2020.6
Table Of Contents
- Title Page
- Contents
- Editing Overview
- Getting Started
- Turning on Your Equipment
- Using the Keyboard for Navigating in Dialog Boxes and Menus
- Using the Mouse Scroll Wheel for Navigating
- Customizing Mouse Functions
- Optimum Performance (Windows)
- Optimum Performance (Mac)
- Antivirus Applications
- Starting Media Composer (Windows)
- Starting Media Composer (Mac)
- Avid Link
- Quitting and Turning Off Equipment
- Working with Projects
- Project Management Window
- Creating a New Project
- Avid Projects and Avid Users Folders
- Opening and Closing Existing Projects
- Deleting a Project
- Changing Project and User Names
- Backing Up Your Project Information
- Avid Attic Folder
- Retrieving Files from the Avid Attic Folder (Windows)
- Retrieving Files from the Avid Attic Folder (Mac)
- Windows and Panels in the User Interface
- The User Interface
- Customizing the Avid User Interface
- Changing Interface Component Colors
- Changing Font and Point Size
- Overriding Bin Font and Font Size
- Changing Timecode Window Brightness
- Changing Timeline and Viewers Brightness
- Blank Panel
- Multiple Monitor Support
- Using Workspaces
- Workspace Toolbar
- Linking User Settings and Workspaces
- Assigning a Workspace or Bin Layout Button
- Using Bin Layouts
- Using Tools
- Using the Tools Menu
- Using Tabs
- Using a Deck Controller
- Deck Controller Window Reference
- The Command Palette
- Understanding Button Mapping
- Mapping User-Selectable Buttons
- Mapping Menu Commands
- Mapping Bin Fast Menu Commands to the Keyboard
- Activating Commands from the Command Palette
- Using the Avid Calculator
- Using The Console Window
- Accessing Hardware Information
- Viewing Project Statistics
- Statistics File Structure and Layout
- Importing the Statistics File into a Spreadsheet
- Displaying Disk Space Statistics
- Using the Configuration Tab
- Logging
- Avid Log Specifications
- Global Titles
- Column Titles
- Data Entries
- Sample Avid Log
- Creating an Avid Log
- Double-Checking Log Files
- Logging Directly into a Bin
- Logging with Avid-Controlled Decks
- Pausing the Deck While Logging
- Using a Memory Mark When Logging
- Logging with Non-Avid-Controlled Decks
- Understanding the Pulldown Phase
- Setting the Pulldown Phase
- Film-Related Log Information
- Displaying Film Columns
- Entering Pulldown Information
- Determining the Pulldown Phase
- Modifying the Pulldown Phase Before Capturing
- Entering Frames-per-Second Rates for PAL Transfers
- Entering Key Numbers
- Entering Additional Timecodes
- Entering Ink Numbers
- Exporting Shot Log Files
- Preparing for Capture
- Logging and Shot Logs
- Importing Shot Log Files
- Preparing the Hardware for Capture
- Establishing Sync for Audio-Only Input
- Selecting Settings for Capture
- Selecting Video Resolutions and Media Drives
- Disabling Video Resolutions
- Setting Drive Filtering
- Selecting Settings for Preroll Method and for Capturing Across Timecode Breaks
- Capturing to Multiple Media Files
- General Settings for Capture
- Capture-Related Settings for Film and 24p Projects
- Configuring Decks
- Configuring a Deck or Multiple Decks
- Deleting Deck Configuration Elements
- Understanding Timecode
- Connecting a DV Device
- Setting Up the Capture Tool
- Opening the Capture Tool
- Selecting a Deck in the Capture Tool
- Activating Playback from an Available Deck
- Selecting a Source Tape
- Selecting Source Tracks and Audio Channels
- Setting the Video and Audio Input in the Capture Tool
- Detecting a Valid or Locked Sync Signal
- Setting the Pulldown Switch
- Film Project Pulldown and Transfer Settings
- Capturing Digital Audio in Film Projects
- Selecting a Resolution in the Capture Tool
- Selecting a Target Bin
- Selecting the Target Drives
- Selecting a Custom Preroll
- Preparing to Capture Audio
- Audio Project Settings for Capture
- Selecting the Audio Sample Rate and Controlling Audio Sample Rate Conversion
- Selecting the Audio File Format
- Selecting the Audio Input Source
- Configuring the Sound Card (Software-Only Systems)
- Understanding the Audio Tool
- Opening the Audio Tool
- Adjusting Audio Input Levels
- Creating Tone Media
- Using the Passthrough Mix Tool
- Using the Console Window to Check Audio Levels
- Preparing to Capture Video
- Opening the Video Input Tool
- Using the Factory Preset Buttons in the Video Input Tool
- Calibrating Video Input
- Luminance Settings for Video Input
- Limitations When Using Consumer Decks or Decks Without Time-Base Correctors
- Saving Video Input Settings
- Adjusting Video Levels for Tapes Without Color Bars
- Capture Preparations Check List
- Capturing Media
- Capturing and Logging at the Same Time
- Naming Clips and Adding Comments in the Capture Tool
- Capturing by Setting Both Marks
- Capturing by Setting Only One Mark
- Capturing On-the-Fly
- Preparing to Autocapture
- Autocapturing
- Capturing from a Non-Avid-Controlled Deck
- Capturing with Time-of-Day Timecode
- Capturing Directly from a DV Device
- Capturing DV 50, DVCPRO HD, or HDV Media
- Understanding DV Capture Offset
- Capturing DV Material with Offset
- Capturing Audio from a Music CD
- Frame Chase Capture
- Understanding Frame Chase Capture
- Enabling Frame Chase Capture
- Requirements and Guidelines for Frame Chase Capture
- Batch Capturing from Logged Clips
- Preparing to Batch Capture
- Batch Capturing Clips
- Recapturing and Decomposing
- Understanding Recapturing
- Understanding Decompose and Expert Decompose
- Decomposing Sequences
- Using Expert Decompose
- Recapturing a Sequence Without Using Decompose
- Alternate Source Capture
- Using Capture Function Keys
- Handling Errors During the Capture Process
- Creating Subclips While Capturing
- Adding Markers On-the-Fly While Capturing
- Naming a New Tape from the Keyboard While Capturing
- Controlling Decks from the Keyboard
- Adding Extra Text Fields in the Capture Tool
- Ejecting Tapes with a Button or Key
- Delaying Audio During Capture
- Working in Quick Record Mode
- Capturing in Satellite Mode or No Device Control
- Scheduling a Capture Session
- Capturing to the Timeline
- Capturing Video Without Pulldown into a 24p NTSC Project
- Remote Play, Capture, and Punch-In
- Selecting Remote Play and Capture Settings
- Enabling Remote Capture
- Enabling Remote Play
- Setting up Your System for Remote Punch-In
- Relinking Clips by Key Number
- Modifying the Pulldown Phase After Capturing
