for both controllers.
Using Mbox Family Audio Devices Using the Latch Mode Feature on the 002 and Command|8 The 002 (Windows only) and Command|8 have a Latch Mode button for each track that lets you easily punch-in and punch-out small sections of volume automation information. The Channel View buttons on the 002 are used as the Latch Mode buttons. These buttons are directly above the display on the 002 and directly below the display on the Command|8. The first two buttons are labeled EQ and Dynamics.
Using Mbox Family Audio Devices Device Connection Type Input/Output Types Mbox 2 Pro 1394 Analog, S/PDIF, MIDI, Word Clock In Mbox 2 Mini USB Analog Mbox 2 Micro USB Analog (monitor audio only; no input/output available) Mbox (3rd Generation) USB Analog, S/PDIF, MIDI Mbox Pro (3rd Generation) 1394 Analog, S/PDIF, MIDI, Word Clock In Mbox Mini (3rd Generation) USB Analog Mbox (3rd Generation) devices support audio sample rates up to 96 KHz.
Using Mbox Family Audio Devices 6. Click the Peripheral menu, and then select your Mbox device. 7. (Option) If you want to change your sound device for playback or recording, click the Control Panel button, make any changes in the Sound dialog box, and click OK. 8. Close the Audio Project Settings dialog box. Once you configure the Mbox device, you can select the audio input interface in the Capture tool and the Audio Punch-in tool.
Configuring USB-to-MIDI Software for External Controllers 4. Select your headphone output, and then click the Audio Source menu and select Stereo Mix 1. 5. Close the Mbox Pro Control Panel. Configuring USB-to-MIDI Software for External Controllers If your fader controller uses USB-to-MIDI software, you can install and configure the software to recognize your fader controller once you have connected a fader controller to Media Composer.
Configuring USB-to-MIDI Software for External Controllers The Controller Settings dialog box opens. 6. Choose the appropriate port for the device from the Gain Controller menu. 7. Click OK. 8. Select Tools > Audio Mixer. 9. Do one of the following: t Click and hold the Audio Mixer Mode button, and select Automation Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Auto (Automation Mode) setting. 10.
Avid HD Native and Pro Tools|HD Hardware Configuration for Media Composer t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Auto (Automation Mode) setting. If the fader or mixer is on and correctly configured, the indicator lights on the Audio Mixer tool should change to blue. If the lights do not change to blue, see “Troubleshooting MIDI Connections” on page 710.
Avid HD Native and Pro Tools|HD Hardware Configuration for Media Composer With Pro Tools|HD or HD Native hardware installed on a supported Media Composer system, you can perform the following: • Play back audio through up to 8 audio outputs. You can also play back audio with a SYNC HD or SYNC I/O device connected. Media Composer does not control the clock settings for these devices.
Avid HD Native and Pro Tools|HD Hardware Configuration for Media Composer 5. (Optional) Click the Buffer Size menu and select a buffer size. Generally, smaller buffer sizes are preferable. However, if you experience any problems with performance (such as clicks and pops during recording or playback), try increasing the Buffer Size setting. 6. Click the Device menu and select the audio device connected to your Pro Tools|HD or HD Native hardware. 7. Click Advanced. The Hardware Setup dialog box opens. 8.
Avid HD Native and Pro Tools|HD Hardware Configuration for Media Composer Configuring the Core Audio Driver (Macintosh) You can configure the Core Audio driver using the Avid Core Audio Manager application. The Core Audio Manager application launches automatically the first time Media Composer accesses the Core Audio driver — for example, the first time you play audio on a system with an HD Native or Pro Tools|HD card installed.
Using a GPI Device with the Audio Punch-In Tool 4. Select the options you want for your audio input/output operations. For more information on the settings in the Hardware Setup dialog box, see the user guide that came with your Pro Tools system. Media Composer uses only 8 channels of audio output. Also, the application controls the audio sample rate, not your Pro Tools|HD or HD Native hardware. 5. Click OK to close the Hardware Setup dialog box.
Using a GPI Device with the Audio Punch-In Tool To make use of this feature, you must: • Understand when Media Composer sends GPI trigger signals. For more information, see “Understanding GPI Trigger Signals” on page 715. • Connect a V-LAN VLXi deck controller and a VLXi-GT GPI to your Media Composer system. For more information, see “Connecting a V-LAN VLXi Controller and GPI” on page 716. • Configure the V-LAN VLXi deck controller and the GPI.
Using a GPI Device with the Audio Punch-In Tool Example of Linking GPI Actions to Trigger Signals You can configure the GPI to respond to each signal sent by Media Composer in a specific manner. For a simple indicator light, you might create a GPI setting linking the Record Out signal from Media Composer to the GPI Set action (to turn the light on) and a setting linking the Stop Out signal from Media Composer to the GPI Reset action (to turn the light off).
Using a GPI Device with the Audio Punch-In Tool Configuring a V-LAN VLXi Controller and GPI Once you have connected a V-LAN VLXi controller and VLXi-GT GPI to your Media Composer system, you can configure the system to communicate with the controller and the GPI, and create GPI settings appropriate to your needs. For more information on creating settings, see “Working with GPI Settings” on page 717. To configure the V-LAN VLXi controller and the VLXi-GT GPI: 1. Select File > Settings.
Using a GPI Device with the Audio Punch-In Tool 7. Select the appropriate settings. For more information about GPI Node settings option, see “GPI Settings Options” on page 718. 8. Click OK. The GPI Settings dialog box opens. 9. Click OK to set the GPI. 10. Click Apply in the Deck Configuration dialog box. To edit a GPI setting: 1. Select File > Settings. The Settings dialog box opens. 2. Click the Site tab, and double-click Deck Configuration. The Deck Configuration dialog box opens. 3.
Using a GPI Device with the Audio Punch-In Tool GPI Option Description Address Select the V-LAN network address to which the VLXi-GT is assigned. Valid addresses on the V-LAN network are 16 through 19. This address must match the internal V-LAN address. Pulse Duration Leave this setting at its default value; it does not alter the length of the Pulse action in the GPI. GPI Control Enable When you deselect this option, you disable the GPI but keep the GPI settings.
21 Using Avid Artist Series Controllers This section includes topics that provide information on configuring and using the Avid Artist Series controllers with Media Composer: Avid Artist Control, Avid Artist Transport, and Avid Artist Mix. These controllers employ the EUCON™ (Extended User Control) protocol, which allows for integrated control of Media Composer and EUCON-compatible devices.
Installing EuControl Software connection. For more information on configuring your Ethernet connections, see “Configuring Ethernet Connections (Macintosh)” on page 723. You can change port assignments in the EuControl Settings application if necessary. • Avid also recommends that you disable the network interface you use for your Artist Series controller in the ISIS Client Manager preferences.
Configuring Avid Artist Series Controller Settings b. Click the Surfaces tab, and then click Update Firmware. If there is updated firmware for your Artist Series controller, EuControl automatically downloads it. c. Follow the on-screen instructions to install the new firmware. 4. Shut down your system. 5. Connect your Artist Series controller. For information on setting up your Artist Series controller, see the documentation that came with your equipment.
Configuring Ethernet Connections (Macintosh) Configuring Ethernet Connections (Macintosh) You can connect your Artist Series controller to either the Ethernet 1 or Ethernet 2 port on your Macintosh system. By default, the EuControl application is configured to use Ethernet 1. You might need to change this configuration if your system connects to a corporate network or if it is part of a shared storage environment — for example, if you connect your Macintosh system to an Avid ISIS or Avid NEXIS system.
Setting the IP Address 9. If the Ethernet connection you want to use for your corporate network or shared storage connection is not at the top of the network connections list, select that Ethernet connection and drag it to the top of the list. For more information on setting the service order, see the Apple Help for your Macintosh system. 10. Click Apply, and then close the Network dialog box.
Setting the IP Address 3. Touch the first box of the IP Address field to select it, and then adjust its value by turning any of the eight knobs or the Jog wheel. 4. Repeat the previous step to adjust all values of the IP Address and the Subnet Mask fields. 5. Touch OK to save this static IP address. Turn off the controller and then turn it on to use the new IP address. You can touch Cancel at any time to discard changes made to the IP address. To set a static IP address (Avid Artist Transport): 1.
Configuring EuControl Settings 6. Press the two soft keys on the left at the same time to save this static IP address. Turn off the controller and then turn it on to use the new IP address. You can discard changes made to the IP address at any time by turning off the controller before saving your changes. To set a static IP address (Avid Artist Mix): 1. Press and hold the Page Left and Page Right keys while you press and release the Power button.
Configuring EuControl Settings To connect an Artist Series controller to your system: 1. Connect your Artist Series controller to your system and turn on the power for the device. 2. Start Media Composer. 3. Do one of the following: t (Windows) Double-click the EUCON icon in the notification area. EUCON icon in the notification area t (Macintosh) Click the EUCON icon in the dock, and then select Window > EuControl Settings. EuControl Settings application opens.
Artist Series Controller Button Mappings 5. (Option) If you select My Surfaces Only and you want to specify additional controllers to connect to your EuControl application, select a controller in the All Surfaces list, and then click Add. The controller appears in the My Surfaces list. You can rearrange the order of the controllers using the up and down arrows, and you can remove controllers from the list using the Remove button.
Artist Series Controller Button Mappings The Soft Keys tab controls Surface, Wheel, and Touchscreen soft key assignments. With Artist Series controllers that include a Touchscreen, you can access the Surface soft keys with the circular buttons below the Touchscreen, and you can access the Touchscreen soft keys with the Soft Keys Setup Touchscreen. n The mappings included in the Soft Keys tab apply only to Artist Control and Artist Transport.
Customizing Avid Artist Series Controls Customizing Avid Artist Series Controls You can modify the default Soft Key functions of the controls on your Artist Series controller by mapping them to buttons and keyboard shortcuts in Media Composer. You can also add custom key sequences, EUCON commands, pages to the surface controls or the touchscreen, and jog and shuttle wheel functions for some devices. The following procedure provides a generic description of how to customize your controller.
Customizing Avid Artist Series Controls 4. Specify the action you want to associate with the control button. The Soft Key Command Editor organizes the default commands as they appear in the Command palette or in menus. 5. Close the Soft Key Command Editor. The Soft Key tab updates and displays the new function. 6. Click Save. 7. Close the EuControl Settings application. To add a function to the Artist Series controls: 1. In the EuControl application, click the Soft Keys tab. 2.
Customizing Avid Artist Series Controls The Artist Transport controls for the Touchscreen. 3. If the display does not include any blank keys, click the Page menu and select a new page. You can also click the Add button to add a new page. 4. Do one of the following: t Select a blank key and click Command. t Double-click a blank key. The Soft Key Command Editor dialog opens. 5. Click Add and select one of the following: - Key - EuCon - Page - MC - Wheel 6.
Moving Through Footage with Artist Series Controllers 7. Close the Soft Key Command Editor. The Soft Key tab updates and displays the new function. Moving Through Footage with Artist Series Controllers You can use your Artist Series controller to control how you move through footage.
Volume Automation and Pan on Artist Series Controllers You can use the features available in the Audio Mixer tool to group faders on the Artist Series controller. When the faders for two or more tracks are grouped, the fader sends identical volume or pan messages for the tracks when you move one fader. This can be useful when you want to adjust audio on multiple tracks. For information on grouping faders, see “Adjusting Clip Volume and Pan for Audio Tracks” on page 634.
Recording Volume Automation and Pan with Artist Series Controllers Recording Volume Automation and Pan with Artist Series Controllers If you record your automation in unlatched mode, releasing the fader returns the gain or pan values to the original values of the audio in your sequence. For information on enabling latch mode, see “Using the Latch Mode Feature on Artist Series Controllers” on page 736. To record volume automation and pan information using an Artist Series controller: 1.
Using the Latch Mode Feature on Artist Series Controllers To change the tracks assigned to faders on the Artist Series controller, do one of the following: t To move the track assignments to the left or right by the number of available faders, click the Bank Left or Bank Right button. t To move the track assignments to the left or right by one track, click the Nudge Left or Nudge Right button.
Controller Application Sets These functions allow you to edit and trim clips in your sequences using the controller rather than the buttons and tools in Media Composer. For example, you can use the Jog wheel to navigate to a transition in the Timeline, and then you can use the Soft Key functions to activate Trim mode, and then perform a single- or dual-roller trim. Some editing commands only apply to specific windows in Media Composer.
Controller Application Sets Control Function Solo button Solos the selected track. On button Unmutes and mutes the selected track. Soft knobs Eight continuously rotating knobs allowing you to adjust parameters such as pan levels. The knob has a built-in switch allowing it to be pressed from the top. The Touchscreen displays the current functions of the knobs. Rec Enables the selected track for recording. Rec+Shift (Auto) Changes the automation mode for a track.
Controller Application Sets Control Function Bank (left and right) Moves the set of four tracks assigned to the faders four tracks to the left or right — for example, if the faders are assigned to tracks 5 – 8, pressing the Bank Left button changes the assignments to tracks 1 – 4. Mixer (Shift+Nudge Left) Opens the Audio Mixer tool. Close (Shift+Nudge Right) Closes the active dialog box or tool. Home (Shift+Bank Left) Moves the set of four tracks assigned to the faders to tracks 1 – 4.
