Avid® Media Composer® Basics Guide m a k e m a n a g e m ove | m e d i a ™ Avid ®
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Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Accessing the Goodies Folder . . . . . .
Select Project Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Project Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Raster Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Raster Sizes . . . . . . . . . . . . . . . . . . . . . . .
Opening and Closing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Displaying Folders of Bins in the Bins List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Deleting a Bin or Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Viewing Contents in the Trash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Emptying the Trash in the Bins List . . . . . . . . . . . . . . . . . . .
Capturing Digital Audio in Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Selecting a Resolution in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Selecting a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117 Interpreting the Time-Remaining Display . . . . . . . . . . . . . . . . . . . . . . .
Autocapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Capturing from a Non-Avid-Controlled Deck . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Capturing with Time-of-Day Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Capturing Directly from a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Capturing DV 25 Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Brief View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Using Text View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 Using Frame View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Using Script View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Basic Bin Procedures . . . . . . . . . . . . . . . . . .
Mounting and Unmounting Drives. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Using the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Basic Media Tool Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Using the Media Tool in an Avid Interplay Environment. . . . . . . . . . . . . . . . . . 206 Opening the Media Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Stepping Forward and Backward by Field. . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Playback Control Using the Keyboard. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Playing Footage with the J-K-L Keys (Three-Button Play) . . . . . . . . . . . . . . . 245 Playing Back to a DV Device . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 Video Quality Options for Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Performing an Insert or Splice-in Edit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Performing an Overwrite Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Performing a Replace Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 Enabling Single-Mark Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Mixing Video Formats in a Sequence . . . . . . . . . . . . . . . . . . . . . .
Controlling Movement in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 Using Segment Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Guidelines for Editing in Segment Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 Selecting and Deselecting Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 Selecting Multiple Segments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting Additional Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Performing a Basic Trim. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 Reviewing Trim Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 Trimming On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 Using Dual-Image Playback During Trims . . . . . . . . . . . . . .
Interpreting Position Indicator Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 Using Clip Gain and Pan Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Adjusting Clip Gain and Pan for Audio Tracks . . . . . . . . . . . . . . . . . . . . . . . . 364 Audio Mixer Fast Menu: Clip Gain and Pan Mode . . . . . . . . . . . . . . . . . . . . . 366 Modifying How Your Avid Editing Application Interprets Pan . . . . . . . . . . . . .
Effects and Project Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 AVX Plug-In Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 Understanding the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398 Displaying and Adjusting the Effect Palette . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 Promoting and Demoting Existing Effects in Sequences . . . . . . .
Understanding Real-Time Effects Processing. . . . . . . . . . . . . . . . . . . . . . . . . 423 Understanding Real-Time Playback Information in the Timeline. . . . . . . . . . . 424 Turning Playback Performance Indicators On or Off. . . . . . . . . . . . . . . . . . . . 425 Options for Controlling Real-Time Effects Playback . . . . . . . . . . . . . . . . . . . . 426 Controlling Real-Time Effects Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Sizing and Positioning Text Objects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 Editing a Text String . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Formatting Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 Setting Default Text Attributes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 Selecting a Font . . . . . . . . . . . . . .
Chapter 16 Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479 How Avid Color Correction Works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479 Reasons for Making Color Corrections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480 Color Correction Mode Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481 Entering and Leaving Color Correction Mode . . . . . . . . .
Basic Video Output Calibration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506 Luminance Settings for Video Output. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 509 Adjusting Phase Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510 Preparing for Converting HD Formats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 510 Crossconversion and Downconversion Formats . . . . . . . . . . . . . . . . . . . .
Conforming Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539 Step 1: Transfer Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 539 Step 2: Open the Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541 Step 3: Measure the Video Signal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 542 Step 4: Recapture Media. . . . . . . . . . . . . . . . . . . . .
Understanding Reservations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 575 Understanding Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 576 Reviewing Remote Assets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577 Understanding Access Control for Avid Assets . . . . . . . . . . . . . . . . . . . . . . . . 577 Moving, Copying, Duplicating, and Deleting Avid Assets. . . . . . . . . . . . . . . . .
Keeping Search Results in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . 607 Capturing Media to Interplay Folders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 607 Chapter 21 Using MultiRez and Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . . 609 Understanding MultiRez and Proxy Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610 Creating Multiple Resolutions of a Master Clip . . . . . . . . . . . . . . . . . . . . . . . . .
Working with Partially Online Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 646 Consolidating and Transcoding a Portion of a Clip . . . . . . . . . . . . . . . . . . . . . 646 Viewing a Source Clip in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 647 Consolidating and Deleting Original Media . . . . . . . . . . . . . . . . . . . . . . . . . . . 648 Partially Restoring from an Archive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide This guide contains the task-oriented instructions and conceptual information you need to use the basic features of your Avid editing application. The Advanced Guide for your Avid editing application, available as a PDF document in the Online Library, is a companion to this guide. The Advanced Guide contains instructions and conceptual information for advanced features of your Avid editing application, as well as reference information. The contents of both guides are available in the Help.
Symbol or Convention Meaning or Action > This symbol indicates menu commands (and subcommands) in the order you select them. For example, File > Import means to open the File menu and then select the Import command. This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed.
Accessing the Online Library 4. Visit the online Knowledge Base at www.avid.com/onlinesupport. Online services are available 24 hours per day, 7 days per week. Search this online Knowledge Base to find answers, to view error messages, to access troubleshooting tips, to download updates, and to read or join online message-board discussions.
is not responsible for their content, any changes or updates to them, or the collection of any personal data or information by the operators of such Web sites. All information and product availability is subject to change without notice. How to Order Documentation To order additional copies of this documentation from within the United States, call Avid Sales at 800-949-AVID (800-949-2843). If you are placing an order from outside the United States, contact your local Avid representative.