- DV and HDV Scene Extraction
- Using the Panasonic VariCam
- Importing Files
- Preparing to Import Files
- Creating and Modifying Import Settings
- Importing Media Files
- Importing with Multichannel Audio
- Adjusting Gain Before Importing Audio Files
- Sample Rate Conversion and Audio Import
- Setting Sample Rate Conversion Options Before Importing Audio Files
- Photoshop Graphics Import
- Support for Multilayered Photoshop Graphics Import
- Importing Photoshop Files
- Digital Bars and Tone
- Importing Color Bars and Other Test Patterns
- Setting XDCAM Import Options
- Importing XDCAM Media
- Importing XDCAM EX Media
- Automatically Importing Proxy Media from an XDCAM Device
- Copying XDCAM Proxy Media to a Local Drive or a Server
- Manually Importing XDCAM Media from the XDCAM Disk
- Importing Essence Marks as Markers in XDCAM Media
- Editing XDCAM Proxy Media
- Batch Importing High-Resolution XDCAM Media from the XDCAM Disk
- Editing and Finishing High-Resolution XDCAM Media
- Importing Sequences from Pro Tools through Interplay
- Importing Scenarist Closed Caption Files
- Using the Drag-and-Drop Method to Import Files
- Reimporting Files
- Batch Import Dialog Box
- Sequence Report for AAF Imports
- Working with Bins
- The Bin Container
- Project Bin Container
- Object Icons in Bins
- Bin Map
- Bin Views
- Using Text View
- Sorting in Bins
- Sorting Clips and Sequences
- Understanding Bin Views
- Saving a Custom Bin View
- Using Frame View
- Using Script View
- Bin Procedures
- Using Bin Tabs
- Using the Bin Fast Menu
- Selecting Clips and Sequences
- Duplicating, Copying, and Moving Clips and Sequences
- Copying Clips and Sequences
- Deleting Items from a Bin
- Changing the Bin Background Color
- Assigning Colors to Objects in a Bin
- Accessing the Custom Color Picker for Color Palettes
- Locking and Unlocking Items in a Bin
- Selecting Offline Items in a Bin
- Selecting Media Relatives for an Object in a Bin
- Selecting Sources Used by an Object in a Bin
- Selecting Unreferenced Items in a Bin
- Displaying Faster Thumbnails
- Working with Bin Columns
- Moving, Aligning, and Deleting Bin Columns
- Duplicating Bin Columns with Timecode Information
- Adding Customized Columns to a Bin
- Changing a Custom Bin Column Heading
- Applying the Same Text to a Column for Multiple Items
- Adding a Metadata Bin Column Heading
- Moving Within Column Cells
- Bin Left Lock
- Copying Information Between Columns
- Displaying Timecodes in a 24p or 25p Project
- Adding Timecode Columns to a Bin or the Media Tool
- Frame Counting for Timecodes
- Adding Timecode Values to the Timecode Columns
- Modifying Clip Information
- Bin Column Headings
- Modifying Data in Bins
- Modify Command Options
- Copying Information from Another Cell in a Custom Bin Column
- Applying the Same Text to a Custom Column for Multiple Items
- Bulk Edit
- Working with Film Information in Bins
- Film Scene Workflow
- Tracking Frames Based on File Name
- Selecting a Film Gauge
- Tracking 3-Perf Counts
- Selecting an Edgecode Type
- Creating a Storyboard
- Setting the Bin Display
- Sifting Clips and Sequences
- Understanding Sifting Timecodes or Keycode Ranges
- Sifting Timecodes or Keycode Ranges
- Working with Restricted Material
- Printing Bins
- Favorite Bins
- Filtering Items in the Bin
- Using the Bin Container
- Viewing a List of Bins
- Creating a New Bin
- Renaming a Bin
- Opening and Closing Bins
- Show Bin in Sidebar
- Displaying Folders of Bins in the Bins List
- Creating a Folder
- Deleting a Bin or Folder
- Viewing and Emptying the Trash
- Saving Bins
- Saving Bins Manually
- Filtering Bins in the Bin Container
- Working with Bins and Projects in an Avid Shared Storage Environment
- Sharing Bins and Projects in Avid Shared Storage
- Opening a Shared Project
- Working with Locks and Shared Bins
- Refreshing Locked Bins
- Considerations for Working with Shared Bins and Projects
- Drive Filtering in Networked Workflows
- Managing Bins and Memory
- Setting the Media Cache
- The Inspector
- Linking File-Based Media
- Viewing the Installed Plug-Ins
- Avid Universal Media Engine (UME)
- Automatically Linking Media from a Third Party Device
- Linking File Based Media through the Source Browser
- Source Browser Overview
- Previewing File Based Media
- Collapse and Expand Source Browser
- Linking Files to a Bin
- Linking a Volume to a Bin
- Linking to QuickTime Media
- Relinking to Linked QuickTime Files
- Linking to AVCHD Media
- Linking to MXF Media
- Linking to RED Media
- Preparing your RED Clip for Transcode, Mixdown, or Render
- Linking to DPX Media
- Linking to OpenEXR
- Linking to an AS-02 Bundle
- Linking to an AS-11 Sequence
- Linking to Broadcast Wave and AIFF Files
- Linking with Multichannel Audio
- Linking Clips with Ancillary Data
- Managing Media Files
- Working with Media Files in an Avid Interplay Environment
- Understanding Unmounting Drives
- Unmounting Drives
- Using the Media Tool
- Basic Media Tool Features
- Using the Media Tool in an Avid Interplay Environment
- Opening the Media Tool
- Deleting Media Files with the Media Tool
- Consolidating Media
- Using the Consolidate Command
- Using the Transcode Command
- Background Consolidate and Transcode
- The Background Queue Window
- Using Background Consolidate and Transcode
- Loading the Media Database
- Refreshing Media Directories
- Deleting Unreferenced Clips and Media
- Backing Up Media Files
- Finding a Related Media File
- Relinking Media Files
- Relinking by Resolution
- Relinking to Selected Clips
- Relinking Tape and File Based Media
- Relinking Consolidated Clips
- Relinking Moved Projects
- Unlinking Media Files
- Sequence and Clip Information Summary
- Creating a Summary of Effects and Source Information
- Summary Information Options
- Creating Dynamic Media Folders
- Starting and Stopping Avid Background Services
- Viewing and Marking Footage
- Viewing Methods
- Customizing the Composer Window and Monitors
- Resizing the Composer Window and Monitors
- Setting the Source/Record Highlight Colors
- Displaying a Second Row of Buttons
- Displaying Tracking Information
- Tracking Format Options
- Using the Info Window
- Using the Timecode Window
- Playing Video to the Client Monitor
- Activating and Deactivating the Client Monitor Display
- Selecting the Video Display Settings
- Playing Video to a Full-Screen Monitor
- Adjusting the Play Delay Offset