Controller Application Sets Avid Artist Transport: Display, Soft keys, Numeric keypad (Show/Redo/Undo), Transport keys, Application change key, Shift key Control Function Display Displays functional information including timecode, active application, and soft key labels. Soft keys Provide editing and navigation functions specified in the soft key pages in the application set. You can view the soft key functions by pressing the Show button.
Controller Application Sets Control Function Transport keys Allow you to perform navigation and editing functions specified in the application set.
Controller Application Sets POWER SEL SEL SEL SEL SEL SEL SEL SEL ON ON ON ON ON ON ON ON MIXER CLOSE TOP BACK CFG NUDGE CFG SOLO PAGE ON SOLO ON SOLO ON SOLO ON SOLO ON SOLO ON SOLO ON SOLO PAGE R TZ FLIP CHAN PREV NE XT R EW FF STOP PLAY 12 12 12 12 12 12 12 6 6 6 6 6 6 6 6 AUTO AUTO R EC N AUTO R EC N AUTO R EC N AUTO R EC N AUTO R EC N AUTO R EC N AUTO R EC N END BANK BANK REC 12 R EC N NUDGE HOME ON WOR K STATION A
Controller Application Sets Control Function Insert Allows you to select the plug-in effect listed in the display. Press the soft knob for a track to select the plug-in. Input (Shift+Input) Displays the Input knob set to configure input routing, mic gains, phantom power, and other application-specific parameters when pressed. EQ Allows you to adjust a track’s EQ parameters. Dyn (Shift+EQ) Displays the Dynamics knob set to configure compressors, limiters, expanders, and gates when pressed.
22 Using Audio Plug-Ins This chapter describes how to access and use the audio plug-ins, including the Audio Track Effects and AudioSuite plug-ins that come with Media Composer. • Audio Track Effect Plug-Ins • Avid AudioSuite Plug-Ins • Core Avid Audio Plug-Ins Audio Effects Plug-Ins Installation The installer for Media Composer automatically creates a Plug-Ins folder that stores Audio Track Effect and AudioSuite plugins in the following location: (Windows) drive:\Program Files\Common Files\Avid\Audio
Audio Track Effect Plug-Ins If you move your sequence from one Media Composer to another system and the Audio Track Effect plug-in is not installed on that system, information about the effects display. In addition to the “Unavailable Effect” text, the effect name and other information displays which allows you to identify the effect. The information is displayed in the Audio Track Effect Tool.
Audio Track Effect Plug-Ins 2. Click the Audio Track tab. 3. Click an effect category (from the left column), select the effect you want (from the right column), and drag it to the segment or to the Audio Track Effect insert button where you want to apply the insert. n You can only insert mono effects on a mono track, stereo effects on a stereo track, and surround sound effects on a surround sound track. The Select Insert dialog box opens. 4.
Audio Track Effect Plug-Ins Audio Track Effect plug-in inserts in the Track Control panel Audio Track Effect tool: Select Track, Select Insert, and Select Effect buttons (left), Plug-in Settings menu (second from left), Bypass button (third), and Save Effect button (right) You can modify the parameters of the effect as you play your sequence so you can hear how your modifications affect the sound of your audio.
Audio Track Effect Plug-Ins You can also open the tool by selecting Tools > Audio Track Effect or right-clicking the Record Track button for the track where you want to edit an insert and selecting Audio Track Effects tool. You can use the buttons in the tool to select a specific insert to edit. 3. (Option) If you want to change the plug-in effect for your insert, click the Select Effect button and select a new plug-in. 4. Make any necessary adjustments to your effect.
Audio Track Effect Plug-Ins 9. To save your changes, do one of the following: t Click the Save Effect icon in the Audio Track Effect tool. t Close the Audio Track Effect tool. Moving and Copying Audio Track Effect Inserts You can move and copy Audio Track Effect inserts from one track to another. However, you can only move mono inserts to mono tracks and stereo inserts to stereo tracks.
Avid AudioSuite Plug-Ins 2. Click the Select Track button and select the track where you want to delete an insert. 3. Click the Select Insert button and select “no insert.” Media Composer removes the insert from the track. 4. Close the Audio Track Effect tool to save your changes. Using Audio Track Effect Templates If you apply an Audio Track effect and make a set of adjustments to it, you can quickly recreate the same sound on other tracks in your sequence or project.
Avid AudioSuite Plug-Ins Using Avid AudioSuite Plug-Ins You can use AudioSuite plug-ins in two ways. • You can apply a plug-in to a clip in the Timeline and then create a rendered effect. For more information, see “Applying an AudioSuite Plug-in to a Clip in the Timeline” on page 751. • You can use the controls in the AudioSuite window to create a new master clip. This method lets you process more than one channel at a time and to create new media with a duration longer or shorter than the source media.
Avid AudioSuite Plug-Ins t If an audio tool is already open, click the Effect Mode Selector menu, and select AudioSuite. 2. Use the Track Selection Menu button to select the tracks that you want to modify. When you select an item from this menu, the system selects or deselects the corresponding track in the Timeline. 3. (Option) To select multiple tracks, press the Shift key while you select additional tracks from the Track Selection menu.
Avid AudioSuite Plug-Ins Button Description Preview Plays back a portion or all of the currently selected audio clip with processing. Some plug-ins can preview in real time and some cannot. If a plug-in cannot preview in real time, Media Composer plays back the processed audio in 2-second intervals: it processes 2 seconds of audio, plays it, and repeats the operation. Render Renders the effect and creates a new audio media file. Bypass Plays the selected audio without processing.
Avid AudioSuite Plug-Ins AudioSuite Fast Menu The AudioSuite Fast menu lets you do the following: • Apply an existing AudioSuite template. See “Using AudioSuite Effect Templates” on page 759. • Set, render, or remove AudioSuite plug-ins. The menu text differs, depending on whether you have In to Out points in the sequence. The following commands appear in the menu: Command Description Global The segment has no In points. The command affects all the plug-ins on the enabled tracks.
Avid AudioSuite Plug-Ins Nested level selection Rendering AudioSuite Plug-in Effects You need to render all AudioSuite plug-ins before you can play back the effect. If you do not render the effect manually, Media Composer automatically renders the effect before it creates an audio mixdown or audio dissolve containing the effect. n When you render an audio effect on a linked clip, all audio media files are written as PCM (MXF), regardless of what you set for the audio file format.
Avid AudioSuite Plug-Ins The following table describes the controls in the AudioSuite window. Control Description 1 Clip Selection menu Lets you choose the active clip. It lists the current active clip and other clips you dragged into the AudioSuite window. The window controls change to reflect the active clip. 2 Input Source Track selectors Let you choose the input source tracks for the effect. The system automatically chooses a preview track and displays a blue Speaker icon on the track.
Avid AudioSuite Plug-Ins 5 Control Description Status display Provides information about the current state of the AAE (Avid Audio Engine the software that manages the AudioSuite plug-ins) and the currently applied effect. For stereo and multichannel processing plug-ins, the Status display identifies the maximum number of tracks that the plug-in can process. If you initially select more than the maximum, the system automatically disables tracks until it reaches the plug-in’s maximum number.
Avid AudioSuite Plug-Ins Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins AudioSuite plug-ins let you select the following types of processing: • Mono processing only — This option is available for plug-ins that operate on only one mono audio track at a time. The other option (Stereo) appears dimmed. The plug-in applies the effect to each source track individually, in a serial manner.
Avid AudioSuite Plug-Ins If you are using Time Compression/Expansion plug-ins, the plug-ins automatically lengthen or shorten the clip. 6. Click the Plug-In Selection menu, and select a plug-in. 7. Click the Activate Current Plug-In button to open the plug-in’s dialog box. For more information, see “Common Buttons in the AudioSuite Plug-In Dialog Box” on page 752. 8. Make any changes, and click the Preview button to preview the effect. 9.
Avid AudioSuite Plug-Ins (Windows) drive:\Program Files\Avid\Avid Media Composer\ SupportingFiles\Site_Effects\Site_AudioSuite_Bin.avb (Macintosh) Macintosh HD/Applications/Avid Media Composer/ SupportingFiles/Site_Effects/Site_AudioSuite_Bin 4. Double-click the Site_AudioSuite_Bin file. The Site_AudioSuite_Bin window opens. 5. Drag one of your AudioSuite templates to the Site_AudioSuite_Bin window. 6. If you have not already done so, name the template by clicking the text and typing a name. 7.
Core Avid Audio Plug-Ins t Select Bypass to continue the rendering process. The plug-in effect does not render. In most cases, you should click Cancel and open the AudioSuite window. If you have not installed the plug-in when you go to render a plug-in effect, Media Composer displays an error message informing you which plug-in you must install. At that time, you can cancel or bypass the rendering process. 2. To cancel a render operation, press Ctrl+period (Windows) or Command+period (Macintosh).
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description AIR Filter Gate Breaks the audio signal into staccato rhythmic patterns with variable filtering, amplitude, and panning. For more information, see “AIR Filter Gate (Audio Track Effect)” on page 768. AIR Flanger Applies a short modulating delay. For more information, see “AIR Flanger (Audio Track Effect)” on page 769. AIR Frequency Shifter Shifts the audio signal’s individual frequencies inharmonically.
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description DC Offset Removal Removes an audio artifact that is common in digital audio files. A DC offset is caused by poorly calibrated analog-to-digital converters (A/Ds), and can produce clicks and pops on clip edit transitions if not removed. For more information, see “DC Offset Removal (AudioSuite)” on page 795. De-Esser III Reduces sibilants and other high frequency noises that can occur in vocals, voiceovers, and wind instruments such as flutes.
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description Time Shift Adjusts both the duration and the pitch of a selected clip. For more information, see “Time Shift (AudioSuite)” on page 818. Trim Attenuates an audio signal from -[Infinity] dB to +6 dB or [Infinity] dB to +12 dB. For more information, see “Trim (Audio Track Effect)” on page 821. AIR Chorus (Audio Track Effect) You can use the AIR Chorus plug-in to apply a short modulated delay to give depth and space to the audio signal.
Core Avid Audio Plug-Ins Parameter Description Output Lets you lower the Output level of the distorted signal from 0–100%. At 0%, no distorted signal passes through the output. At 100%, the distorted signal passes through the output at full volume. Tone Lets you shape the timbral quality of the distortion. Clipping • Pre Shape — Lets you increase or decrease a broad gain boost (or attenuation) of treble frequencies in the processed signal.
Core Avid Audio Plug-Ins Parameter Description Delay When you enable Sync, the Delay control lets you select a rhythmic subdivision or multiple of the beat for the delay time (based on the tempo).
Core Avid Audio Plug-Ins Parameter Description Env Mod The Dynamic Delay plug-in provides Envelope Modulation (an envelope follower) to control various parameters in real time. Feedback Mode Mix • Rate — Determines how quickly the Feedback and Mix parameters respond to input from the envelope follower. • FBK — Determines how much the envelope follower affects the Feedback (FBK) amount. • Mix — Determines how much the envelope follower affects the wet/dry mix.
Core Avid Audio Plug-Ins Parameter Description Rate Changes the frequency of the modulating LFO (0.01–10.0 Hz). Depth Adjusts the amount of modulation applied to the Delay time. Modulation Lets you adjust and randomize the delay time. • Delay — Adjusts the Delay time. • Shimmer — Lets you randomize the Delay time, adding texture to the effect. Stereo Width Lets you widen or narrow the effect’s stereo field.
Core Avid Audio Plug-Ins Parameter Description Rate Lets you select the duration, or frequency of the Low Frequency Oscillator (LFO). The duration of one cycle of the LFO is measured in Steps. Mix Lets you balance the amount of dry signal with the amount of wet (filtered) signal. At 50%, the output includes equal amounts of dry and wet signal. At 0%, the output is all dry and at 100% it is all wet.
Core Avid Audio Plug-Ins Parameter Description Rate Lets you select from the following rhythmic values: • 16 (sixteenth note) • 8T (eighth-note triplet) • 16D (dotted sixteenth-note) • 8 (eighth note) • 4T (quarter-note triplet) • 8D (dotted eighth-note) • 4 (quarter note) • 2T (half-note triplet) • 4D (dotted quarter-note) • 2 (half note) • 1T (whole-note triplet) • 3/4 (dotted half note) • 4/4 (whole note) • 5/4 (five tied quarter notes) • 6/4 (dotted whole note) • 8/4 (
Core Avid Audio Plug-Ins AIR Frequency Shifter (Audio Track Effect) You can use the Frequency Shifter plug-in to shift the audio signal’s individual frequencies inharmonically, creating a unique effect. The following table lists the AIR Frequency Shifter plug-in parameters: Parameter Description Frequency Sets the amount of frequency shifting. Shifter Provides control over the direction of frequency shift, and feedback of the signal through the algorithm.