1 Editing Overview The following topics 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 be working on a standard-definition video project, a film project, or an HD project.
1 Editing Overview 6. Build your sequence in the Timeline. For more information, see “Creating and Editing Sequences” on page 265 and “Using the Timeline” on page 289. 7. Fine-tune your edits and effects by using functions of the various edit modes, such as Trim mode, Effect mode, and Color Correction mode. For more information, see “Working in Trim Mode” on page 323, “Working with Effects” on page 391, and “Color Correction” on page 479. 8. Add any titles you need.
Starting a Project 1. Turn on your system and start your Avid editing application. 2. Select or create a project. 3. Select the Project settings. 4. Create and organize bins. 5. Back up the project.
1 Editing Overview Preparing to Edit When you capture and organize footage before editing, you follow these basic steps: 1. Batch capture, log and capture, or capture on-the-fly your source material into the Avid system. For more information, see “Preparing for Capture” on page 91 and “Capturing Media” on page 135. 2. Use bins to organize the project items. For more information, see “Working with Bins” on page 177. 3. Manage media files by using the Media tool.
Preparing to Edit 1. Capture footage, creating master clips and media files. 2. Sort and organize clips in the bins. 3. Manage media files for storage efficiency and backup security. 4. Previsualize with storyboards.
1 Editing Overview Editing a Sequence When you edit your video and audio, you 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 225. 2. Build your sequence in Source/Record mode, which provides nonlinear editing controls with Source and Record monitors, and in the Timeline. See “Creating and Editing Sequences” on page 265. 3.
Editing a Sequence 1. Screen, mark, and subcatalog footage. Source monitor Record monitor Timeline 2. Edit in Source/Record mode and the Timeline. 3. Fine-tune edits and effects. 4. Fine-tune audio pan, volume, and EQ. 5. Screen and continue editing as necessary.
1 Editing Overview Outputting a Sequence When your sequence is finished, you can output it in any of the following ways, depending on the requirements of your project: • Export as a file or a series of files. For more information, see “Exporting Frames, Clips, or Sequences” on page 491. • Output a digital cut in one or more formats. For more information, see “Generating Output” on page 501. • Generate a cut list through Avid FilmScribe™.
Outputting a Sequence Finished sequence Export a file. Output to tape Generate a cut list. Generate an EDL.
1 Editing Overview 42
2 Starting a Project Your work begins when you turn on your system, start your Avid editing application, and open an existing project or create a new project.
2 Starting a Project Working with the Desktop You can use some of the desktop navigation features of your operating system to speed your work in your Avid editing application, or customize for your convenience while editing. You can: • Control how the Windows taskbar appears on the screen (Windows only). • Use the Macintosh Dock as a quick way to launch your Avid editing application (Macintosh only). • Use shortcut menus (also sometimes known as context menus) to quickly access editing commands.
Working with the Desktop To change the taskbar settings: 1. Right-click an unused part of the taskbar, and select Properties. The Taskbar and Start Menu Properties dialog box opens. 2. Select the options you want: t To keep the taskbar hidden, deselect “Keep the task bar on top of other windows” and “Auto hide the task bar.” t To set the taskbar to appear when you want, select “Keep the task bar on top of other windows” and “Auto hide the task bar.”. 3. Click OK.
2 Starting a Project To select or deselect a check box or an option in a dialog box: t Press Right Arrow, Left Arrow, or the space bar. To move up or down in a menu, or increment a numeric value: t Press Up Arrow or Down Arrow. Using the Mouse Scroll Wheel for Navigating You can use the mouse scroll wheel for navigation in your Avid editing application, as described in the following table.
Working with the Desktop Customizing Mouse Functions Your Avid editing application allows you to set the speed of scrolling with the mouse wheel, and lets you assign functions to three additional mouse buttons. For example, mouse button 3 can have a button function assigned to it. Mouse buttons pressed along with modifer keys can also have additional assigned functions.
2 Starting a Project Suggestions for Optimum Performance Background tasks can interrupt time-critical operations, such as capturing, playing, or rendering. Make sure that background tasks are not running while you are working on the Avid editing system. • “Turn Off File Sharing (Windows)” on page 48 • “Optimum Performance (Windows)” on page 48 • “Antivirus Applications” on page 50 Turn Off File Sharing (Windows) n Turning off File Sharing is required.
Working with the Desktop • • Disable CPU throttling (Windows Vista): - Select Start > Control Panel. - Double-click Power Options. - Select High Performance. Do not enable the Windows Display setting “Show window contents while dragging.” This setting hinders redraw performance on the Avid editing system. Do the following (Windows XP): - Select Start > Control Panel. - Double-click Display. - Click the Appearance tab. - Click the Effects button.
2 Starting a Project • Ensure you do not accidentally delete locked items from your desktop: (Windows XP) - Right-click the Recycle Bin icon on your desktop. - Select Properties. - Click the Global tab. - Select “Display delete confirmation dialog.” - Click OK. (Windows Vista) - Right-click the Recycle Bin icon on your desktop. - Select Properties. - Click the General tab and select Display delete confirmation dialog. - Click Apply.