- Using the Tool Palette
- Playing Selected Clips in a Loop
- Loading and Clearing Footage
- Loading Clips or Sequences into Monitors
- Switching Between Loaded Clips
- Clearing Clips from Monitors
- Controlling Playback
- Using Position Bars and Position Indicators
- Playback Control Buttons
- Stepping Forward and Backward by Field
- Playback Control Using the Keyboard
- Playing Footage with the J-K-L Keys (Three-Button Play)
- Using Dynamic Play Forward and Dynamic Play Reverse for Playback
- Using the Mouse for Playback
- Video Quality Options for Playback
- Setting the Video Quality for Playback
- Marking and Subcataloging Footage
- Marking IN and OUT Points
- Marking an Entire Clip or Segment
- Creating Subclips
- Creating Subsequences
- Subclips and Audio Sync for 24p and 25p Projects
- Marking Audio Clips
- Using Markers
- Suggested Uses for Markers
- Adding Markers While Editing
- Adding Spanned Markers While Editing
- Adding Markers On-the-Fly while Playing
- Finding Markers
- Finding Marker Comment Text
- Editing Marker Information
- Copying Markers from Source Clips
- Marking an Area Using Markers
- Moving to the Previous or Next Marker
- Deleting Markers
- Using the Markers Window
- Viewing Markers in the Markers Window
- Working in the Markers Window
- Exporting and Importing Markers
- Creating a Marker Text (.txt) File
- Copying and Pasting Markers Using the Markers Window
- Printing the Contents of the Markers Window
- Disabling the Marker Edit Window
- Finding Frames, Clips, and Bins
- Using Timecode to Find a Frame
- Searching for a Clip or Sequence with Text Find
- Setting Font and Font Size in the Find Window
- Searching for Items in the Timeline
- Setting the Location of the SearchData folder
- Using Match Frame
- Performing a Reverse Match Frame
- Selecting Tracks for Matching Frames
- Finding a Bin
- Locating a Master Clip from a Subclip in a Sequence
- Finding a Frame
- Sequence and Clip Information Summary
- Creating a Summary of Effects and Source Information
- Summary Information Options
- PhraseFind
- Creating and Editing Sequences
- Entering Source/Record Mode
- Creating a New Sequence
- Changing the Name and Timecode for a Sequence
- Track Display for New Sequences
- User Preferences for Creating Tracks
- Adding Filler
- Making a First Edit
- Creating an Instant Rough Cut
- Undoing or Redoing Edits
- Editing Additional Clips into the Sequence
- Performing an Insert or Splice-in Edit
- Performing an Overwrite Edit
- Performing a Replace Edit
- Enabling Single-Mark Editing
- Mixing Frame Rates and Field Motion Types
- How Media Composer Handles Mixed Rate Clips
- Viewing Mixed Rate Clips in the Timeline
- Viewing and Adjusting Motion Adapter Parameters
- Modifying the Field Motion Attribute for a Clip
- Considerations When Working with Mixed Rate Clips
- Mixing Frame Sizes and Aspect Ratios
- How Media Composer Reformats Clips in Sequences
- Changing the Aspect Ratio for a Project
- Modifying the Reformat Attribute for a Clip
- Reformatting Options Reference
- Refreshing Sequences to Use Current Clip Attributes
- Lifting, Extracting, and Copying Material
- Using the Avid Clipboard
- Strip Silence
- Adding Notes to Clips in the Timeline
- Playing Back a Sequence
- Playback Performance Tips
- Setting Video Memory and Video Frame Cache
- Playing a Limited Duration of a Sequence
- Understanding Sync Breaks
- Fixing Sync Breaks
- Understanding Sync Lock
- Syncing with Tail Leader
- Syncing with Markers
- Using Add Edit When Trimming
- Ganging Footage in Monitors
- Sync Point Editing
- Autosyncing Clips
- Understanding Autosyncing
- Creating an Autosynced Subclip
- Understanding AutoSequence
- Adding Audio or Video to Original Videotape Using AutoSequence
- Resyncing Subframe Audio
- Resyncing Audio for a Selected Subclip
- Working with Phantom Marks
- Creating Video and Audio Leaders
- Performing Audio Slip
- Performing an Insert Edit to an Exported Sequence
- Performing an OP1a MXF Mixdown
- 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
- Editing a Script
- 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 Script Window
- Indicating Off-Screen Dialog in a Script
- Using Color Indicators in the Script Window
- Script Marks
- Placing Script Marks Manually
- Using Real-Time Screening and Marking
- Marking with ScriptSync
- Loading and Playing Marked Segments
- Moving or Deleting a Script Mark
- Finding Clips and Script
- Editing From the Script Window
- Assembling a Rough Cut From the Script Window
- Splicing a Script Range
- Setting Pre-Roll for Script Window
- Refreshing Locked Scripts
- Using the Timeline
- Customizing Timeline Views
- Using the Timeline Fast Menu
- Timeline Fast Menu Options
- Enlarging and Reducing Timeline Tracks
- Moving Timeline Tracks
- Displaying Clip Colors in the Timeline
- Changing the Track Color
- Assigning Local Colors to Clips in the Timeline
- Clip Color for Proxy Clips in Timeline
- Displaying Timecode Tracks in the Timeline
- Showing Markers in the Timeline
- Showing Adapter Icons in the Timeline
- Changing the Background Color the Timeline
- Setting the Playback Option for the Timeline
- Using the Full-Screen Timeline
- The Track Control Panel
- Using the Track Control Panel
- Displaying Source Material in the Timeline
- Displaying the Timeline Top Toolbar
- Managing Customized Timeline Views
- Using Timeline View Buttons
- Customizable Buttons in the Timeline
- Mapping Buttons at the Bottom of the Timeline
- Timeline Sequence Map
- Navigating in the Timeline
- Switching to the Timeline Position Bar
- Zooming and Focusing in the Timeline
- Vertical Scrolling in the Timeline
- Controlling Movement in the Timeline
- Working with Segments
- Guidelines for Segment Editing
- Selecting and Deselecting Segments
- Live Dragging in the Timeline
- Move Clips Up and Down in the Timeline
- Creating a Sequence Based on Selection
- Linked Clips
- Selecting Linked Clips
- Selecting Multiple Segments
- Excluding Filler when Selecting Multiple Segments
- Selecting Filler with Segment Tools
- Four-Frame Display
- Suppressing Four-Frame Display
- Maintaining Sync with Segment Edits
- Moving Segments with Drag and Drop
- Copying and Dragging Segments
- Dragging Nonadjacent Segments
- Deleting Segments
- Marking Segments in the Timeline
- Cutting, Copying, and Pasting in the Timeline
- Setting the Default Segment Edit Tool
- Enabling Only One Segment Edit Tool at a Time