Core Avid Audio Plug-Ins Parameter Description Pedal Max • Freq — Sets the high (Pedal Max) limit of the wah filter’s frequency sweep. • Res — Sets the high (Pedal Max) limit of the wah filter’s resonance. Modulation Provides controls for the Low Frequency Oscillator (LFO) and Envelope Follower (ENV) that can be used to modulate the wah filter’s sweep. • Rate — Sets either the LFO frequency, or the response time of the envelope follower, depending on the setting of the Mode control.
Core Avid Audio Plug-Ins AIR Lo Fi (Audio Track Effect) You can use the Lo Fi effect to bit-crush, down-sample, clip, rectify, and mangle the input signal. The following table lists the AIR Lo Fi plug-in parameters: Parameter Description Sample Rate Lets you resample the audio signal at another sample rate. Anti-Alias Provides control over anti-aliasing filters that you can use before and after downsampling to reduce aliasing in the resampled audio signal.
Core Avid Audio Plug-Ins Parameter Description LFO Lets you apply a Low Frequency Oscillator to modulate the Sample Rate. • Sync — Synchronizes the LFO Rate to the audio sequence tempo. When you enable Sync, you can select a rhythmic subdivision or multiple of the beat for the LFO Rate. When you disable Sync, you can change the modulation rate independently of the sequence tempo.
Core Avid Audio Plug-Ins Parameter Description Distortion Provides controls for adding dirt and grunge to the signal. • Clip — Adds transistor-like distortion to the signal • Noise — Adds a noisy, buzz-like edge to the signal. • Rectify — Acts as a waveshaper, adding aggressive, harsh distortion to the signal. Bit Depth Lets you truncate the bit depth of the incoming signal from 16 bits all the way down to 1 bit.
Core Avid Audio Plug-Ins Parameter Description Delay When you enable Sync, the Delay control lets you set the main delay length in 16th-note lengths (based on the tempo). When you disable Sync, the Delay control lets you set the delay time in milliseconds and seconds. Feedback Lets you adjust the amount of delay feedback. At 0% the delayed signal repeats only once. As you increase the feedback, the number of times the delay repeats increases. At 100%, the delay repeats for an extended period of time.
Core Avid Audio Plug-Ins Parameter Description Reverb Provides control over the reverb’s diffusion and stereo width. EQ • Diffusion — Changes the rate at which the sound density of the reverb tail increases over time. Higher Diffusion settings create a smoother reverberated sound. Lower settings result in more fluttery echo. • Width — Lets you widen or narrow the effect’s stereo field. Provides tonal control over the reverb signal. • Low Cut — Adjusts the frequency for the Low Cut filter.
Core Avid Audio Plug-Ins Parameter Description Rate When you enable Sync, the Rate control lets you select a rhythmic subdivision or multiple of the beat for the Phaser Modulation Rate. When you disable Sync, you can change the phaser rate independently of the sequence tempo.
Core Avid Audio Plug-Ins Parameter Description EQ Provides tonal control over the phase signal. The Low Cut control lets you adjust the frequency of the Low Cut Filter in the phaser’s feedback loop. This can be useful for taming low frequency “thumping” at high feedback settings. Feedback Feeds the output signal of phaser back into the input, creating a resonant or singing tone in the phaser when set to its maximum.
Core Avid Audio Plug-Ins Parameter Description Early Reflections Changes the perceived location of the reflecting surfaces surrounding the audio source. Reverb simulates early reflections by using multiple delay taps at different levels that occur in different positions in the stereo spectrum (through panning). Long reverberation generally occurs after early reflections dissipate.
Core Avid Audio Plug-Ins Parameter Description High Frequencies Provides controls that let you shape the tonal spectrum of the reverb by adjusting the decay times of higher frequencies. Low Frequencies • Time — Decreases or increases the decay time for mid- to high-range frequency bands. Higher settings provide longer decay times and lower settings provide shorter decay time.
Core Avid Audio Plug-Ins Parameter Description Low Cut Lets you adjust the frequency of the Low Cut Filter (20.0 Hz–1.00 kHz). Use the Low Cut filter to reduce some of the potential low frequency resonance (or booming) you can get with longer reverb times. Reverb Time Changes the reverberation decay time (1.0–10.0 seconds) after the original direct signal stops. Shorter times result in a tighter, more ringing and metallic reverb, such as when walking down a narrow hall with hard floors and walls.
Core Avid Audio Plug-Ins Parameter Description Vowel Lets you choose the shape of the formant filter, by the vowel sound that is simulated (OO/OU/ AU/AH/AA/AE/EA/EH /EE/ER/UH/OH). Env Depth Creates a positive or negative offset in the setting of the Vowel control, effected by the envelope follower. At its center, the knob has no effect. Turned to the right or left of center, the Env Depth knob shifts the value of the Vowel control up or down.
Core Avid Audio Plug-Ins Parameter Description Envelope Modulates the Formant setting by using an envelope follower. This allows you to accentuate and enhance signal peaks in rhythmic material. Mix • Thresh — Sets the amplitude threshold at which the Formant setting begins to be modulated by the envelope follower. • Attack — Sets the time (10.0 ms to 10 seconds) it takes to respond to increases in the audio signal level. • Release — Sets the time (10.
Core Avid Audio Plug-Ins Parameter Description LFO Provides a sinusoidal Low Frequency Oscillator (LFO) for modulating the filter cutoff frequency, which allows you to control the rate, depth and synchronization of the modulation. Mode • Sync — Turns on and off the synchronization between the LFO and the sequence tempo. • Rate — Increases or decreases the frequency (0.01–100.0 Hz) of the LFO. Lower settings are slower and higher settings are faster.
Core Avid Audio Plug-Ins Parameter Description Meter Determines how the meter operates. • GR shows the amount of gain reduction • –18 and –24 show the output level (calibrated so that 0VU indicates –18dB FS and –24dB FS respectively) • Off turns off the meter Channel Strip (Audio Track Effect and AudioSuite) Channel Strip provides EQ, Dynamics, Filter, and Gain effects. Channel Strip processing algorithms are based on the award winning Euphonix System 5 console channel strip effects.
Core Avid Audio Plug-Ins Parameter Description Channel Strip lets you determine the signal path through the available Equalizer (EQ), Filter (FILT), Dynamics (DYN), and Volume (VOL) processing modules. This way you can determine the best signal path for the type of processing you want. To set the FX Chain: Click the FX Chain show/hide button to reveal the Process Order options. Click an effects chain ordering option to select it.
Core Avid Audio Plug-Ins Parameter Description Release The Release control sets how long it takes for the gate to close after the input signal falls below the threshold level and the hold time has passed. Knee The Knee control sets the rate at which the Expander/Gate reaches full effect once the threshold has been exceeded. Hysteresis The Hysteresis (Hyst) control lets you adjust whether or not the gate rapidly opens and closes when the input signal is fluctuating near the Threshold.
Core Avid Audio Plug-Ins Parameter Description Knee The Knee control sets the rate at which the compressor reaches full compression once the threshold has been exceeded. As you increase this control, it goes from applying “hard-knee” compression to “soft-knee” compression: With hard-knee compression, compression begins when the input signal exceeds the threshold. This can sound abrupt and is ideal for limiting.
Core Avid Audio Plug-Ins Parameter Description Side Chain Processing Graph The Side Chain Processing Graph display shows the frequency curve for the selected Filter Type at the selected Filter Frequency. Channel Strip EQ/Filters Section EQ/Filters Graph The EQ/Filters section provides an interactive Frequency Graph display that shows the response curve for the current EQ settings on a two-dimensional graph of frequency and gain.
Core Avid Audio Plug-Ins Parameter Description High The High Frequency EQ tab provides controls for the high frequency band of the EQ. Frequency EQ Filter Type - The High Frequency band can be set to be a Peak or High Shelf EQ. Controls Frequency - The Frequency control lets you set the center frequency for the high frequency band (Peak or Shelf EQ). Gain - The Gain control lets you boost or attenuate the corresponding frequencies for the high frequency band.
Core Avid Audio Plug-Ins Parameter Description Phase invert button Inverts the phase (polarity) of the input signal, to help compensate for phase anomalies that can occur either in multi-microphone environments or because of mis-wired balanced connections. Input/Output level meters Show peak signal levels before and after processing.
Core Avid Audio Plug-Ins Parameter Description Compressor/Limiter panel (COMP/LIMIT) Knee Sets the rate at which the compressor reaches full compression once the threshold has been exceeded. As you increase this control, it goes from applying “hard-knee” compression to “soft-knee” compression. Values range from 0dB (hardest response) to 30dB (softest response). With hard-knee compression, compression begins when the input signal exceeds the threshold. This can sound abrupt and is ideal for limiting.
Core Avid Audio Plug-Ins Parameter Description Release Sets the length of time it takes for the Compressor/Limiter to be fully deactivated after the input signal drops below the threshold. Values range from 5 milliseconds (fastest release time) to 4 seconds (slowest release time). Release times should be set long enough that if signal levels repeatedly rise above the threshold, the gain reduction “recovers” smoothly.
Core Avid Audio Plug-Ins Parameter Description Algorithm Lets you select one of seven reverberation algorithms. Selecting an algorithm changes the preset provided for it.
Core Avid Audio Plug-Ins DeEsser III — Dynamics III (Audio Track Effect and AudioSuite) The DeEsser III plug-in reduces sibilants and other high frequency noises that can occur in vocals, voiceovers, and wind instruments such as flutes. These sounds can cause peaks in an audio signal and lead to distortion. The De-Esser reduces these unwanted sounds using fast-acting compression.
Core Avid Audio Plug-Ins Parameter Description Graph display Shows a curve that represents the level of gain reduction (on the y–axis) for the range of the output signal’s frequency (on the x–axis). The white line represents the current Frequency setting, and the animated orange line represents the level of gain reduction being applied to the signal. Use this graph as a visual guideline to see how much dynamics processing you are applying at different points in the frequency spectrum.
Core Avid Audio Plug-Ins Parameter Description Bit Resolution Button Use this pop-up menu to choose one of three possible resolutions for the Dither processing. Set this control to the maximum bit resolution of your destination. 16-bit Recommended for output to digital devices with a maximum resolution of 16 bits, such as DAT and CD recorders. 18-bit Recommended for output to digital devices with a maximum resolution of 18 bits.
Core Avid Audio Plug-Ins Parameter Description Level You can adjust the level of the channel input to the Down Mixer from –45 dB to +12 dB. For stereo to mono down mixing, both the Left and Right channels are mixed to summed mono. For greater-than-stereo multichannel down mixing, the following rules apply: • All left-channel sources (L, Lc, Ls, Lss, Lsr) feed to the left channel (L) of the down mixer. • All right-channel sources (R, Rc, Rs, Rss, Rsr) feed to the right channel (R) of the down mixer.
Core Avid Audio Plug-Ins Parameter Description Amp Bypass The Amp Bypass switch (or lamp) lets you bypass just the amp model, leaving the cab and mic settings in effect. The default setting is On. When set to Bypass, only the amp is bypassed; Master section, cabinet and microphone settings remain active. Bright The Bright switch provides extra high frequency response to the input signal, and alters the timbre of the distortion. On some amp models, the effect is most apparent at lower volume settings.
Core Avid Audio Plug-Ins EQ (AudioSuite) EQ plug-ins provide a set of high-quality options for adjusting the frequency spectrum of audio material: 7-Band EQ III Parameters The following table lists the 7-Band EQ III plug-in parameters. Parameter Description In and Out meters Show peak signal levels before and after EQ processing. Green indicates nominal levels. Yellow indicates pre-clipping levels, starting at –6 dB below full scale. Red indicates full scale (clipping) levels.
Core Avid Audio Plug-Ins Parameter Description Type selectors The HPF, LPF, LF, and HF band sections have type selectors that toggle between the two available filter types for that section, as follows: Q • High-Pass Filter (HPF band) — Attenuates all frequencies below the Frequency setting at the selected slope while letting all frequencies above pass through. • Low-Notch EQ (HPF band) — Attenuates a narrow band of frequencies centered around the Frequency setting.
Core Avid Audio Plug-Ins The following table lists the Expander/Gate III plug-in parameters: Parameter Description Levels panel Phase invert button Inverts the phase (polarity) of the input signal, to help compensate for phase anomalies that can occur either in multi-microphone environments or because of mis-wired balanced connections. Input/Output level meters Show peak signal levels before and after processing.
Core Avid Audio Plug-Ins Parameter Description Expander/Gate panel (EXP/GATE) Range Sets the depth of the Expander/Gate when closed. Setting the gate to higher range levels allows more and more of the gated audio that falls below the threshold to peek through the gate at all times. Values range from -80 dB (lowest depth) to 0 dB (highest depth). Ratio Sets the amount of expansion. For example, if this is set to 2:1, it will lower signals below the threshold by one half.
Core Avid Audio Plug-Ins You can specify the desired gain level in several ways: • Enter a numeric decibel value. • Enter a percentage value. • Drag the slider. • Press and hold the Ctrl key (Windows) or the Command key (Macintosh), then drag the slider to fine-adjust. • Use the rms and peak buttons to switch the calibration of gain adjustment between RMS and Peak modes. Peak adjusts the gain of the signal to the maximum possible level without clipping.