Starting Your Avid Editing Application (Windows) File deletion protection utilities also consume system resources and could interfere with the proper operation of the Avid editing application. These utilities automatically back up any files that are deleted, even temporary files created and deleted by the Avid editing application. This consumes a large amount of disk space. Starting Your Avid Editing Application (Windows) Your Avid editing application is located by default in the following folder: drive:\
2 Starting a Project c n Your Avid editing application does not start properly if the application file is moved from the Avid editing application folder. You can drag it onto the Dock, and an alias is placed on the Dock. When you start the application, you might see a message box indicating there is no input or output signal. Check to ensure that your Avid input/output hardware is connected to the system with the cables secured and that it is turned on.
Working with Projects Select Project Dialog Box After you start your Avid editing application, the Select Project dialog box opens. The Select Project dialog box lets you find and open a project, create a new project, or establish user profiles. You can also choose to have your last project open automatically, as described in “Opening a Project Automatically” on page 64.
2 Starting a Project Element Description (Continued) Project list Displays a list of the Avid projects in the currently selected folder. Double-click a project to open it. Folder buttons Select a button to set the path for the project folder: • Click Private to display any projects in the folder for the user logged into the system. Private projects use the security provided by your system’s user login. By default, this path is (Windows) drive:\Documents and Settings\Windows login name\Documents\Avid
Working with Projects n If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or trailing periods, when naming projects, bins, and users. Bin and project names are limited to 27 characters, not including the period and 3-character extension that the system automatically adds to a file name.
2 Starting a Project 8. Double-click the project name in the Projects list to open the project. The Project window, the Composer window, and the Timeline open with the User settings loaded. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box. Project name User name Close button 9. (Option) If your project uses a film project type, set film preferences immediately after you create the project.
Working with Projects Project Type Source Footage Transfer (Continued) 25i PAL For PAL video-originated footage (25 fps) 25p PAL For 25-fps film footage transferred to PAL videotape 30i NTSC For NTSC video-originated or other 30-fps footage transferred to NTSC videotape 720p/23.976 For film-originated material transferred to videotape. 720p/25 For video-originated material that can be captured, edited and output for HD broadcast. It can also be captured in DVCProHD format. 720p/29.
2 Starting a Project New HD projects on systems with supported configurations allow you to directly select the raster size used for playback and editing. This allows the Avid editing application to support HD compression formats that use anamorphically-scaled, nonstandard HD raster sizes. These formats include those compatible with a variety of professional HD devices and standards.
Working with Projects Existing Project Type New Project Type Raster Dimension 1080i 50 1080i 50 1920 x 1080 1080i 50 HDV 1080i 50 1440 x 1080 1080p 23.976 1080p 23.976 1920 x 1080 720p 29.97 HDV 720p 29.97 1280 x 720 If you open a new HD project on an Avid editing application that does not support all Raster Dimension options, the application switches the project to the standard raster (see “Raster Sizes” on page 60).
2 Starting a Project Raster Sizes The following tables list the raster dimensions available for each compression format and project type. You should select a format depending on your workflow and playback mode. (For information on video quality playback modes, see “Video Quality Options for Playback i n the Help.) Availability of Raster Dimensions for Full Quality Playback Project type 1280 x 720 960 x 720 1920 x 1080 1440 x 1080 1280 x 1080 720p 23.
Working with Projects Opening an Existing Project To open an existing project: 1. In the Select Project dialog box, select the folder in which the project is located: Private, Shared, or External. For more information, see “Select Project Dialog Box” on page 53. 2. Do one of the following: t Select a project in the Select Project dialog box, and then click OK. t Double-click a project name in the Projects list.
2 Starting a Project Browsing for a Project To browse for a project in a location other than the default Shared and Private folders: 1. Start your Avid editing application. The Select Project dialog box opens.
Working with Projects 2. Click the Browse button. The Browse for Folder (Windows) or Project Directory (Macintosh) dialog box opens.
2 Starting a Project 3. Navigate to the folder that contains the project you want. 4. Click OK (Windows) or Choose (Macintosh). 5. Select a project in the Projects list. 6. Click OK. The Project window, the Composer window, and the Timeline open with the User settings loaded. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box.
Quitting Your Avid Editing Application Closing a Project When you close the current project, you return to the Select Project dialog box. To close the current project, do one of the following: t With the Project window active, select File > Close Project. t Click the Close button in the Project window. Deleting a Project You can delete a project from within your Avid editing application. c n Deleting a project also deletes any bins that are in that project.
2 Starting a Project n If you are working in an Avid Unity™ environment, your Avid editing application writes a media database file (.mdb) to the workspace in which you were working when you quit. Before quitting your application, make sure that the workspace has approximately 50 MB of storage space available. Ask your Avid Unity administrator to increase the space if you need more storage.
Avid Projects and Avid Users Folders To turn off your equipment: 1. Turn off the system by doing the following: For a Windows system: a. Click the Start button, and select Shut Down. The Shut Down Windows dialog box opens. b. Click the menu, and select Shut down. c. Click OK. For a Macintosh system: t Select Apple menu > Shut Down. 2. If you have an Avid input/output hardware attached to your system, turn it off. 3. Turn off peripheral devices (such as monitors and speakers). 4.
2 Starting a Project Locations of Avid Projects and Avid Users Folders Two Avid Projects folders are installed by default: • Private Projects (Windows) — drive:\Documents and Settings\Windows login name\Documents\Avid Projects • Shared Projects (Windows) — drive:\Documents and Settings\All Users\Shared Documents\Shared Avid Projects • Private Projects (Macintosh) — Macintosh HD/Users/Mac login name/Documents/Avid Projects • Shared Projects (Macintosh) — Macintosh HD/Users/Shared/Avid editing applic
Changing Project and User Names Files and Folders Created For User Profiles When you create a new user profile, your Avid editing application creates a folder for the user and two files that are stored within the user folder: • A user profile file (.ave) • A user settings file (.avs) The user folder and the two files all use the user profile name you provide. The new folder is stored in the Avid Users folder.