- Bin Editing into the Timeline
- Working with Multiple Tracks
- Understanding the Track Selector Panel
- Selecting Tracks
- Understanding Track Monitoring
- Monitoring and Soloing Tracks
- Patching Tracks
- Performing an Alternate Edit
- Muting Individual Clips in the Timeline
- Selecting Muted Clips
- Disabling a Video Track
- Understanding Locking and Sync Locking
- Locking and Sync Locking Tracks
- Adding and Deleting Tracks
- Splitting Stereo Tracks to Mono Tracks
- Backtiming Edits
- In to Out Highlighting in the Timeline
- Editing in Heads or Heads Tails View
- Performing a Quick Edit Using the Top and Tail Commands
- Working with Add Edits (Match Frames)
- Dupe Detection
- Activating Dupe Detection
- Methods for Changing Handle Length in Dupe Detection
- Adjusting Handle Length in Dupe Detection
- Editing with the Film Track
- Tracking Color Frame Shifts
- Finding Black Holes and Flash Frames
- Printing the Timeline
- Activating and Deactivating I/O Hardware
- Activating and Deactivating I/O Hardware
- Support for NewTek® NDI Video over IP
- Searching for Text in the Timeline
- Working with Trim Edits
- Trimming with the Timeline Palette
- Understanding Trim Displays
- Setting Small Trim Display
- Trim Settings Overview
- Timeline Trim States
- Selecting Trim Sides
- Selecting Video Tracks for Trimming
- Selecting Additional Transitions
- Soloing Audio while Trimming
- Overwrite Trimming
- Ripple Trimming
- Dual-Roller Trimming
- Trimming with Sync Locks On
- Refining Trims
- Reviewing Trim Edits
- Trimming with the J-K-L Keys
- Trimming On-the-Fly
- End of Trim Indicators
- Using Dual-Image Playback During Trims
- Trimming During a Playback Loop
- Creating Overlap Edits
- Extending an Edit
- Maintaining Sync While Trimming
- Slipping or Sliding Segments
- Selecting Segments for Slip or Slide Trimming
- Performing a Slip or Slide Trim
- Trimming in Two Directions
- Using the Transition Corner Display
- Working with Audio
- Overview of Audio Tools
- Accessing Audio Effect Tools
- Using Audio Timecode
- Working with Multichannel Audio Tracks
- Displaying Track Formats in Bins
- Modifying Track Formats in Bins
- The Track Control Panel
- Using the Track Control Panel
- Soloing Audio Tracks
- Making Tracks Inactive
- Using Audio Scrub
- Selecting Tracks for Audio Scrubbing
- Performing Smooth Audio Scrub
- Adjusting Digital Scrub Parameters
- Performing Digital Audio Scrub
- Audio Displays in the Timeline
- Displaying Audio Waveforms
- Displaying Volume and Pan Values
- Identifying Sample Rates by Color
- Using Audio Meters in the Timeline
- Adjusting Volume
- Displaying Audio Formats in Bins
- Working with Surround Sound Audio
- Surround Mixing
- Surround Monitoring
- Assigning Surround Sound Mix Output
- Adjusting the Play Buffer Size for Audio (Software-only Models)
- Using the Audio Mixer Tool
- Accessing the Audio Mixer and Audio Mixer Modes
- Audio Mixer Tool Controls
- Resizing the Audio Mixer Tool
- Audio Grouping
- Track Selection in the Audio Mixer Tool and in the Timeline
- Using the Track Solo and Track Mute Buttons
- Interpreting Position Indicator Lights
- Rendering and Unrendering Order for Audio Effects
- Audio Volume Staging and an Audio Editing Workflow
- Using Clip Volume and Pan Mode
- Adjusting Clip Volume and Pan for Audio Tracks
- Surround Sound Pan Controls
- Using the Pan Grid for Surround Panning
- Using the Advanced Panner for Surround Sound Panning
- Using the Center Percentage and LFE Controls
- Audio Mixer Fast Menu: Clip Volume and Pan Mode
- Bypassing Existing Volume Settings
- Adjusting Volume While Playing a Clip Volume Effect
- Improving Response Time When Adjusting Volume
- Modifying How Media Composer Interprets Pan
- Using the Center Pan Command
- Isolating Clip Portions for Audio Adjustment
- Using Volume and Pan Automation
- Using Volume and Pan Automation in the Timeline
- Volume and Pan Automation Mode
- Understanding Volume or Pan Automation Recording
- Using the Audio Mixer Tool for Volume and Pan Automation
- Audio Mixer Tool Fast Menu: Volume and Pan Automation Mode
- Using Keyboard Shortcuts with Audio Keyframes
- Copying, Pasting and Moving Audio Keyframes
- Creating a New Keyframe
- Copy and Paste Individual Keyframes
- Copy and Paste by Lassoing an Area of Audio Keyframes
- Copy and Paste a Whole Region or Marked Region of Audio Keyframes
- Moving Keyframes in the Timeline
- Removing Hidden Keyframes
- Using Live Mix Mode
- Entering Live Mix Mode
- Using Live Mix Mode with an External Controller
- Using Live Mix Mode Without an External Controller
- Switching Between Live Mix Mode and Other Audio Mixer Modes
- Audio Mixer Tool Fast Menu: Live Mix Mode
- Live Mix Mode Example
- Fading and Dipping Audio
- Adjusting Audio Clip Gain in the Timeline
- Audio Sample Rate Conversion
- Changing the Audio Sample Rate for Sequences and Audio Clips
- Mixing Down Audio Tracks
- Mixing Down Multiple Audio Tracks
- Splitting Multichannel Tracks to Mono Tracks
- Using the Audio EQ Tool
- Audio EQ Tool Features
- Applying Audio EQ Effects
- Saving Audio EQ Effects
- Removing Audio EQ Effects with the Fast Menu
- Removing Audio EQ Effects with the Remove Effect Button
- Audio EQ Examples
- Using Audio EQ Templates
- Adjusting EQ While Playing an Audio Effect
- Recording Voice-Over Narration
- Recording Voice-Over Narration Using the Capture Tool
- Audio Punch-in Tool Features
- Audio Punch-in Tool Scenarios
- Recording Voice-Over Narration Using Audio Punch-in
- Extended Audio Punch-In
- Monitoring Previously Recorded Tracks While Recording Voice-Over Narration
- Audio Punch-In Support for Open I/O Devices
- Using Peak Hold While Recording Voice-Over Narration
- Using Automatic Voice-Over
- Audio Ducking
- Audio Grouping
- Using External Audio Devices
- Configuring an External Controller
- Configuring External Controller Settings
- Using an External Fader Controller or Mixer to Record Volume Automation
- Adjusting the Volume or Pan of Individual Keyframes
- Using the 002 and the Command|8
- Using the Command|8 with Media Composer
- Configuring the Command|8
- Mapping Buttons and Menu Commands for the Avid 002 or Command|8
- Mapping Controller Menu Commands for the 002 or Command|8
- Using 002 or Command|8 Buttons to Change Focus in Media Composer Interface
- Using a Foot Pedal as a Foot Switch with the 002 or Command|8
- Switching Between the 002 and Command|8