Core Avid Audio Plug-Ins Parameter Description Quantization Lo-Fi applies quantization to impose the selected bit size on the target audio signal. The type of quantization performed can also affect the character of an audio signal. Lo-Fi provides you with a choice of Linear or Adaptive quantization. Linear Linear quantization abruptly cuts off sample data bits in an effort to fit the audio into the selected bit resolution.
Core Avid Audio Plug-Ins Parameter Description Maxim Input Level Meter This meter displays the amplitude of input signals prior to limiting. Unlike conventional meters, Maxim’s Input meter displays the top 24 dB of dynamic range of audio signals, which is where limiting is typically performed. This provides you with much greater metering resolution within this range so that you can work with greater precision.
Core Avid Audio Plug-Ins Parameter Description Maxim Link Button When depressed, this button (located between the Threshold and Ceiling numeric readouts) links the Threshold and Ceiling controls. These two sliders will then move proportionally together. As you lower the Threshold control, the Ceiling control is lowered as well. When these controls are linked you can conveniently compare the effect of limiting at unity gain by clicking the Bypass button. Maxim Dither When selected, this applies dither.
Core Avid Audio Plug-Ins Parameter Description Link For stereo and mono-to-stereo tracks, enable the Link button to link the Delay, Modulation, and Mix controls between the Left and Right channels. This option is highlighted when it is enabled. For mono tracks, this option reads Mono and is display only. Delay Time The Delay Time control sets the delay time between the original signal and the delayed signal (from 0.0 ms to 5,000.0 ms).
Core Avid Audio Plug-Ins Parameter Description Output Meters The Output meters show peak signal levels after processing: Dark Blue Indicates nominal levels from –INF to –12 dB. Light Blue Indicates pre-clipping levels, from –12 dB to 0 dB. Red Indicates clipping. Output Gain The Output Gain control sets the output level after processing. For mono instances of Mod Delay III, there is a single Gain control.
Core Avid Audio Plug-Ins Parameter Description Coarse and Fine Adjust the pitch by dragging either of the two faders, or by typing values in the Coarse and Fine text boxes. The Coarse slider transposes in semitones (half steps); the Fine slider transposes in cents (hundredths of a semitone). Ratio The Ratio slider lets you set the amount of transposition (pitch change). Dragging the slider to the right raises the pitch of the processed file, and dragging the slider to the left decreases its pitch.
Core Avid Audio Plug-Ins Parameter Description Bit Resolution Use this pop-up menu to choose either 16- or 20-bit resolutions for POW-r Dither processing. Set this control to the maximum bit resolution of your destination. Noise Shaping • 16-bit - Recommended for output to digital devices with a maximum resolution of 16 bits, such as DAT and CD recorders. • 20-bit - Recommended for output to devices that support a full 20-bit recording data path.
Core Avid Audio Plug-Ins Parameter Description Rectification • Positive Rectification — This rectifies the waveform so that its phase is 100% positive. The audible effect is a doubling of the audio signal’s frequency. • Negative Rectification — This rectifies the waveform so that its phase is 100% negative. The audible effect is a doubling of the audio signal’s frequency.
Core Avid Audio Plug-Ins Parameter Description PSA-1 Controls Use the eight knobs to dial in your tone or effect. • Pre-Amp - Determines the input sensitivity and pre-amp distortion. Increasing the setting produces an effect similar to putting a clean booster pedal ahead of a tube amp, overdriving the first stage. For cleaner sounds, use settings below the unity-gain point. • Buzz - Controls low frequency break up and overdrive.
Core Avid Audio Plug-Ins Parameter Description Input Level Input Level attenuates signal input level to the Sci-Fi processor. Since some Sci-Fi controls (such as Resonator) can cause extreme changes in signal level, adjusting the Input Level is particularly useful for achieving unity gain with the original signal level. The range of this control is from – 12 dB to 0 dB.
Core Avid Audio Plug-Ins Parameter Description Trigger+Hold Trigger and hold modulation is similar to sample and hold modulation, with one significant difference: If the input signal falls below the threshold set with the Mod Threshold control, modulation will not occur. This provides interesting rhythmic effects, where modulation occurs primarily on signal peaks. Modulation will occur in a periodic, yet random way that varies directly with peaks in the audio material.
Core Avid Audio Plug-Ins Time Compression Expansion (AudioSuite) The Time Compression Expansion plug-in lets you adjust the duration of selected regions by increasing or decreasing the selection’s length without changing pitch. This function is particularly important in audio postproduction applications because it lets you adjust sounds to specific time lengths or timecode durations for synchronization. n n The Time Compression Expansion plug-in is in the Unused Plug-ins folder.
Core Avid Audio Plug-Ins Parameter Description Crossfade The Crossfade slider lets you manually adjust the crossfade length in milliseconds to optimize performance of the Time Compression Expansion plug-in according to the type of audio material you process. The Time Compression Expansion plug-in achieves length modification by replicating or subtracting very small portions of audio material and very quickly crossfading between these alterations in the waveform of the audio material.
Core Avid Audio Plug-Ins The following table lists the Time Shift plug-in parameters. Parameter Description Audio You use the Audio parameter controls to select the most appropriate time compression and expansion mode for the type of material you want to process, and to attenuate the gain of the processed audio to avoid clipping.
Core Avid Audio Plug-Ins Parameter Description Time You use the Time parameter controls to specify the amount of time compression or expansion you want to apply. The Original column displays the Start and End times, and Length of the edit selection. Times are displayed in units of the timebase selected in the Units menu. The Processed column displays the target End time and Length of the processed signal. Times are displayed in units of the timebase selected in the Units menu.
Core Avid Audio Plug-Ins Parameter Description Formant/Transient You use the Formant or Transient parameter controls to adjust either the amount of formant shift or the transient detection parameters, depending upon which mode you select in the Audio section. n The Formant parameter is available only when you select Monophonic as the Audio mode. The Transient section is available with slightly different controls, depending on whether you select Polyphonic or Rhythmic as the Audio mode.
Core Avid Audio Plug-Ins Parameter Description Phase Invert Inverts the phase (polarity) of the input signal to change the frequency response characteristics between multi-miked sources or to correct for miswired microphone cables. Gain Provides -[Infinity] dB to +6 dB or +12 dB of gain adjustment, depending whether the Gain toggle is set to +6 or +12. +6/+12 Gain Toggle Switches the maximum level of attenuation between -[Infinity] dB to +6 dB and -[Infinity] dB to +12 dB.
23 Exporting Frames, Clips, or Sequences This chapter describes how to export files for use with another system, application, or platform.
Preparing to Export a Sequence c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.
Exporting With the Send To Templates Preparation Task Description Make sure all media for the sequence is online. For more information about selecting offline items in a bin, see “Displaying Clip Colors in the Timeline” on page 517 and “Selecting Offline Items in a Bin” on page 265. Consider archiving the source sequence before making any alterations. Duplicate the sequence, place the duplicate in another bin, and prepare the duplicate for export. The original sequence is unaffected.
Exporting With the Send To Templates To export by using a Send To template: 1. Select a clip or sequence in a bin. 2. Do one of the following: t Select File > Output > Send To > template. t Right-click the clip or sequence in the bin, and select Send To > template. If you are sending to Avid Pro Tools®, a template options dialog box opens. Otherwise, the Send To dialog box opens. 3. (Option) If you are sending to Avid Pro Tools, select one of the template options in the following table.
Exporting With the Send To Templates 4. (Option) Type a new file name in the Filename text box. 5. (Option) If you are sending to Sorenson Squeeze, click the Options button to select Sorenson Squeeze settings. For more information, see the Sorenson Squeeze documentation. 6. Click Set to browse to the drive and folder where you want to store the exported file. Whenever you return to a Send To dialog box, the destination folder that you set last appears in the destination field. 7.
Send To Templates Reference Media Composer saves the new template. The next time you select a sequence and choose File > Output > Send To, the new template appears in the list. 11. (Option) If you are sending to Disc, insert a blank DVD in your Disc drive. 12. Click OK. Media Composer exports the file. Depending on the settings you choose, you application might automatically launch an application to handle the exported file. If you are sending to Disc, the Burn to DVD dialog box opens. 13.
Creating a Custom Send To Template for Exporting to Third-Party Applications Template Description Avid DS You can send a sequence to Avid DS as an AFE file or an AAF file. The Avid DS Send To template does not auto-launch Avid DS by default. If you have Avid DS installed on your system and want to launch it automatically, you can select Auto Launch and browse for Avid DS. Select Auto Load Exported File(s) if you want the files you export to automatically load in the Avid DS application.
Creating a Custom Send To Template for Exporting to Third-Party Applications 3. (Option) Type a new file name in the Filename text box. 4. Click Set to browse to the drive and folder that you want to be the default location for storing the exported file. Whenever you return to a Send To dialog box, the destination folder you set last appears in the destination field. 5. (Option) Do the following if you want the third-party application to automatically launch after you export. a.
Exporting With the Export Command or the Drag-and-Drop Method Media Composer creates the new template. It is now available as a Send To menu command for use when working with the third-party application. Exporting With the Export Command or the Drag-andDrop Method You can export frames, clips, or sequences using the Export menu command. This method lets you modify the Export settings as part of the export process. You can also export most types of files by dragging and dropping.
Exporting With the Export Command or the Drag-and-Drop Method To identify and select the material you want to export: 1. Identify the portion of the clip or sequence you want to export. Option Description To export specific tracks in a clip or sequence: Enable the tracks in the Track Selector panel, and disable all others. To export a singleframe graphic: Mark an IN point to export the marked frame from a bin or a monitor, or move the position indicator to the frame you want to export.
Customizing Export Settings Depending on the export format, Export settings can be complicated. In some cases, options in the Export Settings dialog box open additional dialog boxes with further options. If you are modifying Export settings, consult the appropriate reference tables in “Export Settings” on page 1199 for detailed information. 5. In the Export As dialog box, select the destination folder for the file. 6. (Option) Change the file name. In most cases, keep the file name extension the same. 7.
Guidelines for Exporting AAF Files To modify an Export setting or create a new Export setting while performing an Export by using the Export menu command: 1. Click Options in the Export As dialog box. The Export Settings dialog box opens. For complete information on using the Export menu command, see “Exporting With the Export Command or the Drag-and-Drop Method” on page 831. 2. Select the appropriate file type and options based on the descriptions in “Export Settings” on page 1199. 3.
Guidelines for Exporting AAF Files AAF Export Method 2: Compositions with Embedded Media Media Composer can export an AAF file that contains all the editing information for the selected master clip or sequence along with the video and audio media files for that master clip or sequence. See “Export Settings: AAF” on page 1202. Guidelines for Exporting AAF Files to Pro Tools You use the same basic method to create an AAF export for use with Pro Tools that you use when creating any other type of AAF export.
Exporting QuickTime Movies Setting Guidelines Export Method: Video • Mixdown (Video Details tab) The Mixdown with Video Edits option is only compatible with Pro Tools v7.2 or later, and takes advantage of the fact that Pro Tools v7.2 or later can display multiple video tracks. This lets you add a video track that shows the video edits.
Exporting QuickTime Movies Option Description Same as Source Select this option if you intend to use the Quicktime movie on an Avid system. When you select this option, Media Composer uses an Avid codec and puts a QuickTime wrapper around the media files (with no resolution change). This method is fast and creates output that uses the same quality as your source files.
Installing or Copying the Avid Codecs for QuickTime on Other Systems Option Description Video only Exports the sequence with video only. Audio only Exports the sequence with audio only. Video Format Exports the video according to the values that you choose. Width x Height Set a custom frame size for your exported movie. This option is useful if you require a format that can be viewed on mobile devices. Size to fit Stretches the image (disproportionally, if necessary) to fill the frame.
Exporting from a Third-Party QuickTime or AVI Application Codec (Windows) Codec (Macintosh) Description AvidAV1xCodec.qtx QTAvidOneToOneXCodec Avid 1:1x codec (Uncompressed MXF 8-bit or 10-bit) AvidAVd1Codec.qtx QTAvidDV100Codec Avid DVCPRO codec (MXF) AvidAVdnCodec.qtx QTAvidDNXHDCodec Avid DNxHD codec (MXF) AvidAVdvCodec.qtx QTAvidDVCodec Avid DV codec (DV 25 and DV 50, OMF and MXF) AvidQTAVjiCodec.qtx QTAvidMeridienCompressedCodec Avid Meridien Compressed codec (OMF 8-bit) AvidAVmpCodec.
Exporting as Windows Media (Windows Only) Exporting as Windows Media (Windows Only) Media Composer lets you export your sequence as native Windows Media using a variety of different template options. You can use templates that Avid supplies, use existing Windows Media profiles, or create custom video or audio profiles. A Profile is a group of settings that matches content type and bit rate with the appropriate audio and video codecs. Profiles have the file name extension .prx. If you have an existing .