2 Starting a Project Backing Up Your Project Information Although your Avid editing application automatically saves your bins, projects, and settings, you should back up these items frequently to avoid losing any of your work if your hard drive fails.
Avid Attic Folder 3. Drag the copies from the storage device to the appropriate folder on the internal hard drive (Windows) or Macintosh HD/Users/Shared (Macintosh). For information about these folders, see “Avid Projects and Avid Users Folders” on page 67. When you start your Avid editing application, the restored project and user profile appear in the Select Project dialog box. n If you are restoring an individual bin or bins, you must relink them to the project from within the Project window.
2 Starting a Project Retrieving Files from the Avid Attic Folder (Windows) To retrieve a file from the Avid Attic folder: 1. Minimize your Avid editing application. For information on minimizing, see the Windows documentation. 2. From the desktop, double-click the Avid Attic folder, located in: (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application. (Windows Vista) drive:/Users/Public/Public Documents/Avid editing application.
Retrieving Files from the Avid Attic Folder (Windows) 6. Select the backup bin file or files you want to retrieve. 7. Ctrl+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. Click the taskbar item for your Avid editing application to restore it. n If the taskbar is hidden, see “Using the Windows Taskbar (Windows Only)” on page 44. 2.
2 Starting a Project 7. Select the material you want to keep from the backup bin, and drag the files to the new bin. 8. Repeat steps 3 through 7 for any other backup bin files you copied to the desktop. 9. Select and delete the backup bins in the Other Bins folder. 10. Drag the backup bin files on the desktop to the Recycle Bin. Retrieving Files from the Avid Attic Folder (Macintosh) To retrieve a file from the Avid Attic folder: 1. Minimize your Avid editing application.
Using Toolsets n Your Avid editing application does not allow a bin and copy of a bin to be open at the same time. You must keep all other bins closed and open the backup bins one at a time. 5. Create a new bin. For example, if you are retrieving clips from a backup bin called Source Clips.2, you can call the new bin Source Clips New. 6. Open the new bin and open the backup bin in the Other Bins folder. 7. Select the material you want to keep from the backup bin, and drag the files to the new bin. 8.
2 Starting a Project Opening Toolsets To open a toolset: t Select Toolset > toolset. Customizing Toolsets To customize the toolset workspace: 1. For the toolset you want to customize, select Toolset > toolset. 2. Open other tools with which you want to work, and position them where you want them. 3. Select Toolset > Save Current. The next time you select the customized toolset, it appears with your changes. To remove your customizations: t Select Toolset > Restore Current to Default.
Using Toolsets To link a toolset to an unnamed setting: 1. For the toolset you want to link, select Toolset > toolset. 2. Select Toolset > Link Current to. The Link Toolset dialog box opens. 3. Click the Links to Current Toolset menu, and select Link to Unnamed Settings. 4. Click OK. The active toolset is linked to all the unnamed settings in the Settings list.
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3 Working with the Project Window The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.
3 Working with the Project Window Project window information is organized in tabs.The following table describes the display tabs available in the Project window: Tab Function Bins Allows you to create and open bins. For more information, see “Using the Bins Tab in the Project Window” on page 81. Settings Allows you to view and modify settings. For more information, see “Using the Settings Tab in the Project Window” on page 87. Effects Allows you to access a library of effects.
Using the Bins Tab in the Project Window To close the Project window, do one of the following: t With the Project window active, select File > Close Project. t Click the Close button in the Project window. The Select Project dialog box opens. Using the Bins Tab in the Project Window When you create a project, your Avid editing application automatically creates a bin with the name of the new project, which is displayed in the Bins tab of the Project window.
3 Working with the Project Window Creating a New Bin To create a new bin from the Project window: 1. Do one of the following: t Select File > New Bin. t Click the New Bin button in the Project window. A new (empty) bin opens and is given the name of the project as displayed in the title bar of the Project window. The new bin appears in the Bins list in the Project window with a default name highlighted and a number appended to it.
Using the Bins Tab in the Project Window To change the name of a bin: 1. Click the bin name in the Bins list in the Project window. 2. Type a new name. Project name Default bin name Opening and Closing Bins You can open a single bin from the Project window, or open multiple bins at once. You can also open a bin from another project. n c If you have the SuperBin enabled, see “Opening Bins in the SuperBin” on page 192.
3 Working with the Project Window To open a bin from another project: 1. Select File > Open Bin. The Open a Bin dialog box opens. 2. Find and select the bin you want. Bins have the file name extension .avb. 3. Click Open. The bin appears in the Bins list in the Project window in a folder called Other Bins. The name Other Bins appears in italic. You can rename this folder. This option is useful when you want to open a bin not currently displayed in the Project window.
Using the Bins Tab in the Project Window To create a folder in a project: 1. Click the Fast menu button, and select New Folder. A new untitled folder appears. 2. Click the untitled folder name in the Bins list and rename it. To show or hide the folder’s contents in the Bins list in the Project window: t Click the arrow next to a folder icon. To view a list of only the folder contents and not the folders: t Click the Fast Menu button, and select Flat View.
3 Working with the Project Window Viewing Contents in the Trash If you need to view the contents in the Trash or decide you do not want to delete those items in the Trash, you must first move the bins and folders from 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 Project window. 3. Double-click the bin or folder to view it.
Using the Settings Tab in the Project Window To save selected bins: 1. In the Bins tab of the Project window, 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 Bins tab in the Project window to activate it. 2. Select File > Save All.