- Using a 002 or Command|8 to Record Pan
- Using the Latch Mode Feature on the 002 and Command|8
- Using Mbox Family Audio Devices
- Configuring the Mbox Device
- Setting Up the Mbox Pro for Passthrough Monitoring (Windows Only)
- Configuring USB-to-MIDI Software for External Controllers
- Testing External Fader Controller Connections
- Switching Between MIDI Connections on the USB-to-MIDI Converter
- Troubleshooting MIDI Connections
- Avid HD Native and Pro Tools|HD Hardware Configuration for Media Composer
- Configuring the ASIO Driver (Windows)
- Configuring the Core Audio Driver (Macintosh)
- Using a GPI Device with the Audio Punch-In Tool
- Understanding GPI Trigger Signals
- GPI Signal Sequences
- Example of Linking GPI Actions to Trigger Signals
- Connecting a V-LAN VLXi Controller and GPI
- Configuring a V-LAN VLXi Controller and GPI
- Working with GPI Settings
- GPI Settings Options
- Using Avid Media Controllers
- Installing EuControl Software
- Configuring EUCon Settings in Media Composer
- Configuring Ethernet Connections (Macintosh)
- Setting the IP Address
- Configuring EuControl Settings
- Avid Media Controller Button Mappings
- Moving Through Footage with Avid Media Controllers
- Volume Automation and Pan on Avid Media Controllers
- Recording Volume Automation and Pan with Artist Series Controllers
- Using the Latch Mode Feature on Artist Series Controllers
- Using the Artist Series Controller for Editing Media
- Controller Application Sets
- Using Audio Plug-Ins
- Audio Effects Plug-Ins Installation
- Audio Track Effect Plug-Ins
- Inserting an Audio Track Effect Plug-In on a Track in the Timeline
- Editing an Audio Track Effect Plug-In on a Track in the Timeline
- Moving and Copying Audio Track Effect Inserts
- Ordering Audio Track Effect Inserts on a Track
- Removing Audio Track Effect Inserts on a Track
- Using Audio Track Effect Templates
- Avid AudioSuite Plug-Ins
- Using Avid AudioSuite Plug-Ins
- Applying an AudioSuite Plug-in to a Clip in the Timeline
- Common Buttons in the AudioSuite Plug-In Dialog Box
- AudioSuite Fast Menu
- Real-time EQ and AudioSuite Effects
- Rendering AudioSuite Plug-in Effects
- Creating New Master Clips with AudioSuite Plug-Ins
- AudioSuite Controls for Creating New Master Clips
- Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins
- Using AudioSuite Plug-ins to Create New Master Clips
- Using AudioSuite Effect Templates
- Using AudioSuite Plug-Ins in Stereo
- AudioSuite Plug-in Limitations
- Troubleshooting AudioSuite Plug-Ins
- Core Avid Audio Plug-Ins
- AIR Chorus (Audio Track Effect)
- AIR Distortion (Audio Track Effect)
- AIR Dynamic Delay (Audio Track Effect)
- AIR Enhancer (Audio Track Effect)
- AIR Ensemble (Audio Track Effect)
- AIR Filter Gate (Audio Track Effect)
- AIR Flanger (Audio Track Effect)
- AIR Frequency Shifter (Audio Track Effect)
- AIR Fuzz-Wah (Audio Track Effect)
- AIR Kill EQ (Audio Track Effect)
- AIR Lo Fi (Audio Track Effect)
- AIR Multi-Chorus (Audio Track Effect)
- AIR Multi-Delay (Audio Track Effect)
- AIR Non-Linear Reverb (Audio Track Effect)
- AIR Phaser (Audio Track Effect)
- AIR Reverb (Audio Track Effect)
- AIR Spring Reverb (Audio Track Effect)
- AIR Stereo Width (Audio Track Effect)
- AIR Talkbox (Audio Track Effect)
- AIR Vintage Filter (Audio Track Effect)
- Bomb Factory BF76 (Audio Track Effect and AudioSuite)
- Channel Strip (Audio Track Effect and AudioSuite)
- Compressor/Limiter III — Dynamics III (Audio Track Effect and AudioSuite)
- D-Verb (Audio Track Effect and AudioSuite)
- DC Offset Removal (AudioSuite)
- DeEsser III — Dynamics III (Audio Track Effect and AudioSuite)
- Dither (Audio Track Effect)
- Down Mixer (Audio Track Effect)
- Duplicate (AudioSuite)
- Eleven Free (Audio Track Effect and AudioSuite)
- EQ (AudioSuite)
- Expander/Gate III — Dynamics III (Audio Track Effect and AudioSuite)
- Funk Logic Mastererizer (AudioSuite)
- Gain (AudioSuite)
- Invert (AudioSuite)
- Lo-Fi Plug-In (Audio Track Effect and AudioSuite)
- Maxim (Audio Track Effect and AudioSuite)
- Mod Delay III (Audio Track Effect and AudioSuite)
- Normalize (AudioSuite)
- Pitch Shift (AudioSuite)
- Pow-r Dither (Audio Track Effect)
- Recti-Fi (Audio Track Effect and AudioSuite)
- Reverse (AudioSuite)
- SansAmp PSA-1 (Audio Track Effect and AudioSuite)
- Sci-Fi (Audio Track Effect and AudioSuite)
- Signal Generator (Audio Track Effect and AudioSuite)
- Time Compression Expansion (AudioSuite)
- Time Shift (AudioSuite)
- Trim (Audio Track Effect)
- Exporting Frames, Clips, or Sequences
- Understanding Export
- Preparing to Export a Sequence
- Exporting With the Send To Templates
- Send To Templates Reference
- Creating a Custom Send To Template for Exporting to Third-Party Applications
- Exporting With the Export Command or the Drag-and- Drop Method
- Customizing Export Settings
- Guidelines for Exporting AAF Files
- Exporting QuickTime Movies
- Installing or Copying the Avid Codecs for QuickTime on Other Systems
- Exporting from a Third-Party QuickTime or AVI Application
- Exporting as Windows Media (Windows Only)
- Creating a Custom Profile for Windows Media Export (Windows Only)
- Exporting to XDCAM
- Exporting a Simplified AAF
- Exporting XDCAM OP1a Media
- Export OP1a MXF file as Panasonic AVC Long-GOP (H.264)
- Exporting MXF OP1a
- Exporting DNxHR Media as MXF OP1a
- Exporting as DPX
- Exporting as AS-11
- MOV Export
- OpenEXR Export
- Export with Mask Margins
- Exporting Your Clip or Sequence to a P2 Card
- Creating an AS-02 Export Volume
- Creating an Export Volume
- Moving Assets to an Export Volume
- Committing Assets to an Export Volume
- Archiving the AS-02 Bundle
- Exporting an IMF Package
- Working with Apple ProRes
- Working with BXF Files
- AMA File Export with Media Offline
- Generating Output
- Preparing for Output: Overview
- Selecting the Device for Output
- Selecting the Sync Source for Output
- Sync Options for HD Formats
- Using LTC Timecode for Output
- Adding LTC Out During Preroll
- Selecting a Video Output Signal
- Calibrating for Video Output
- Using the Factory Preset Buttons in the Video Output Tool
- Basic Video Output Calibration
- Using Test Patterns
- Calibrating the System with Passthrough Signals
- Luminance Settings for Video Output
- Adjusting Phase Controls
- Preparing for Converting HD Formats
- Crossconversion and Downconversion Formats
- Considerations for Crossconversion and Downconversion