Exporting to XDCAM 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Selected Tracks. When Use Selected Tracks is selected, Media Composer uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7. (Option) Select Include Inactive Audio Tracks.
Exporting to XDCAM By default, Media Composer pans audio tracks to the center which causes the XDCAM export operation to combine audio channels 1 and 2, 3 and 4, and so on. Before you export audio to XDCAM, use the Audio Mixer Tool to set the pan values to left/right in order to maintain discrete audio tracks in your exported media. To export to an XDCAM device: 1. Connect your XDCAM device. 2.
Exporting a Simplified AAF 10. Click OK. Sony applies its own file-naming convention. All exported clips are given a new sequential name of Cxxxx.mxf, for example, C0019.mxf. A progress bar appears displaying the new Sony XDCAM sequential clip name. The sequence exports. Exporting a Simplified AAF The “Link To Effects Mixdown” export setting allows you to mix down both audio and video effects so that the exported AAF references only master clips.
Exporting XDCAM OP1a Media 7. Leave the following options enabled: In the Video/Data Details pane, the Mixdown Video/ Effects to V1 is enabled. In the Audio Details pane, Flatten Audio Tracks that Contain Effects is enabled. 8. Select the number of audio tracks to include in the sequence. 9. Select the Media Destination Drive where you want to save any newly created media. (This should be a drive that your third party encoding application has access to.) 10. Click Save. 11.
Export OP1a MXF file as Panasonic AVC Long-GOP (H.264) To export as XDCAM OP1a: 1. Select the clip or sequence you want to export as XDCAM OP1a. 2. Click File > Output > Export to File or right click the sequence and select Output > Export to File. The File Export dialog opens. 3. Name the file. 4. Set the path where you want the file saved. 5. Click the Options button. 6. From the Export As pulldown menu, select MXF OP1a. 7. From the Video Compression pulldown, select the applicable XDCAM resolution. 8.
Exporting MXF OP1a Resolution Project Format AVC Long-GOP G25 720p/50 720p/59.94 1080i/25 1080i/29.97 1080p/23.98 1080p/25 1080p/29.97 1080p/50 1080p/59.94 AVC Long_GOP G50 720p/50 720p/59.94 1080i/25 1080i/29.97 1080p/23.98 1080p/25 1080p/29.97 To export a sequence or master clip as H.264: 1. Select the sequence or master clip you want to export. 2. Click File > Output > Export to File or right click the sequence and select Output > Export to File. The File Export dialog opens. 3. Name the file. 4.
Exporting DNxHR Media as MXF OP1a To export a sequence or master clip as MXF OP1a: 1. Select the sequence or master clip you want to export as MXF OP1a. 2. Click File > Output > Export to File or right click the sequence and select Output > Export to File. 3. Name the file. 4. Set the path where you want the file saved. 5. Click the Options button. The AMA File Export dialog opens. 6. Select File Type MXF OP1a Export. 7.
Exporting as DPX To export a sequence or master clip as MXF OP1a: 1. Select the sequence or master clip you want to export as MXF OP1a. 2. Click File > Output > Export to File or right click the sequence and select Output > Export to File. 3. Name the file. 4. Set the path where you want the file saved. 5. Click the Options button. 6. Select File Type MXF OP1a Export. 7. (Option) Select the Use Marks, Use Selected Tracks, or Include Inactive Audio Tracks options. 8.
Exporting as DPX 6. Click Export As and select DPX. 7. (Option) Select the Use Marks or Use Selected Tracks option. t When you select Use Marks, Media Composer uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option or mark the entire clip or sequence. t When you select Use Selected Tracks, Media Composer exports the tracks that are enabled in the Timeline.
Exporting as AS-11 Option Description Convert Timecode to Frames Converts the Timecode of the Sequence or master clip to frames. For example the sequence timecode is 02:00:10:00 would show the file name as name.173040.dpx. Digits in File Name Determines how many digits are in the file name. The range is from 1 to 9. The default is 7. For example a value of 2 would be name.01.dpx, name.02.dpx, etc. If the count reached 99 an additional digit is added, name.100.dpx.
Exporting as AS-11 6. Select File Type AS-11. 7. (Option) Select the Use Marks, Use Selected Tracks, or Include Inactive Audio Tracks options. t When you select Use Marks, Media Composer uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option or mark the entire clip or sequence.
Export with Mask Margins Export with Mask Margins You can export your sequence with mask margins burned in. To export with Mask Margins burned in: 1. Select the sequence that contains a mask region. 2. Select File > Output > Export to File. 3. Select Options in the Export As dialog. 4. Choose Enable Mask Regions in the Export dialog. 5. Click Save. 6. Choose the location for the exported sequence. The sequence is saved with the mask region burned in.
Creating an AS-02 Export Volume Creating an AS-02 Export Volume Media Composer supports the creation of AS-02 Export Volumes. AS-02 is a specification for grouping multiple versions of program content into one single bundle. These bundles provide an efficient approach for working in a file-based environment.
Creating an AS-02 Export Volume Creating an Export Volume You can create an export volume to place all program elements into a bundle. To create a new export volume: 1. Select File > New > Volume for Export. The Export Volume dialog box opens. 2. Select a Volume Type, for example AS-02. 3. Click Set to select the path where you want the Export Volume to reside. 4. Enter a name for the volume. 5. Click Set to select the path to the shim template you want to use.
Creating an AS-02 Export Volume The Export Volume bin opens. Left to right: Export Volume Type, Path to Asset folder, Properties button, Commit button 7. You can now move assets to the export volume. See “Committing Assets to an Export Volume” on page 855. Moving Assets to an Export Volume You can move the desired assets to the Export Volume. To move assets to the Export Volume: 1. Open the bin that contains the sequence or sequences you want to write to the Export Volume. 2.
Exporting an IMF Package Once the assets are committed, the following are written to the bundle folder: - The sequence (version) - The essence files - The manifest (a file listing the creation date, creator, version information and a list of all the files and folders in the bundle.
Exporting an IMF Package 5. Choose the video compression (J2K) and click Save. 6. Select the location where you want the package saved. 7. Click Save. An IMF package containing the assets as well as the asset map, packing list and composition playlist will be saved.
Working with BXF Files Working with BXF Files You can work with Broadcast Exchange Files (BXF).You can create a BXF Send To template, ingest the BXF file which automatically creates a sequence in Media Composer. You can edit the sequence and then export the BXF sequence with related essence files. To create a BXF Send To template: 1. Select a clip or a sequence in a bin. 2. Do one of the following: t Select File > Output > Send To > Make New BXF Template.
Working with BXF Files 7. Make any changes to the Export settings that you need by clicking the Options button, selecting compression and other settings, and then clicking Save. 8. Click OK. The Save As dialog opens. 9. Name the new Send To (.stt) template. 10. Click Save. Media Composer creates the new template. The BXF template will be available from the Send To menu command. To import the ssh file: 1.
AMA File Export with Media Offline 3. (Option) The BXF Filename defaults to the selected sequence name. You can rename the file. 4. Make sure Media Destination is set to the folder where you want to write the files. Click the Set button if you want to change the location. 5. Confirm your primary and non-primary tracks are properly selected. Media Composer will automatically find the primary and secondary event tracks. Only tracks that contain BXF metadata are available for inclusion in the BXF file. 6.
24 Generating Output Media Composer provides tools that let you generate output for individual tracks or entire sequences to various videotape or audiotape formats.
Selecting the Device for Output • (Option) Record reference bars and tone to tape, as described in “Recording Bars and Tone” on page 879. • (Option) Prepare for assemble editing, as described in “Enabling Assemble-Edit Recording” on page 879. • For 23.976p, 24p projects and 25p projects, determine your output formats, as described in “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 889.
Selecting the Sync Source for Output Sequence Format Tri-level Frame Rate Setting Black Burst 720p/50 720p/50 PAL 720p/59.94 720p/59.94 NTSC 1080p/23.976 1080p/23.98sF — 1080p/24 1080p/24sF — 1080p/25 1080p/25sF PAL n If 1080p/25sF is not available, you can use 1080i50. 1080p/29.97 1080p/29.97 NTSC 1080i/50 1080i/50 PAL 1080i/59.94 1080i/59.
Selecting a Video Output Signal To add LTC Out During Preroll: 1. Load your sequence in the Record monitor. 2. Select File > Output >Digital Cut. 3. Select the LTC out during preroll option. 4. Press the Play Digital Cut button. LTC Output During Digital Scrub (When Using Nitris DX only) LTC timecode will be output when the blue bar in the record monitor is moved, that is, during “digital scrub.
Calibrating for Video Output 2. Click the SD Cal tab. 3. Click the Output menu, and then select an output format: Component, Composite, or S-Video. 4. Click the close box.
Calibrating for Video Output • When you click an unlit preset button, it becomes lit (green), and the slider moves to the factory preset level for that parameter. • As you adjust levels in the tool, you can switch the preset buttons between the levels you set manually and the factory preset levels. These adjustments are described in “Basic Video Output Calibration” on page 866 and “Calibrating the System with Passthrough Signals” on page 869.
Calibrating for Video Output 2. Click the Options tab. 3. Click the Sync Lock menu and select Internal, Reference, or TriLevel (if available) to lock your output connection to the appropriate signal. Some input/output hardware configurations automatically detect TriLevel sync and do not display it as an option. n Sync for output comes from the reference input (REF) or HD TriLevel Sync input on the Avid input/ output hardware or from internal timing.
Calibrating for Video Output - If you edited digital bars and tone into the sequence, go to the head of the bars and tone and click Play. - You can use internal bars from the Video Output tool by clicking the Test Patterns menu in the Options tab, and selecting either SMPTE_Bars, (SMPTE standard bars), ColorBars (fullfield bars at 75% level), or ColorBars_100 (full-field color bars at 100% level).
Calibrating for Video Output Calibrating the System with Passthrough Signals If you work in a production environment in which house standards are used to synchronize a number of devices including the source decks connected to your Avid system, you can calibrate the system one time to conform to existing standards with the least amount of alteration of the signal. This method involves the use of a passthrough signal (a signal that gets sent directly from an input source through to the output channels).
Preparing for Converting HD Formats c. Click OK. The Video Output setting, a Site setting, applies to all users and all projects on the system. The Video Input setting you saved and named Default is recalled each time a new tape is loaded for capturing in the current project only. Luminance Settings for Video Output Use the following luminance settings for video output. For Black level (setup), adjust the Black slider to place the black level at the following settings: Video Standard Level NTSC 7.
Preparing for Converting HD Formats For a list of considerations when crossconverting or downconverting, see “Considerations for Crossconversion and Downconversion” on page 872. To set options for crossconverting a sequence: 1. Select Tools > Video Output Tool. 2. Click the Options tab. 3. Click the Downconvert menu, and select OFF. 4. Click the Crossconvert menu, and select the format that you want to output. To set options for downconverting a sequence: 1. Select Tools > Video Output Tool. 2.
Preparing for Converting HD Formats HD Sequence Format Crossconverted HD Format Downconverted SD Format 720p/59.94 1080i/59.94 30i NTSC 720p/23.976 1080i/59.94 30i NTSC n When crossconverting the 720p/23.976 format, Media Composer adds 2:3 pulldown frames to create a sequence with the correct frame rate. 720p/25 1080i/50 25i PAL 720p/50 1080i/50 25i PAL 1080p/23.976 1080i/59.94 720p/59.94 30i NTSC n n When crossconverting the 1080p/23.
Preparing for Audio Output Preparing for Audio Output You can use the Audio tool to generate and customize a calibration tone and to monitor global output levels. Use the Audio Project settings to adjust the global output levels and specify other output settings. The following procedures provide information about preparing for audio output. For information on audio mix procedures such as adjusting volume and pan for selected tracks or audio mixdown, see “Working with Audio” on page 598.
Preparing for Audio Output c You should leave this output level at the factory preset of 0 dB. Adjust the level only when necessary to raise or lower the overall volume, based on the headroom parameters of the record format, or for consistently overmodulated or undermodulated source material. To calibrate global output levels: 1. Select File > Settings. The settings dialog box opens. 2. Click the Project tab, and double-click Audio Project. The Audio Project Settings dialog box opens. 3.
Preparing for Audio Output Left to right: Reset Peak button, In/Out toggle buttons, and Peak Hold Menu button in the Audio tool 5. Click the In/Out toggle buttons above the meters to display O for Output. 6. Play back one of the following sources of reference audio by doing one of the following: t Click the Peak Hold (PH) Menu button, and select Play Calibration Tone. t Play back a representative sequence or clip containing audio. 7.
Preparing for Audio Output Audio Project Settings dialog box: Mixed Mode Selection Menu button (top), All or Timeline Track Maps menu and Which Set of Track Maps button (left), Output Track Maps (right), Output Format and Channels options (bottom) 4. Click the Mix Mode Selection Menu button, and select a type of output. - Select Stereo to mix the monitored audio tracks into a stereo pair (two paired mono channels) with applied pan effects.