3 Working with the Project Window To view the Settings list: t Click the Settings tab in the Project window. Settings tab Setting type Settings list To open a setting: t Double-click the setting in the Settings list. To view Help for a setting: t 88 Open a setting and press the F1 key (Windows) or the Help key (Macintosh).
Using the Format Tab in the Project Window Using the Format Tab in the Project Window The Format tab in the Project window allows you to view basic project information, such as the video format (NTSC, for example). The displayed information lists the options you selected in the New Project dialog box when you created the project. For some project formats, the Project Type list lets you change the format of the project to another format that shares the same frame rate.
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4 Preparing for Capture Capturing is the process of creating digital media from video or audio input. Before you capture, you must prepare your Avid editing application and your capture hardware.
4 Preparing for Capture You can import any shot log created or converted to meet Avid log specifications. You can also combine or merge events while importing a log so that fewer master tapes require capturing. The system imports any additional information logged with each clip. For more information, see “Understanding Avid Log Specifications” in the Help. For film projects, most telecine and other film-to-tape transfer systems generate a log you can import directly to the bin, after you convert it to .
Importing Shot Log Files Look in menu Files of type menu Enable menu From menu 93
4 Preparing for Capture 4. (Option) If you want to select options for combining events on import, click the Options button to open the Import Settings dialog box. After selecting the appropriate options from the Shot Log tab, click OK to close the Import Settings dialog box and return to the Select Files to Import dialog box. For information on Import settings, see “Import Settings” in the Help.
Preparing the Hardware for Capture You should check the items described in the following table before capturing: Item Description Sync source An external sync source is not required for capturing video or audio with video. Avid recommends using an external sync source for output. For more information, see “Selecting the Sync Source for Output” on page 503.
4 Preparing for Capture Establishing Sync for Audio-Only Input When you capture audio with video, the video input signal provides the timing reference for digitizing analog audio. This ensures that the audio and video remain in synchronization. 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.
Selecting Settings for Capture If the digital media sample rate is different from the project sample rate, and if sample rate conversion is available on your system and is allowed (by selecting “When Needed” in the Input tab of the Audio Project settings), then sample rate conversion is running in your Avid input/output hardware. In this case, the output of the sample rate conversion uses a sync source under the same rules as analog capture, as described above.
4 Preparing for Capture Understanding Video Resolutions Video resolution refers to the dimensions and the amount of compression in a video media file. The resolutions you can select depend on such factors as the model of your Avid editing application, your Avid input/output hardware, and your project format. • For 25-fps and 30-fps projects, the Video Resolution list can show single-field resolutions, two-field interlaced resolutions, and DV.
Selecting Settings for Capture c If you are using Avid Unity LANshare or Avid Unity PortServer Pro, make sure to specify a supported resolution. For information on supported resolutions, see the LANshare or PortServer Pro documentation. To select a video resolution and media drives: 1. Do one of the following: t Double-click Media Creation in the Settings list. t Select Tools > Media Creation. The Media Creation dialog box opens. 2. Click the Media Type tab, and select either OMF or MXF file format.
4 Preparing for Capture n The drive that appears in boldface type has the most available space. 6. (Option) You can select drives and create a drive group. Click the Target Drive menu, and select Change Group. For more information on selecting a drive group, see “Selecting the Target Drives” on page 117. n Because there is no audio associated with titles or motion effects, you can select only a video drive in the Titles or the Motion Effects tab of the Media Creation dialog box. 7.
Selecting Settings for Capture The Media Creation dialog box opens. 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 a drive to filter out: t Select Filter Network Drives Based on Resolution to remove those network drives that cannot support the selected resolution, or cannot handle playback of the selected resolution.
4 Preparing for Capture Configuring Decks Deck Configuration settings allow you to establish deck control parameters for a single deck or for multiple decks. As with all settings, you can create multiple versions, allowing you to select among them for frequent changes in hardware configurations. Deck Configuration settings and global deck control preferences appear as separate items (Deck Configuration and Deck Preferences) in the Settings list in the Project window.
Configuring Decks 3. Click the Add Channel button to add a new channel box on the left side of the Deck Configuration dialog box and to automatically open a Channel dialog box. 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. 4.
4 Preparing for Capture 5. Click the Port menu, and select one of the following items: t Avid DNA or OHCI if you selected FireWire for the channel. Avid DNA refers to the FireWire (IEEE-1394) connection on the Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware and is only an option if you are using one of these devices. OHCI refers to a FireWire connection on the computer (Host 1394). t COM1 if you selected Direct or VLAN VLX for the channel. 6. Click OK to close the Channel dialog box.
Configuring Decks 8. If you did not autoconfigure the deck, click the channel box to select it. 9. Click the Add Deck button to open the Deck Settings dialog box. n With a deck already connected to the system, you can click the Auto-configure button to bypass the Deck Settings dialog box and automatically configure a deck with the default settings. 10. Select the manufacturer and model number of your deck or other device. Selecting a model opens a template of settings for the device you selected.
4 Preparing for Capture 13. (Option) If you want the system to check the deck configuration against the decks physically connected to the system, select “Verify configuration against actual decks. “ The system checks the deck configuration after you click the Apply button in the Deck Configuration dialog box and when you start your Avid editing application. A message box warns you if the configuration does not match the deck. 14.