- Preparing for Audio Output
- Setting the Calibration Tone
- Calibrating Global Output Levels
- Setting Audio Output Options
- Enabling 16-Channel Audio Output
- Embedded Audio and Output Sample Rate Conversion
- Using an XLR Adapter for Consumer-Level Analog Output
- Preparing Record Tapes
- Striping Record Tapes (Recording Black with Timecode)
- Recording Bars and Tone
- Enabling Assemble-Edit Recording
- Using ExpertRender to Prepare Effects for a Digital Cut
- Using the Digital Cut Tool
- Selecting a Deck in the Digital Cut Tool
- Previewing a Digital Cut
- Recording a Digital Cut to Tape (Remote Mode)
- Crash Recording Through Remote Deck Control
- Recording a Digital Cut to Tape (Local Mode)
- Output Mode Resolution Options
- Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects
- Selecting Output Formats for 23.976p, 24p, and 25p Projects
- Output Format Reference for 23.976p, 24p, and 25p Projects
- Selecting the Timecode Format for Output
- Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding
- Indicating the Destination Timecode Rate
- Selecting the Video Pulldown Cadence
- Performing an Insert Edit with Pulldown
- Digital Cuts and Audio
- Changing the Default Pulldown Phase for Sequences
- Understanding DV Digital Cut Delay (or Offset)
- Delaying (Offsetting) the Sequence for a Digital Cut
- Understanding Passthrough
- Using the List Tool
- The List Tool
- Creating a List
- Editing a List
- Viewing the EDL Source List in the Source Table
- Importing an EDL
- Creating a Cut List for Multiple Sequences
- Creating Change Lists Across Multiple Reels
- Appending All Markers to EDLs, Cut Lists, and Change Lists
- Copying Options Between List Types
- Changing the Options
- Using Settings to Save, Recall, and Remove Options
- Special-Purpose Templates
- EDL: List Options
- EDL: Formatting Options
- Cut List: List Options
- Change List: List Options
- Cut List or Change List: Formatting Options
- Cut List and Change List Icons
- Change List Icons
- Bad Clip Icon
- Sample Workflow for Stages of Generating Cut Lists and Change Lists
- Displaying Frame Count Numbers in Cut Lists
- Editing and Troubleshooting EDLs
- Avoiding Problems in EDLs
- Understanding Matchback
- Vertical Blanking Information
- Vertical Blanking Interval Line Ranges
- Displaying and Preserving Vertical Blanking Information
- Editing a Sequence with Vertical Blanking Information
- Effects of Preserving Vertical Blanking Information on Compressed Video Quality
- Preserving HD Closed Captioning and Ancillary Data
- Data Track Method
- Adding a Data Track
- Adding the Active Format Description to the Data Track
- Ancillary Data and AMA
- Moving from Legacy Method to Data Track Method
- Ancillary Data and Avid Editing Functions
- Legacy Method
- Controlling Ancillary Data through a Settings Window - Data Track Method
- Controlling Ancillary Data through a Settings Window - Legacy Method
- Controlling Ancillary Data with a Console Command (Legacy Method only)
- Capturing Ancillary Data with a Data Track
- Performing a Data Mixdown
- Exporting a Sequence with Data Tracks
- Previewing Closed Captioning
- Searching for Closed Captions Text in the Timeline
- Exporting Closed Captions Text
- Multi-Format Workflows in Media Composer
- Conforming and Transferring Projects
- Understanding Conforming
- Preparations for Conforming
- Delivery Requirements for Final Masters
- Offline Formats for HD
- File Transfer for the Online Session
- System Compatibility for the Online Session
- Preparing Graphics for the Online Session
- Preparing Effects for the Online Session
- (Symphony Option) Preparing Titles for the Online Session
- Preparing Audio for the Online Session
- Conforming Workflow
- Step 1: Transfer Files
- Step 2: Open the Project
- Step 3: Measure the Video Signal
- Step 4: Recapture Media
- Step 5: Import and Lay in the Final Audio Mix
- Step 6: Batch Import Graphics
- Step 7: Re-create Title Media
- Redefining a Font Replacement
- Step 8: Refine Effects and Perform Color Correction
- Step 9: Render Effects as Needed
- Step 10: Create the Final Masters
- Conforming Sequences with Color Correction
- Conforming Color Correction Sequences with Media Composer
- Transferring Color Corrections with Color Correction Templates
- Transferring Project and Media Files Between Media Composer Systems
- Transferring Audio Files
- Transferring and Working with Sound Designer II Audio Files from Macintosh Systems
- Transferring a Project Using Shared Storage
- Transferring Project Files and Media Files Using Nonshared Storage
- Nonshared Storage Issues for Cross-Platform Collaboration
- Using the NRCS Tool (Media Composer | NewsCutter Option)
- Configuring the NRCS Tool
- Configuring the ENPS Server for Avid Clients
- Configuring the NRCS Settings
- Starting the NRCS Tool
- NRCS Tool Components
- Using the Directory Panel
- Opening a Story
- Using Shortcuts with Directories (iNEWS Only)
- Deleting a Story (iNEWS Only)
- Changing the Text Display
- Editing Story Text (iNEWS Only)
- Rearranging Text in a Story (iNEWS Only)
- Marking Text (iNEWS Only)
- Formatting Text (iNEWS Only)
- Adding a Production Cue (iNEWS Only)
- Using Loaded Cues (iNEWS Only)
- Finding the Read Time of a Story
- Sequences and Stories
- Building a Sequence from a Story
- Script-Based IN and OUT Points
- Setting Timeline IN and OUT Points Based on Story Timing
- Associating a Sequence with a Story
- Adjusting the Story Timing (iNEWS Only)
- Adjusting the Story Timing with a Time Marker (iNEWS Only)
- Adjusting the Story Timing with a Time Pad (iNEWS Only)
- Using Associated Sequences
- Saving Changes to a Story (iNEWS Only)
- Using the Post to Web Feature
- Processing the Script for Post to Web
- Creating a Web Page for Post to Web
- Linking Clips for Post to Web
- Understanding Post to Web Templates
- Using the Story Tag in Post to Web Templates
- Using the Text Tag in Post to Web Templates
- Using the Clip Tag in Post to Web Templates
- Using the Videoformat Tag in Post to Web Templates
- Using the Hyperclip Tag in Post to Web Templates
- Using a Template with Post to Web
- Posting a Story to the Web
- Sending and Receiving NRCS Mail (iNEWS Only)
- Sending NRCS Tool Mail (iNEWS only)
- Receiving NRCS Tool Mail (iNEWS only)
- Disconnecting from Your NRCS Server
- Working with MediaCentral | Production Management from Media Composer
- Do’s and Don’ts for Editors Working with MediaCentral | Production Management