Preparing for Audio Output - All lets you preset values for all possible audio tracks, with each track treated as a mono track. - Timeline lets you assign output channels to the tracks monitored in the Timeline, with multichannel stereo pairs mapped by default to channel pairs. Click the Reset button to reassign the tracks to the default channels that are currently available. You might need to reset the defaults track mappings if your hardware configuration has changed.
Preparing Record Tapes Embedded Audio and Output Sample Rate Conversion The format for embedded audio must be 48 kHz. If you attempt to set the sample rate to a different value while SD SDI or HD SDI output is enabled, the system displays a message indicating “Switching out of a 48K while SDI Embedded outputs are enabled requires a sample rate conversion of all audio outputs to 48K.
Enabling Assemble-Edit Recording Striping Record Tapes (Recording Black with Timecode) Before you can record a frame-accurate digital cut, you must prepare the record tapes in advance by using one of the following options: • To perform insert-edit recording, stripe the record tapes (record black with timecode for the entire duration of the tape) in advance (prestriped tape).
Using ExpertRender to Prepare Effects for a Digital Cut c n To avoid accidentally breaking timecode on prestriped tapes during digital cut recording, enable assemble editing only when in use, and disable it during normal insert edit recording. DV cameras or decks controlled through a 1394 connection do not support commands for frameaccurate recording.
Using the Digital Cut Tool 4. Select “Prepare effects for Digital Cut,” and then click OK. Using the Digital Cut Tool The Digital Cut tool provides controls when you record a sequence to tape. The Digital Cut tool has the following operating modes: • Remote mode lets you control the record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. See “Recording a Digital Cut to Tape (Remote Mode)” on page 884.
Using the Digital Cut Tool In Remote mode, the Digital Cut tool includes its own deck controls for: • Cueing a record deck from the Digital Cut tool. • Cueing the tape and adding an IN point. This capability applies when you click the menu in the deck control area, and select Mark In Time. The Mark OUT button does not appear in the deck controller section of the Digital Cut tool because it has no effect on digital cuts. Also, the Mark OUT and Duration text fields are read-only. You cannot alter them.
Using the Digital Cut Tool The Deck Selection menu also lists three commands: Command Description Adjust Deck Opens the Deck Settings dialog box. Changes you make apply to the selected deck. Auto-configure Lets you automatically configure the selected deck with the default deck settings for that deck. Check Decks Helps to reestablish deck control if the power to your decks was off or the decks were disconnected when you opened the Digital Cut tool.
Using the Digital Cut Tool Recording a Digital Cut to Tape (Remote Mode) Recording in Remote mode lets you control your record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. To record a digital cut to tape: 1. Make sure you selected the appropriate device for the material you are recording. See “Selecting the Device for Output” on page 862. 2. Load a sequence into the Record monitor.
Using the Digital Cut Tool This menu appears only if you enabled assemble editing in the Deck Preferences dialog box. For more information about this option, see “Enabling Assemble-Edit Recording” on page 879. n DV cameras or decks controlled through a 1394 connection do not support commands for frameaccurate recording.
Using the Digital Cut Tool n Depending on the system configuration, you might need to use the deck controls in the Capture tool to review a digital cut. 19. (Option) To stop the recording at any time, do one of the following: n n t Press the space bar. t Click the Halt Digital Cut button. After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending upon the record deck model.
Using the Digital Cut Tool Recording a Digital Cut to Tape (Local Mode) Recording in Local mode lets you manually control your record deck by using the controls on the deck. This mode is useful when you need to use non-Avid-controlled decks, such as consumer-grade VHS or Hi8. To record a digital cut to tape: 1. Make sure you selected the appropriate device for the material you are recording. See “Using the Digital Cut Tool” on page 881. 2. Load a sequence into the Record monitor.
Output Mode Resolution Options The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence. 11. For 23.976p, 24p, and 25p projects, select an output format as described in “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 889. c Make sure you connect the correct deck and black burst generator for the output format you selected (NTSC or PAL). 12. Press the Record button on the deck. 13. Click the Play Digital Cut button.
Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects The following table provides information on the output resolutions. Output Mode Description Real-Time Provides 1:1 uncompressed SD or HD output through an Avid Nitris DX or Avid Mojo DX. RT DV50 Provides DV50 output through a Host 1394 connection. RT DV25 Provides DV25 output through a Host 1394 connection. Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects When you are working in a 23.
Selecting Output Formats for 23.976p, 24p, and 25p Projects Selecting Output Formats for 23.976p, 24p, and 25p Projects To output a particular format: 1. Select File > Output > Digital Cut. 2. Click the Output Format menu, and select a play rate. A brief description of each output format is displayed in the Digital Cut tool. The play rate you select determines how the digital cut is recorded. For example, if you select 23.
Output Format Reference for 23.976p, 24p, and 25p Projects Digital Cut Tool Output Format (Play Rate) 24 (NTSC) Target Project or System, and Recording Media Audio for film projection; DAWs (video for reference only) Picture and sound to NTSC tape; sound to DAT or mag tape Description Plays back the sequence at 24 fps (film rate). This play rate tells Media Composer to record audio at the film rate.
Selecting the Timecode Format for Output Output Play Rate 24p Source 25p Source 24 PAL No change 4% slowdown 25 PAL 4.1% speedup No change If you are working in a 23.976 project, all output play rates are available, but only 23.976 NTSC maintains the original audio quality. For 23.976 NTSC, the audio rate is not slowed down for output and remains at 48 kHz. For 29.97 NTSC, the audio rate is sped up 25 percent and is not usable. Use this output rate for animations and other special applications.
Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding You can output drop-frame and non-drop-frame NTSC timecode simultaneously from a 23.976, 24p, or 25p project. A broadcast production company might need to output drop-frame timecode for a broadcast master while outputting non-drop-frame timecode to track NTSC film pulldown.
Selecting the Video Pulldown Cadence Selecting the Video Pulldown Cadence Depending on your Avid input/output hardware, you might have the option to select whether to use standard or advanced pulldown for output when you select 23.976 (NTSC) as your output format. This pulldown cadence is important if you are outputting a sequence for transfer to another nonlinear editing system. Media Composer can capture footage that uses either pulldown cadence. Other editing systems might require one or the other.
Digital Cuts and Audio 9. Select the video track to record to on the tape by using the Enable Track buttons. 10. Click the Output Options area, and select 23.976 (NTSC) and either 4:3 or 16:9. 11. Click the Play Digital Cut button. Media Composer cues the record deck, then plays and records the insert edit. Media Composer automatically adds the correct pulldown fields. 12. To stop the recording at any time, press the space bar or click the Halt Digital Cut button.
Understanding DV Digital Cut Delay (or Offset) To change the default pulldown phase for a sequence: 1. Open the bin that holds the sequence. 2. Check if the Pullin column appears. If not, do the following: a. Click the Bin Fast Menu button, and select Title Onlys. b. Ctrl+click (Windows) or Command+click (Macintosh) Pullin. 3. Type A or B in the Pullin column.
Delaying (Offsetting) the Sequence for a Digital Cut Delaying (Offsetting) the Sequence for a Digital Cut You can delay (or offset) the sequence stream being sent to a DV device during a digital cut. This can help you to ensure that the first frame recorded is the first frame of your sequence. For more information, see “Understanding DV Digital Cut Delay (or Offset)” on page 896. To delay (offset) the sequence for a digital cut: 1. Select File > Settings. The Settings dialog box opens. 2.
Using the List Tool You generate an EDL to take a project from the offline editing environment, where rough editing and experimentation are less expensive, into the online editing environment, where an editor using an edit controller produces a finished master in less time. The List Tool saves EDLs in a format an editing system can use, such as CMX. Thus, you can import an EDL from the online environment back into the offline suite to make further changes.
Using the List Tool Each cut list uses the existing frame reference numbers contained in the bins to represent edit details in a sequence. Change lists use the same reference numbers to compare multiple versions of a sequence or a set of sequences to show only the changes necessary to bring previously conformed cuts up to date. This is useful for comparing versions of edited sequences.
Using the List Tool The heart of a cut list or change list is the assemble list, which provides a breakdown of the sequence into all its required parts. These might include scenes and takes, optical effects, and duplicate frames, all of which you can compile in additional, supporting sublists. You can also generate pull lists, which literally display material to be pulled by the assistant editor. The following illustration shows an assemble list.
Using the List Tool Optical lists support the following effects and combination of effects: n • 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 file effects such as flips, flops, flip-flops, and motion effects • Combinations of single-layer ef
Using the List Tool Dupes are also indicated in the assemble and pull lists when 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.
Using the List Tool 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 changed 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 the List Tool Input Tab The Input tab is where you drag and drop the sequence into the List Tool. You can also click the Load button to load the current sequence from the Timeline into the List Tool. The tracks for that sequence populate the Tracks pane in the Input tab. You can enable or disable any tracks to be included in the list. You can save current settings or select from existing settings in the Active Setting pulldown. You can also type a title name for the List in the Title text field.
Using the List Tool Formatting Tab The options in the Formatting tab change depending on the Output Type. The options display if they are relevant to the selected Output Format.
Using the List Tool Preview Pane The right side of the List Tool displays the Preview pane. This is where you can preview, save or edit the EDL, Cut List or Change List. Once you click the Preview button, the EDL or Cut List populates the window. Creating a List To create a List, perform the following. To create a List: 1. Select Tools > List Tool The List Tool opens.
Using the List Tool 2. From the Output Format pulldown menu, select the type of output you want to create. If you are creating an EDL list, choose one of the EDL Output Types; CMX_3600, CMX_DigitalCut, CMX_Transfer, Cuedos, File_16, or File_32, or File_129. If you are creating a Cut List or Change List, choose one of the Cut List or Change List Types; Columnar, TabbedLists, WebLists, or XML. 3. Drag the sequence from the bin into the Input tab Sequence field.
Using the List Tool 5. Click the List Options Tab. 6. Select the options you want to appear in your output list. See the “EDL: List Options” on page 917 or “Cut List: List Options” on page 920 or “Change List: List Options” on page 922 depending on the Output Format. 7. Click the Formatting tab and select how you want the list to be formatted. See “EDL: Formatting Options” on page 918 or “Cut List or Change List: Formatting Options” on page 923. 8. Click the Preview button. The List appears. 9.
Using the List Tool Editing a List Once you create an EDL, you can edit it. To edit a List: 1. Choose the list you want to edit. 2. Click the Preview button. 3. After creating a Preview list, click the Edit button in the upper right corner of the Preview window. 4. Make your edits to the list. n To advance event by event when in the List Tool Edit Mode, use Alt + Up and Down arrows. 5.
Using the List Tool Before your online session, you might want to print the source table on paper. To print the source table: 1. Make sure the Sources tab is selected. 2. Click Save List > To one file. 3. Choose the location where you want the file saved. 4. Click Save. The file is saved to the location. You can then access that file and choose to send that file to your printer. Importing an EDL You can import an EDL. To import an EDL: 1. In Media Composer, select File > Input > Import EDL 2.
Using the List Tool Creating a Cut List for Multiple Sequences With two or more sequences loaded, the system generates one list with appended sections for all sequences in their listed order. To create a cut list for multiple sequences: 1. Select Tools > List Tool. The List Tool opens. 2. Enable the List button and select an applicable cut list Output Format (i.e., Columnar, TabbedLists, Weblists or XML). 3.
Using the List Tool The cut list provides lists for the sequences in order. Creating Change Lists Across Multiple Reels When you load comparable sequences, consecutive, appended lists for each set of cuts is created. You can make comparisons based on reel numbers.
Using the List Tool Using Reel Numbers When you use reel numbers to generate change lists for multiple reels, observe the following conditions: • For each sequence, the old version and the new version must have exactly the same reel number in order for the system to make the appropriate comparisons. • The reel numbers must be typed into the Reel # column in the bin for each sequence.
Using the List Tool 6. Select the options you want and generate the list. n If your project consists of multiple reels, it probably has a separate sequence for each reel. These reels might share footage that requires duplication. You can check for dupes across multiple reels within the Change List. When choosing options for the list, select Assemble List, Duple list, and Reel Numbers.
Using the List Tool 9. Select the Preview button. The List appears with the marker metadata included at the bottom of the list. 10. Click Save List to save the list to your system. 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.
Using the List Tool To save the current options as a setting: 1. Click the Active Settings menu and select Save As. 2. Type a name for the Setting and click OK. To remove a setting: t Click the Active Settings menu and select Remove Current. The current setting is deleted immediately.
Using the List Tool To create a list with the WebLists template: 1. In the List Tool, select Output Format WebLists. 2. Click the Preview button. 3. Select a location to save the list and related files. For example, the Assemble List is called CutAsm.htm. In addition, control files are also copied to the Files sub folder (.jpg files for the banner and logo, .css files containing formatting information, and some Javascript code.) When the HTML file is created, the Browser automatically launches.
Using the List Tool EDL: Formatting Options Choose from the following options: Option Description Optimize 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.
Using the List Tool Option Description Sort Mode Select the sort mode for the EDL. • A (Record In) Sorts by the Record In timecode. This results in Sequential editing from one IN point to the next. Use this when you have a short show, want to generate a simple, flexible EDL, or need to make many last-minute decisions. • B (Source, Record In) Sorts by the individual source reel, then by the Record IN timecode. This results in checkerboard editing on the record reel, one source reel to the next.