Setting Up the Capture Tool To use a connected DV device for capture, play, or output on a system with an Avid Adrenaline, Avid Mojo, or Avid Mojo SDI, you must select it in your Avid editing application, as described in “Selecting a DV Device” on page 146. On Windows systems with an Adrenaline or an Avid Mojo, you can capture DV 50, DVCPRO, or HDV only through an optional IEEE-1394 card installed in your computer. This card must be on a bus separate from the one used by the Adrenaline or Avid Mojo.
4 Preparing for Capture The following illustration shows the Capture tool for an HD project.
Setting Up the Capture Tool • Selecting a Source Tape • Selecting Source Tracks • Setting the Video and Audio Input in the Capture Tool • Detecting a Valid or Locked Sync Signal • Setting the Pulldown Switch • Selecting a Resolution in the Capture Tool • Selecting a Target Bin • Selecting the Target Drives • Interpreting the Time-Remaining Display • Selecting a Custom Preroll For advanced information, such as capturing to the Timeline, see “Capturing Media: Advanced” in the Help.
4 Preparing for Capture Changing the Power Scheme (Windows Only) When you install your Avid editing application, an Incompatible Power Scheme warning button might appear in the top right corner of the Capture tool. Some of the Windows standard power schemes available might affect the performance of editing functions, including capturing media.
Setting Up the Capture Tool Activating Playback from an Available Deck To activate playback from an available deck: t Click the Deck Selection menu, and select the deck. Selecting a Source Tape To select a source tape: 1. Do one of the following: t If a tape is already in the deck, click the Source Tape Display button in the Capture tool. t If there is no tape in the deck, insert a tape into the deck. The Select Tape dialog box opens. 2.
4 Preparing for Capture 3. Provide the system with a tape name in one of the following ways: n t Select the name of the tape from the list in the Select Tape dialog box and click OK. t Expand the list by selecting the “Show other projects” option or by clicking the Scan for tapes button. t Click New if the tape is not in the list. A new tape name line appears in the dialog box. Type the new name, press Enter (Windows) or Return (Macintosh), and click OK.
Setting Up the Capture Tool Setting the Video and Audio Input in the Capture Tool The Video and Audio menus show you the current input settings for the Video Input tool and the Input tab in the Audio Project Settings dialog box. The menus also provide a convenient way to change the settings if necessary. n The Video Input tool is not available on all models. If your model does not have the Video Input tool, the Avid editing application sets the default input options automatically.
4 Preparing for Capture Setting the Pulldown Switch If you are capturing sound created during an NTSC film-to-tape transfer, you need to set the pulldown switch before you begin capturing. If you are capturing picture only, you do not need to set the switch. If you are working in a 23.976p project, the pulldown switch is not necessary and does not appear. n Make sure your film preferences are set properly. For more information, see “Transfer Settings for Film Projects” in the Help.
Setting Up the Capture Tool Film Project Pulldown and Transfer Settings The following table indicates how the pulldown switch and transfer settings should be set, depending on your input media. 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 sound-only from simul-DAT tapes created during telecine transfer. 29.
4 Preparing for Capture Capturing Digital Audio in Film Projects When you are capturing audio created during an NTSC file-to-tape transfer, the audio must come in at a pulldown sample rate. When capturing from a digital source (such as AES/EBU, ADAT, or Embedded SDI), you must either configure the deck to transfer at the pulldown rate (as is possible with some audio decks) or capture the digital source as analog.
Setting Up the Capture Tool 2. In the Capture tool, click the Bin menu and make a selection. Only open bins (and open Interplay folders if you are in an Interplay environment) appear in the Bin menu. If the bin you want to use is not open, double-click it in the Project window. Interplay folders are available only in Avid workgroups configurations. If the Interplay folder you want to use is not open, click the folder name in the Interplay Window.
4 Preparing for Capture 2. Click the Single/Dual Drive Mode button to display the Single Drive icon. 3. Click the Target Drive menu, and select a drive volume. The name shown in bold in the menu has the most storage available. The time remaining on the selected drive, displayed to the right of the menu, is calculated based on your resolution selection. To target separate drives for audio and video: 1. If the Capture tool is not already open, select Tools > Capture. The Capture tool opens. 2.
Setting Up the Capture Tool 3. Click OK to close the dialog box and create the drive group. The group appears in the Target Drive menu. When you capture, any clip that exceeds the capacity of a drive (whether that drive is empty or already contains media files) continues capturing onto another drive in the group. Interpreting the Time-Remaining Display The Capture tool displays the time remaining on the selected drive after you select a resolution and target drive or drives for the captured media.
4 Preparing for Capture Preparing for Audio Input Your Avid editing application 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, or capturing through a microphone, in various formats and at various sample rates. The following topics provide basic information on preparing for audio input. For advanced information on audio input, see “Preparing for Audio Input: Advanced” in the Help.
Preparing for Audio Input Selecting the Audio Sample Rate Selecting the audio sample rate in the Audio Project settings dialog box sets the audio sample rate for capturing audio. It also sets the sample rate for sequences that you create in the project. You can change the sample rate for individual sequences and audio clips. For more information, see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 387. To select the audio sample rate: 1.
4 Preparing for Capture To set a preference for audio sample rate conversion during capture: 1. In the Project window, click the Settings tab. 2. Double-click Audio Project. The Audio Project Settings dialog box opens. 3. Click the Input tab. 4. Click the Sample Rate Conversion menu, and select Never or When Needed. 5. Close the Audio Project Settings dialog box. Understanding Audio Files and Formats Audio files are created when you: • Record audio tracks in Capture mode.