- Checklist for Editors Working with Production Management
- Working with Production Management and Production Management Assets
- Connecting to a Shared Storage System
- Logging in to MediaCentral | Production Management
- Configuring Production Management Settings in Media Composer
- Additional Production Management Settings in Media Composer
- Defining the Media Creation Settings
- Administrator Settings for Media Composer Clients
- Editing with Production Management Assets
- Checking Avid Assets Out From the Production Management Database
- Checking Avid Assets In to the Production Management Database
- Updating Production Management Assets in Bins
- Loading Production Management Assets and Editing Sequences
- Working with Assets in the Production Management Window
- Understanding Reservations
- Understanding Restrictions
- Understanding Access Control for Avid Assets
- Moving, Copying, Duplicating, and Deleting Avid Assets
- Creating Folders and Shortcuts in the Production Management Window
- Modifying the Appearance of the Production Management Window
- Understanding Column Display in the Production Management Window
- Modifying Column Display in the Production Management Window
- Selecting Values for a Custom Property
- Selecting Asset Types
- Media Objects in the Production Management Window
- Renaming Clips in the Production Management Window
- Adding Comments in the Production Management Window
- Updating the Display in the Production Management Window
- Navigating to a Folder that Contains a Selected Asset
- Updating Writable Properties in the Property Merge Dialog Box
- Using Custom Layouts for the Production Management Window
- Opening Multiple Tabs in the Production Management Window
- Selecting Font Options from the Context Menu in the Production Management Window
- Finding Production Management Assets
- Working with Assets in the MediaCentral | Panel for Media Composer
- Working with MediaCentral | Cloud UX
- Capturing Media to Production Management Folders
- Working with In-Progress Clips
- Editing with In-Progress Clips
- Limitations When Working With In-Progress Clips
- Using the MediaCentral | UX Messages Window
- Viewing Messages and Linked Media Assets
- Sending Messages
- Performing a Send-to-Playback as a Background Process from Media Composer
- Interplay Synced Projects
- Using Media Composer with Media Composer | Cloud Remote
- Setting Up Remote Editing
- Installation and Configuration for Remote Editing
- Credentials for the Media Composer | Cloud Remote Playback
- Configuring Production Management Settings on the Remote Editing System
- Playing Back Remote Media
- Setting Playback Quality for Remote Media
- Using the Disk Cache to Manage Cached Media
- Suggestions for Working with Remote Playback
- Uploading Media Using the Remote Upload Service
- Administrator Settings for Remote Upload
- Uploading Media
- Syncing Sequences
- Upload/Download Queue Dialog Box
- Media Composer | Cloud Remote and Dynamic Relink
- Limitations for Remote Upload
- Using Remote Download
- Send-to-Playback and Media Composer | Cloud Remote (Windows Only)
- Supported Project Types and Formats
- Stopping and Starting Media Indexer on a Mac OS X System
- Using Interplay Transfer to Export Media
- Installing the Interplay Transfer Client Software
- Setting Transfer Settings in the Avid Editing Application
- Send to Playback with Multichannel Audio Tracks
- Mapping Audio Tracks to Output Channels
- Transferring Avid Assets from an Avid Editing Application
- Transferring Avid Assets to a Playback Device
- Working with Rundowns (NewsCutter Option)
- Creating a Rundown Schedule File (NewsCutter Option)
- Transcoding of Mixed Resolution Clips During a Send to Playback
- Monitoring Transfers from Within the Avid Editing Application
- Transfer Status Window Options
- Sorting the Transfer Status Columns
- Clearing the Transfer Status Window
- Using MultiRez and Dynamic Relink
- Understanding MultiRez and Proxy Editing
- Acquiring Media at Multiple Resolutions
- Batch Capturing Media at a Different Resolution
- Batch Importing File-Based Media at Different Resolutions
- Transcoding Media to Low-Res Proxies
- Understanding How Clips are Associated with Multiple Resolutions
- Options for Clip and Media Association
- Understanding Dynamic Relink
- Using Dynamic Relink with Media Composer | Cloud Editing Systems
- Workflow: Editing a Film or HD Project using MultiRez
- Considerations When Working with Dynamic Relink
- Using the Dynamic Relink Settings Dialog Box
- Opening the Dynamic Relink Settings Dialog Box
- Enabling Dynamic Relink
- Applying Working and Target Settings for Dynamic Relink
- Dynamically Relinking to the Target Settings
- Using Dynamic Relink with Mixed Rate Clips
- Cross Rate Dynamic Relink
- Relinking in Frame Chase Editing
- Using the Relink Dialog Box in an Avid Interplay Environment
- Displaying Whether Media Is Available for Dynamic Relinking
- Using the MultiRez Button to Show Available Media
- Using Clip Coloring to Show Available Resolutions
- Examples of MultiRez Clip Coloring
- MultiRez Button Menu
- MultiRez Bin Headings
- Understanding Options for Deleting MultiRez Clips and Media
- Deleting MultiRez Clips and Media from a Bin
- Working with Partially Online Files
- Consolidating and Transcoding a Portion of a Clip
- Viewing a Source Clip in the Timeline
- Consolidating and Deleting Original Media
- Partially Restoring from an Archive
- Quality Matching
- Quality Matching Reference
- Example of Quality Matching
- MultiCamera Editing
- Understanding Grouping and Multigrouping Clips
- Creating Group Clips
- Grouping Stereoscopic Clips
- Creating Multigroup Clips
- Editing Group Clips
- Waveform Sync
- MultiCamera Displays
- Real-time Playback in MultiCamera Mode
- Limitations on Playback of MultiCamera Media
- MultiCamera Editing Techniques
- Switching Clips with the Arrow Keys During Multicamera Editing
- Numeric Keypad and Mouse Support for MultiCamera Editing
- Editing and Playing Back a Linecut in MultiCamera Mode
- Using the Add Edit Button During Multicamera Editing
- Using the Group Menu for Multicamera Editing
- Using the Multi-angle View Menus During Multicamera Editing
- Using Match Frame in MultiCamera Editing
- Committing MultiCamera Edits
- Selective Camera Cutting
- Settings
- Understanding Settings
- Working with Settings
- Viewing and Modifying Settings