Using the List Tool Option Description Include source table with Includes the source table information whenever you save an EDL. saved EDL Cut List: List Options Choose from the following options: Option Description Assemble The Assemble list shows the order in which a sequence’s clips, optical effects, or standard dissolves and fades are assembled from start to finish in the edited sequence. The assemble list also flags duplicate frames.
Using the List Tool Option Description Optical Optical lists specify the source material required to create special effects and any edit event other than a straight cut, such as a dissolve or fade that must be sent to an optical house for creation. The optical list presents each optical event in the order in which it appears in the sequence and includes specifications based on either ink numbers, Aux ink numbers, or key numbers.
Using the List Tool Option Description Sound Select the sound options you want included in your Cut List or Change List: Dissolves, Volume, Track Patching, EQ Effects, Track Effects, and AudioSuite Effects.
Using the List Tool Option Description Optical Key Frames: Controls whether or not optical keyframes from the sequence are shown in the optical list. If you change the keyframe parameters of an effect, the change is reflected in the change list only if you select this option. Optical Footage: Shows footage relative to the beginning of each optical. Page Breaks Between Opticals: When selected, each optical prints on a separate page.
Using the List Tool Option Description Start at: Specify the footage to be used as a starting point in the master. Display Handles Select Display Handles, and then type a handle size. A new With Handles column is added to the lists for each source column for WebLists and TabbedLists templates. The column contains the start and end values of the column and adds a handle of the specified size.
Using the List Tool Icon Event Media Offline Change List Icons The following table lists the icons available only in the change list. The icons only appear in the Change List if Show Icons is enabled in the Formatting tab. Icon Event Delete Insert Insert Head Insert Tail Delete Tail Delete Head Bad Clip Icon The Bad Clip icon indicates clips that have discontinuity of edge code. Discontinuities occur normally between two scenes or takes in each KEM roll.
Using the List Tool To generate the first cut list for conforming a work print: 1. Make sure the tracks you want are selected. 2. Remove any unwanted add edits (match-frame edits). 3. Duplicate the sequence and place the original sequence in an archive backup bin. 4. Keep the copy of your sequence in a current cuts or work-in-progress bin, and use the List tool to generate lists from the archived original. For the work in progress, you can keep the file name extension .
Using the List Tool Editing and Troubleshooting EDLs You can edit an EDL with a text editor or in the List Tool to clean up the EDL for a successful reading. You can also troubleshoot EDLs by using some of the following techniques. Using a Text Editor to Edit an EDL You ca use a text editor to delete or change information in the EDL that might not read correctly into Media Composer: • Create a copy of the EDL • Edit the copied EDL rather than the original.
Using the List Tool To slice and dice the sequence: 1. Load the sequence in the Source monitor. 2. Mark an IN point at the head frame and an OUT point halfway through. 3. Cut this portion over to the Record side. 4. Test this portion of the sequence by creating an EDL. If the EDL is generated successfully, you know that the problem is in the second half of the sequence. If not, subdivide the sequence elsewhere to further isolate the source of the problem.
Understanding Matchback Understanding Matchback The Matchback option in Media Composer, lets you generate a film cut list from a 30-fps or 25-fps video project that uses film as the source material. This video-to-film conversion is useful in a variety of matchback circumstances, including the following: • Using the Matchback option to generate both a videotape master for the project and a final cut on film.
Vertical Blanking Information • The matchback information applies to the picture only. You must generate a separate list (an EDL, for instance) for conforming the audio source tapes. • Be sure to remove unwanted match frames (add edits) from your sequence before generating the cut list. Otherwise, the calculation of matchback frames will include these edits. For information about removing match-frame edits, see “Working with Add Edits (Match Frames)” on page 564.
Vertical Blanking Information You might want to preserve the following vertical blanking information: • Edgecode or key number information for a film project You might want to preserve edgecode information to easily identify the source film reel for a clip. In this case, the edgecode information would have been originally inserted during the telecine process.
Vertical Blanking Information c The VBI value resets to Blank each time you launch Media Composer. If you want to preserve VBI information on output, set the value before you perform a digital cut. Editing a Sequence with Vertical Blanking Information After a sequence is created and output from an Avid editing system, some facilities apply VBI information to the tape to add information such as closed captioning. Often, the tape is recaptured so that the sequence can be repurposed for another market.
Preserving HD Closed Captioning and Ancillary Data If you want to preserve vertical blanking information, either use the 1:1 (uncompressed) resolution or experiment with different compression ratios to make sure the captured footage or the vertical blanking information is not unacceptably affected by the compression.
Preserving HD Closed Captioning and Ancillary Data • You can link to XDCAM and MXF media that store ancillary data. For more information, see “Ancillary Data and AMA” on page 936. • You cannot add an effect to the Data track. • Ancillary data is not supported when crossconvert or downconvert are enabled. • You cannot patch a Data track. • Multicamera (group clips) is not supported with a Data track. • A Data track is not allowed when you use mixed rate clips.
Preserving HD Closed Captioning and Ancillary Data If the clip does not meet all the requirements to extract an ancillary data clip, a dialog box appears that informs you of the problem. Open the Console window (Tools > Console) to get more information about the problem. 3. Click Continue or Cancel. The system adds the Data track with the clip to the Timeline. The clip in the bin displays D1 in the Track column.
Preserving HD Closed Captioning and Ancillary Data The table below shows the selectable active format options. Option Description Active Format • 0000 Undefined • 0100 Box >16:9 (center) • 1000 Full frame • 1001 4:3 (center) • 1010 16:9 (with complete 16:9 image protected) • 1011 14:9 (center) • 1101 4:3 (with alternative 14:9 center) • 1110 16:9 (with alternative 14:9 center) • 1111 16:9 (with alternative 4:3 center) 4. Click OK.
Preserving HD Closed Captioning and Ancillary Data For information about ancillary data and data tracks, see “Preserving HD Closed Captioning and Ancillary Data” on page 933 and “Data Track Method” on page 933. If you consolidate the XDCAM or MXF clip or the sequence that contains the XDCAM or MXF clip with ancillary data, the ancillary data track stays with the consolidated clip or sequence.
Preserving HD Closed Captioning and Ancillary Data Data Track Method Legacy Method Edit Yes Yes Capture Yes No (Avid Nitris DX or Avid Mojo DX only) Transcode No No Consolidate Yes No Mixdown Yes No Import (AAF) Yes Yes Export (AAF) Yes No How Ancillary Data Embedded in DNxHD Media Is Handled in the Data Track Method and the Legacy Method Data Track Method Legacy Method Create a D track Not Applicable Not Applicable Play Not Applicable Yes (with Avid Nitris DX or Avid Mojo DX o
Preserving HD Closed Captioning and Ancillary Data n Even though Avid preserves ancillary data, if you move a sequence with a data track to and from different systems (with and without supported Avid input/output hardware), be aware that when you perform the editing functions listed in the above tables, ancillary data might not always be preserved the way you expect.
Preserving HD Closed Captioning and Ancillary Data 6. Deselect Enabled for those slots you do not want to capture ancillary data for. 7. Click OK. n For more information about ancillary data options, see “Media Creation Settings” on page 1236. Controlling Ancillary Data through a Settings Window - Legacy Method This feature is only available with an Avid Nitris DX or an Avid Mojo DX. You can turn the ancillary data option on and off and set the slots through the Media Creation Settings.
Preserving HD Closed Captioning and Ancillary Data n Data Packet DID SDID ATC 60 60 The slot 3 default has changed from DTV to AFD, which is different from previous releases. To set options for ancillary data preservation for a single slot: 1. Select Tools > Console. 2.
Preserving HD Closed Captioning and Ancillary Data To capture clips with ancillary data: 1. Prepare your deck for capture. Follow the steps in “Preparing for Capture” on page 117 and “Setting Up the Capture Tool” on page 133. This includes selecting the D Channel Selection button in the Capture Tool. 2. Select SMPTE 436M and the type of ancillary data you want to capture in the Capture tab of the Media Creation Settings window.
Preserving HD Closed Captioning and Ancillary Data To export to an XDCAM device: 1. Connect your XDCAM HD device. 2. Select the appropriate mode on your XDCAM HD device that corresponds to the video format that you will be exporting. For example, set your XDCAM device to 1080i 59.94 if you want to export a clip or sequence at XDCAM-35 1080I/59.94. 3. Select the sequence or clips to export, or select the data track. 4.
Previewing Closed Captioning Previewing Closed Captioning You can preview Closed Captions in the Record monitor, Source monitor, pop-up monitors, and in the Timeline D-Track. EIA-608 Closed Caption data from the 436M ANC stream of the D-Track is supported. Pop-on, Roll-up and Paint-on captions are supported. To preview Closed Captions: 1. Load the clip or sequence. 2. Right-click the monitor where you want to preview the Closed Captions, and select Show Captions. The captions appear in the monitor.
Previewing Closed Captioning From left to right: Caption loading, Caption playing, Next caption loading The caption loading phase (black solid line) contains information to properly display the caption. The caption playing phase (gray line) contains mostly filler. If you are editing the D-track, it is safe to edit in the gray area. If you edit in the solid black area of the D-track, you could break the caption.
Previewing Closed Captioning 6. Click Save.
25 Conforming and Transferring Projects This chapter contains information about conforming and transferring projects. • Understanding Conforming • Preparations for Conforming • Conforming Workflow • Conforming Sequences with Color Correction • Transferring Project and Media Files Between Media Composer Systems Understanding Conforming You can move projects and media from one Media Composer system to another and preserve your edits and effects.
Preparations for Conforming Delivery Requirements for Final Masters The requirements for your final masters determine factors such as the project type you use during the offline edit. Ideally, you perform the offline edit with the online edit in mind. The most important delivery requirements are the formats and frame rates. A broadcast network might require a range of formats: NTSC, PAL, and HD, at 4:3 and 16:9.
Preparations for Conforming File Transfer for the Online Session Before you begin moving project files between two different Media Composer (or Avid editing) systems, consider the following. • Determine if you need to transfer project information, video media, audio media, or all three. See “Step 1: Transfer Files” on page 952. System Compatibility for the Online Session Ensure that files transfer correctly between editing systems, and that both systems include the necessary applications.
Preparations for Conforming Preparing Graphics for the Online Session The most critical step when preparing graphics for online is to make sure that the elements you are going to import are created correctly. The following table summarizes various requirements. Aspect Requirement Notes Frame size (4:3) Square pixels: These are the preferred sizes for NTSC and PAL. You can also use 648 x 486 (NTSC) 720 x 540, in some situations, for both NTSC and PAL.
Conforming Workflow Preparing Effects for the Online Session In general, effects from older systems are automatically conformed by newer systems. In some cases, effects are automatically promoted to new versions. However, be aware of the following issues: • If you work in an offline SD project with complex effects and you plan to conform as HD, you should downconvert the media anamorphically.
Conforming Workflow Before you start the process described in the following topics, review the information provided in “Preparations for Conforming” on page 947 to ensure that your offline materials are ready for transferring and conforming. For specific information about HD and film-based workflows, see “Working in HD and HighResolution Projects” on page 1318.
Conforming Workflow Transfer Option Description Create an OMFI or an AAF file with This option lets you create a single OMF or AAF file, which you can embedded media. consolidate onto a single drive. If you want to transfer audio media to a digital audio workstation, such as a Pro Tools, system, see “Transferring Audio Files” on page 960 or “Using Pro Tools and Interplay” in Avid Interplay Best Practices.
Conforming Workflow n For SDI or HD-SDI formats, you cannot adjust input or output levels by using the video controls in Media Composer. For HD media, you can calibrate only HD component output, which is usually used for monitors.
Conforming Workflow Step 5: Import and Lay in the Final Audio Mix In most cases, the final audio mix is done either as part of the offline edit or on a digital audio workstation such as Pro Tools. In either case, import the OMFI or the AAF file. For more information, see “Transferring Audio Files” on page 960, “Importing Files” on page 214, and “Using Pro Tools and Interplay” in Avid Interplay Best Practices.
Conforming Workflow If a title opens and the system does not recognize the font, you see a dialog box that lets you substitute the font in the title for one that is installed on the system. This replacement creates a font mapping, which is saved as a Site setting. For information on changing the font mapping, see “Redefining a Font Replacement” on page 956.
Conforming Workflow To redefine a font replacement: 1. Open a title in the Title tool. 2. Select Object > Font Replacement. The Font Replacement dialog box opens. 3. Click the Unknown Fonts menu on the left, and select the original font. 4. Click the Available Fonts menu on the right, and select the replacement font you want to use. When you select a font from the Available Fonts menu, a preview of that font appears in the text boxes. 5. Click OK.
Conforming Sequences with Color Correction You should be aware of the following when conforming on Symphony Option using effects created on other Media Composer (or Avid editing) systems: • Chroma and luma keys conform in Symphony Option as they were created in the offline system. However, you might find problems with the keys, especially when working in an uncompressed resolution. For maximum options in adjusting keys, promote 2D keys to 3D.