Preparing for Audio Input Selecting the Audio File Format To select the audio file format: 1. In the Project window, click the Settings tab. The Settings list appears. 2. Double-click Audio Project. The Audio Project Settings dialog box opens. 3. Click the Main tab. 4. Click the Audio File Format menu, and select WAVE (OMF), AIFF-C (OMF), or PCM (MXF). 5. Close the Audio Project Settings dialog box.
4 Preparing for Capture 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 audio output. Usually this configuration occurs automatically when you install your Avid editing application. Some sound cards, however, require further customization to ensure full compatibility between the application and the audio hardware on your system.
Preparing for Audio Input 3. For each input source in the Record/Input list that you want to map, click the matching Output Source menu from the Playback/Output list and select an output source. n You can map an input source to only one output source at a time. The options available for mapping depend on your audio hardware. 4. (Option) If you do not want an input source mapped to an output source, select from the corresponding Output Source menu.
4 Preparing for Capture Understanding the Audio Tool You use the Audio tool primarily for mixing and monitoring audio. The Audio tool, along with your hardware’s audio parameters, allows you to do the following in preparation for input: • Check and manage your audio hardware setup. • Set audio levels before recording. In addition, controls in the Audio tool allow you to calibrate, set levels, and generate customized calibration tones for output to the speakers or a record device.
Preparing for Audio Input Opening and Sizing the Audio Tool To open the Audio tool, do one of the following: t Select Tools > Audio Tool. t Click the Audio Tool button in the Capture tool. The Audio tool opens and displays meters for two to eight channels, depending on the configuration of your system. Reset Peak button Peak Hold Menu button In/Out toggle buttons Digital scale (fixed) Volume unit scale (adjustable) To resize the Audio tool: t Click the lower right corner, and drag it to resize.
4 Preparing for Capture 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 for Video Input Vectorscope Monitor button Waveform Monitor button Waveform monitor Vectorscope monitor Input menu Preset buttons Settings menu 100% Bars buttons For information about settings in the Video Input tool, see “Video Tool Input Settings” in the Help. You can also view this information by clicking the window and pressing the F1 key (Windows) or the Help key (Macintosh).
4 Preparing for Capture Preparing to Calibrate Video Input You should calibrate video input levels to ensure the continuity of picture quality between tapes, as described in “Calibrating Video Input” on page 130. Before you calibrate the video input, check the following: • Make sure your monitor is properly calibrated for displaying footage accurately. For more information, see your monitor’s hardware documentation.
Preparing for Video Input n For a description of each parameter, click the Video Input tool and press the F1 key (Windows) or Help key (Macintosh). Sync for video input comes from the source selected in the Video Input tool. When you capture audio with video, the audio is always synced to the video source. For information regarding sync during audio-only input, see “Establishing Sync for Audio-Only Input” on page 96. 4.
4 Preparing for Capture For more information, see “Limitation When Using Consumer Decks or Decks Without Time-Base Correctors” in the Help. 6. Click the 100% Bars button if the source tape contains 100% bars for calibration. n To distinguish between 100% and 75% full-field bars, you will notice in 100% bars that the luminance waveform plot displays fairly even steps from the first bar (white) to the last bar (black).
Preparing for Video Input 10. Adjust the Line slider to display the signal for color bars at around line 150 (this applies to all formats and all types of bars). n To switch between a display of perfectly calibrated bars and your input signal while making adjustments, press and release the Shift key. 11.
4 Preparing for Capture Capture Preparations Check List 134 Check your hardware configurations, particularly connections between your deck and the Avid system. See “Preparing the Hardware for Capture” on page 94. If you are working on a complex project with multiple streams of video and high-resolution images, make sure your drives are striped properly. See “Getting Information About Striped Drives” on page 95.
5 Capturing Media Capturing is the process of creating digital 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.
5 Capturing Media Use this method in the following circumstances: • c - If logs exist in written or printout form but not in the proper format for quick import into the system - If the IN and OUT points are rough and need to be double-checked for accuracy - If you are familiar enough with the source material to estimate the timecode for the mark IN, the mark OUT, or both, quickly and accurately Capturing on-the-fly: This method is easier than setting marks, but it is less precise.
Capturing and Logging at the Same Time Naming Clips and Adding Comments in the Capture Tool The Annotate feature lets you 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, the application provides a default clip name.
5 Capturing Media Capturing by Setting Both Marks To capture by specifying a mark IN and a mark OUT: 1. Select the proper Capture settings and set up the capture tools, as described in this chapter. 2. (Option) Click the arrow in the Capture tool to display the Name and Cmnt text boxes if you plan to enter clip names or comments. 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 137. 3.
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.
5 Capturing Media To capture on-the-fly: 1. Select the proper Capture settings and set up the capture tools, as described in this chapter. 2. (Option) Click the arrow in the Capture tool to display the Name and Cmnt text boxes if you plan to enter clip names or comments. 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 137. 3.
Capturing and Logging at the Same Time 6. To stop capturing and enter the OUT point of the clip, click the Record button, or press the Escape key on the keyboard. The system creates a new clip in the bin. It also enters basic log information for each clip, consisting of the mark IN, the mark OUT, the duration, and any other information typed in during the capture procedure. 7. If you did not type a clip name while capturing, type it now while the clip name is highlighted in the bin.
5 Capturing Media Autocapturing Autocapturing an entire tape can save you time by allowing you to bypass both the logging process and the time it takes to cue each shot. However, this process requires the most storage space, and it takes time to capture an entire tape. When you autocapture, you mount and cue your tape to a starting point and start the capturing process through the Capture tool.