- Switching to Another Set of User Settings
- Duplicating Settings
- Naming Settings
- Selecting Among Multiple Settings
- Deleting Settings
- Restoring Default Settings
- Copying Settings Between Settings Files
- Using Site Settings
- Understanding User Profiles
- Managing User Profiles
- Options for Moving User Settings Files
- Using the Format Tab
- Settings
- Audio Ducking
- Audio Settings
- Audio Multiple Mix Settings
- Audio Project Settings
- Bin Settings
- Capture Settings
- Cloud Download Settings (Media Composer Cloud Clients Only)
- Cloud Playback Settings (Media Composer Cloud Clients Only)
- Cloud Upload Settings (Media Composer Cloud Clients Only)
- Color Management Settings
- Communication (Serial) Ports Tool Settings
- Composer Settings
- Controller Settings
- Correction Settings
- Deck Configuration Settings
- Deck Preferences Settings
- Deck Settings
- Desktop Play Delay
- Dynamic Relink Settings
- Effect Editor Settings
- E-mail Settings
- Export Settings
- Film and 24P Settings
- Full Screen Playback Settings
- General Settings
- Grid Settings
- Import Settings
- Interface Settings
- Keyboard Settings
- Link Settings
- Media Cache
- Media Creation Settings
- MediaCentral Production Mgmt Folder
- MediaCentral Server Settings
- MediaCentral User Settings
- MediaCentral Production Mgmt Services
- Mouse Settings
- NRCS Settings (Media Composer | NewsCutter Option)
- Passthrough Mix Tool
- Remote Play and Capture Settings
- Render Settings
- S3D Settings
- Safe Colors Settings
- Script Settings
- Sound Card Configuration Settings (Windows Only)
- Timeline Settings
- Title Tool Settings
- Tool Palette
- Transfer Settings
- Trim Settings
- Video Display Settings
- Video Input Tool Settings
- Video Output Tool Settings
- Video Satellite Settings
- Workspace View Settings
- File Format Specifications
- Project Formats and Resolutions
- Working in HD and High-Resolution Projects
- Delivery Methods for Cinema and Television
- Transferring Film to Tape
- Transfer of 24-fps Film to NTSC Video
- Transfer of 24-fps Film to PAL Video
- Viewing Video Dailies
- HD Workflow: Video-Based Television
- Producing Graphics for Broadcast
- Creating a Film-Based Project
- Selecting a Project Format during Capture
- Selecting a Project Format during Output
- Changing the Project Format
- Changing the Sequence Format
- (Media Composer | Symphony Option) Converting a 24p NTSC Sequence to 1080p/23.976
- Converting a 23.976p NTSC Sequence to 720p/23.976
- Editing at 60 fps
- Displaying 24p and 25p Media
- Outputting a Sequence
- (Media Composer | Symphony Option) Using HD Universal Mastering
- (Media Composer | Symphony Option) Converting Audio for HD Universal Mastering
- (Media Composer | Symphony Option) Performing a Digital Cut with HD Universal Mastering
- Working with HDV
- Understanding HDV
- HDV Workflow
- Capturing and Importing HDV
- Playing Back HDV Media
- Outputting HDV
- Long-GOP Splicing for HDV Encoding
- Outputting HDV through Avid Input/Output Hardware
- Exporting an HDV Transport Stream
- Exporting HDV as Windows Media
- Raster Dimensions
- Raster Sizes
- International Character Support (ICS) in Avid Editing Applications
- Open I/O Support
- Index
18
Using Color Indicators in the Script Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510
Script Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Placing Script Marks Manually. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511
Using Real-Time Screening and Marking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
Marking with ScriptSync. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514
Loading and Playing Marked Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Moving or Deleting a Script Mark. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515
Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Editing From the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516
Assembling a Rough Cut From the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517
Splicing a Script Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Setting Pre-Roll for Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Refreshing Locked Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 519
Chapter 17 Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Customizing Timeline Views. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 520
Using the Timeline Fast Menu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Timeline Fast Menu Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 521
Enlarging and Reducing Timeline Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Moving Timeline Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Displaying Clip Colors in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Changing the Track Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Assigning Local Colors to Clips in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526
Clip Color for Proxy Clips in Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527
Displaying Timecode Tracks in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
Showing Markers in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
Showing Adapter Icons in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 528
Changing the Background Color the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Setting the Playback Option for the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529
Using the Full-Screen Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 530
The Track Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531
Using the Track Control Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531
Displaying Source Material in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 532
Displaying the Timeline Top Toolbar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Managing Customized Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533
Using Timeline View Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 534
Customizable Buttons in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
Mapping Buttons at the Bottom of the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 535
Timeline Sequence Map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536
Navigating in the Timeline. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 536
Switching to the Timeline Position Bar. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 537