Conforming Sequences with Color Correction Conforming Color Correction Sequences with Media Composer (Symphony Option) If you open a sequence that was created on a Media Composer, all existing Color Correction effects conform. You can view and play the Color Correction effects in the Timeline, and you can make further adjustments to the Color Correction effects in the Color Correction tool.
Transferring Project and Media Files Between Media Composer Systems t To apply only those adjustment values from the template that appear in one Color Correction tool tab, drag the Color Correction template icon that you created in step 2 from the bin, and drop it on the appropriate tab in the Color Correction tool. For example, drop the icon on the Curves tab to apply only Curve adjustments to the new relationship.
Transferring Project and Media Files Between Media Composer Systems Pro Tools Version Audio embedded in OMFI Audio embedded in AAF AIFF-C WAVE MXF AIFF-C WAVE MXF Pro Tools v7 or later Yes Yes No Yes Yes Yes Pro Tools v6.9 or later Yes Yes No Yes Yes No Pro Tools v6.7 or earlier Yes Yes No No No No For information on importing into and exporting from an audio application, see the documentation for the audio application. n DigiTranslator v2.
Transferring Project and Media Files Between Media Composer Systems Transferring Project Files and Media Files Using Nonshared Storage You can use removable nonshared storage devices to transfer media files between Media Composer (or Avid editing) systems.
Transferring Project and Media Files Between Media Composer Systems Folder or File Project folder Location Private projects: • (Windows) drive:\Documents and Settings\Windows login name\My Documents\Avid Projects • (Macintosh) Macintosh HD/Users/Mac login name/Documents/Avid Projects Shared projects: n • (Windows) drive:\Documents and Settings\All Users\Shared Documents\Shared Avid Projects • (Macintosh) Macintosh HD/Users/Shared/Avid Media Composer/Shared Avid Projects For information about p
Transferring Project and Media Files Between Media Composer Systems Nonshared Storage Issues for Cross-Platform Collaboration When you share media files by using a nonshared storage device — either peer-to-peer, over a network, or using removable storage — the following restrictions apply: • NTFS drives formatted on a Windows system can be accessed only on Macintosh systems running Mac® OS X 10.4 or later. Media files on these drives are read-only.
26 Using the NRCS Tool (Media Composer | NewsCutter Option) The Newsroom Computer System (NRCS) tool lets you use one computer to view stories and rundowns located on an Avid iNEWS® server or on an Electronic News Production System (ENPS®) server and to edit sequences in Media Composer. You use the NRCS tool to connect to an iNEWS server to access story scripts and to edit stories on a NewsCutter Option system.
Configuring the NRCS Tool Configuring the NRCS Tool You must configure the NRCS settings before you can connect to an iNEWS or an ENPS server. n (ENPS only) Your ENPS administrator must first register your Avid editing system as a client on the ENPS server. When you configure the NRCS tool, you use the client name to log in to the ENPS server. For more information about options, see “NRCS Settings” in the Help.
Configuring the NRCS Tool Configuring the NRCS Settings To configure the NRCS settings and to connect to the server: 1. Double-click NRCS in the Settings scroll list. The NRCS Settings dialog box opens. 2. Click the Server menu, and select an NRCS server: - iNEWS - ENPS The options that appear depend on the server selection. n The NRCS Settings dialog box also appears when you connect to a server if the active NRCS setting lists no name in the Server text box. 3. Type the name of the server. 4.
Configuring the NRCS Tool 8. (iNEWS only) Configure the Message-of-the-Day (MOTD) settings, Mail Directory, and Story Field Assignment values: a. If you want to view the MOTD, select Show Message-of-the-Day, and select one of the following: t Every Connection (view the MOTD on every connection to the server) t First Connection (view the MOTD only on the first connection to the server) b.
Configuring the NRCS Tool b. If the duration in the tape-time field is empty or is zero, you can set a default value for the duration of the new sequence by entering the default time you want for new sequences in the Default Value text box. c. Set the default Story Form fields used to display the Name and TapeID in the NRCS tool. The defaults are the iNEWS title and video-id fields, respectively. 10.
Starting the NRCS Tool 14. Click OK to accept the NRCS settings. Starting the NRCS Tool To start the NRCS tool after it has been configured: 1. Select Tools > NRCS Tool. The NRCS tool opens. 2. Click the Connect button. (iNEWS only) The NRCS Login dialog box opens for the iNEWS server. The iNEWS server name appears as part of the title bar text. (ENPS only) The NRCS tool connects to the ENPS server. (A login dialog box does not appear for the ENPS server.) 3.
NRCS Tool Components NRCS Tool Components The following illustration shows the components of the NRCS tool that appear when Media Composer connects to an iNEWS server.
NRCS Tool Components 2 1 3 9 n 4 10 5 6 7 8 11 1 Connect/Disconnect button 7 Post to Web button 2 MOS media item 8 Read Time display 3 Story Name text box 9 Directory panel 4 Mark IN/OUT button 10 Production panel 5 Build Sequence button 11 Story panel 6 Find Sequence button Many of the concepts and options in the NRCS tool are similar to those of the iNEWS or the ENPS client application.
Using the Directory Panel Component Server Support Description(Continued) Story form iNEWS Contains summary information about the story in predefined headings. The iNEWS server lets you alter the information in Edit mode only. Edit/Save button iNEWS Provides access to editing functions and saves changes made to the story either by modifying the original story or by creating a new story. The changes are saved on the iNEWS server. n The Save button is active only in Edit mode.
Using the Directory Panel Opening a Story After you establish a connection to the iNEWS or the ENPS server, the Story panel remains blank until you open a story. If you work with stories on the iNEWS server, the Directory panel can display information from iNEWS story form fields.
Changing the Text Display To display story information in the Directory panel: t Right-click the column heading row and select the appropriate options. The selected column displays in the Directory panel. You can hide columns by right-clicking the column and deselecting it. Using Shortcuts with Directories (iNEWS Only) You can save time accessing directories you use often by creating shortcuts to directories in the Directory panel. To create a shortcut to a directory: 1. Navigate to the directory. 2.
Editing Story Text (iNEWS Only) You save the font and point size with the current NRCS settings, but the changes apply only to the local client. Settings on the iNEWS or the ENPS server do not change. To alter the appearance of the text in your story: t Select the text in the Story panel, right-click, and select a font and point size.
Editing Story Text (iNEWS Only) Marking Text (iNEWS Only) You can mark certain text in your story for the purposes of machine code, closed captions, or presenter instructions. Text marked for these functions does not contribute to the read time of a story. For more information, see “Finding the Read Time of a Story” on page 981. • Machine Control — Machine control text appears blue. You can mark text as Machine Control only in a Production Cue text box.
Editing Story Text (iNEWS Only) t Click the Underline (U), the Italic (I), or the Bold (B) button. t Right-click the text, and select Underline, Italic, or Bold. To remove text formatting: 1. Select the formatted text. 2. Do one of the following: t Click the Underline (U), the Italic (I), or the Bold (B) button to deselect it. t Right-click the text, and reselect Underline, Italic, or Bold. To mark text as Normal: 1. Select the text from which you want to remove the formatting. 2.
Editing Story Text (iNEWS Only) To insert a production cue into your scripted story: 1. In the Story panel, move the pointer next to or within the text where you want to place the production cue. 2. Right-click, and select Insert Production Cue. A blue asterisk marker appears within the Story panel, and a blank box opens in the Production panel. 3. Type the cue information in the text box. To delete a production cue: 1. Select the Production Cue marker in the Story panel. 2.
Editing Story Text (iNEWS Only) Example of a loaded cue. The clip icon and clip name appear in a Production Cue text box (left), and a Production Cue marker appears in the Story panel (right). To view a head frame of a loaded cue: t Right-click the clip icon in the Production Cue text box and select Show HeadFrames. To change the size of the head frame, do one of the following: t Select Edit > Enlarge HeadFrames or Edit > Reduce HeadFrames.
Finding the Read Time of a Story Finding the Read Time of a Story The NRCS tool calculates the read time of a story by using the number of words in the story and the read rate in words per minute (wpm) of the presenter. The default wpm rate is 180, but it can differ according to the settings for a particular story. n n • (iNEWS) The Presenter text box in the story form determines the read rate. • (ENPS) The presenter and read rate can be included as production cues.
Sequences and Stories Sequences and Stories The NRCS tool lets you create a new sequence with a length that corresponds to a particular story. This feature makes it very easy to edit in shots and to create a sequence quickly according to the duration of the story. n (iNEWS) The Tape-Time text box in the story form of the NRCS tool corresponds to duration in Media Composer’s Timeline. (ENPS) The first MOS media item in the story determines the sequence duration.
Sequences and Stories (iNEWS) If you select a story from the Directory panel, Media Composer creates a sequence even if the Tape-Time text box is blank or zero. If the Tape-Time text box for the story is blank, the duration of the sequence defaults to 30 seconds. If the Tape-Time text box is set to 0:00, the duration of the sequence created is 0 seconds. (ENPS) The new sequence is built from the first media item in the story.
Associating a Sequence with a Story You can create a sequence longer or shorter than the actual read time of the story. Setting Timeline IN and OUT Points Based on Story Timing The NRCS tool can use its calculated story timing to set IN and OUT points in the sequence loaded in the Timeline. To set IN and OUT points based on the story timing: 1. Load the appropriate sequence in the Timeline. 2. Select a portion of the text in the Story panel.
Adjusting the Story Timing (iNEWS Only) Before you associate a sequence with a story, you must use the NRCS tool to connect to either an iNEWS or an ENPS database. You can use any sequence available to your Avid system, including those stored remotely and accessed from the Interplay window. To associate a sequence with a story: 1. Open your story. For information on opening stories in the NRCS tool, see “Opening a Story” on page 974. 2. Open the bin or Interplay folder that holds your sequence. 3.
Adjusting the Story Timing (iNEWS Only) To add a cue to the text that assigns a specific story time: 1. In the Story panel, right-click where you want to add a Time Marker cue, and select Insert Time Marker. The Time Marker dialog box opens. 2. Type the time you want to assign to that point in the text. 3. Click OK. A Time Marker cue appears in the story text, and a corresponding production cue appears with an equal sign (=) and the specified time value.
Using Associated Sequences Using Associated Sequences The NRCS tool lets you locate sequences associated with NRCS stories or, conversely, to locate stories from their associated sequences. This makes it easier to find stories on your iNEWS or ENPS server (for example, when the tape ID is unknown) or to load sequences for NRCS scripts directly into the Timeline. n (iNEWS) Only sequences created with the NRCS tool and which have valid identifiers in the NrcsID bin column can be associated with a story.
Using the Post to Web Feature Using the Post to Web Feature You can use the NRCS tool to generate a hypertext version of your iNEWS or ENPS story for viewing on the World Wide Web. The Post to Web feature helps you to create Internet content directly from a single script rather than requiring the production of dual content, one for broadcast and one for the Web.
Using the Post to Web Feature t Type the text of your story in the Story text box. Linking Clips for Post to Web Post to Web lets you link additional clips to the text of your story for inclusion in a Web page. (iNEWS only) When you post a story to the Web, loaded cues in the iNEWS story become links to clips stored on your Web server. However, you might have other footage for your story that you want to add for viewing on the Web.
Using the Post to Web Feature The selected text is highlighted in blue and becomes a link to the clip. The Link submenu in the Post to Web dialog box t Click a clip and drag it from an open bin to the Story text box. Post to Web creates a link wherever you place the selection cursor. If you selected text in the Story text box before dragging in the clip, the tool highlights the selected text and creates a link. If you did not select any text, the tool inserts the name of the clip and creates a link.
Using the Post to Web Feature n • < ! - - VIDEOFORMAT - - > • < ! - - HYPERCLIP - - > Do not include HTML comment tags within the format elements. These tags use placeholders to insert text and media files in the Web page created when you post a story to the Web. Some tags allow for using text from labeled fields in the Post to Web template. You can add optional formatting elements such as HTML tags (for example, table tags), which can precede or follow the placeholders.
Using the Post to Web Feature Text tag in a template ($TEXT$ is the placeholder for text): The Label (left) and the user-supplied text (right) that replaces the $TEXT$ placeholder The HTML code showing the Post to Web output: Wetlands Controversy Using the Clip Tag in Post to Web Templates You use the Clip tag to create links to media files stored on a server.
Using the Post to Web Feature The following examples show a Clip tag as it appears in a template, in the template fields in the Post To Web dialog box, and in the HTML code generated by the template.
Using the Post to Web Feature The following example shows a Videoformat tag as it appears in a template, in the Post field in the Post To Web dialog box, and in the HTML code generated by the template.
Using the Post to Web Feature n If you do not include any format elements, $URL$ is assumed—for example, creates a link to a clip without providing any formatting or other information for the clip. The following examples show a Hyperclip tag as it appears in a template and in the HTML code generated by the template. Clip tag in a template ($URL$ is the placeholder for a URL reference to a clip and $TEXT$ is the placeholder for text):