Capturing and Logging at the Same Time Capturing from a Non-Avid-Controlled Deck If you have a deck that cannot be controlled directly by the system, you can capture with manual deck control. To capture with manual deck control: 1. Select the proper Capture settings and set up the capture tools as described in this chapter. 2. Click the Toggle Source button in the Capture tool until the Deck Offline icon appears to disable the deck controls and leave only the Tape Name display. Toggle Source button 3.
5 Capturing Media Capturing with Time-of-Day Timecode When you capture with an Avid-controlled deck, you can capture your footage with time-of-day timecode rather than source timecode. To capture with time-of-day timecode: 1. Select the proper Capture settings and set up the capture tools, as described in this chapter. 2. When selecting tracks, deselect the TC button. 3. Capture by using any of the techniques described in “Capturing and Logging at the Same Time” on page 135.
Capturing Directly from a DV Device • If you are not using an Avid input/output hardware device (software-only), you use a 1394 port on your computer (Host 1394). You specify that you are capturing via the 1394 port by selecting Host 1394 from the Video menu in the Capture tool. Codec Options (Adrenaline and Avid Mojo Only) If you capture through an Adrenaline or Avid Mojo, you have the option of using the Avid DNA hardware codec or the DV 25 software codec.
5 Capturing Media For Windows systems using an Adrenaline or Avid Mojo, the port needs to be on an optional IEEE-1394 card installed on a bus separate from the one used by the Adrenaline or Avid Mojo. n For information on playing back DV 50 and DVCPRO HD media, see “Playing Back to a DV Device” on page 247.
Frame Chase Capture n If you are capturing through the 1394 port on an Avid Mojo SDI, you must select IEEE 1394. The 1394 port on the Avid Mojo SDI passes the signal through to a 1394 port on your computer. The Video Input tool, Capture tool, Video Output tool, and Digital Cut tool all reflect your device selection.
5 Capturing Media 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. An initial check-in to Interplay takes place 10 seconds after the capture begins. Subsequent updates to Interplay occur at intervals that you define in the Capture Settings dialog box.
Frame Chase Capture 3. 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. This number defines 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 updated in Interplay When this option is selected, Frame Chase capture is enabled.
5 Capturing Media n • The capture process itself is the same regardless of whether you are performing a conventional or a Frame Chase capture. You can rename clips, add comments or locators, and create subclips in the normal way during Frame Chase capture. This information becomes available to all applications in the workgroup following the next update to Interplay after the information is entered.
Batch Capturing from Logged Clips Preparing to Batch Capture Preparing for batch capturing involves an option of resizing the Capture tool and establishing settings that allow you to batch capture with minimal supervision. Because your clips are already logged in a bin, you can simplify the interface during batch capture by hiding the deck controller and logging controls in the Capture tool. You can hide any other panels in the Capture tool in a similar way.
5 Capturing Media For additional options, see “Capture Settings: Batch Tab” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh). 3. Click the General tab and select “Capture across timecode breaks.” For more information, see “Capturing Across Timecode Breaks” in the Help. 4. Click OK to close the dialog box and apply the options.
Batch Capturing from Logged Clips 5. Select options in the dialog box: t n If the bin contains some clips that are already captured and you do not want to recapture those clips, select “Offline media only.” If this option is not selected and some of the selected clips have media files, the system deletes the media files and recaptures new media files. In an Avid Interplay environment, you have the option of preserving local media files and capturing a clip in more than one resolution.
5 Capturing Media 6. Click OK. If you have not loaded a tape, your Avid editing application prompts you to load the first tape. 7. Load the tape into the tape deck and click Mounted. A dialog box opens. 8. Click OK to confirm the tape and deck entries and begin the capture process. The system captures each clip from the tape, in start timecode order. 9. If the system needs another source tape, the system prompts you for the tape. At this point, you have several options.
Recapturing Your Material c • You can quickly recapture selected clips if you make an error while capturing the first time (for example, if you forget to check audio levels or set the wrong resolution). • You can recapture clips if you accidentally delete media files. Recapturing requires your original source footage. Do not delete the media files if the source footage is no longer available, unless you will not need the material again.
5 Capturing Media To make a duplicate of the sequence: 1. Select the sequence in the bin, and select Edit > Duplicate. 2. (Option) Create a new bin by selecting File > New Bin and move the duplicate sequence into the new bin. This step saves you the confusion of mingling new sequences and master clips with existing ones, especially when using Decompose.
Recapturing Your Material To use Decompose: 1. Activate the bin that stores the sequence and select the sequence. 2. Select Clip > Decompose. The Decompose dialog box opens. 3. To preserve clips that already have existing media files, select “Offline media only.” Do not select this option if you plan to decompose and recapture the entire sequence. 4. Select other options for the types of clips to decompose: captured only, imported only, captured and imported, or all clips in a group edit. 5.
5 Capturing Media 7. Click OK. The new master clips appear in the bin. You can now sort and select these clips like all other objects in the bin. 8. Proceed with the recapturing procedures described in “Batch Capturing Clips” on page 152. Recapturing the Sequence Without Using Decompose When you recapture the sequence without using Decompose, the capturing process creates media files for each clip in the sequence during the capturing process.
Recapturing Your Material 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.
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6 Importing Files When you import files, your Avid editing application converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. Any corresponding media files are stored on a target drive that you specify.
6 Importing Files Creating and Modifying Import Settings You can create one or more sets of import parameters and save them as an Import setting. For example, you can create one setting for importing animations and another for importing still graphics. This feature is especially useful when you use the drag-and-drop method to import multiple files. See “Using the Drag-and-Drop Method to Import Files” on page 169.
Creating and Modifying Import Settings 5. Double-click the new Import setting. The Import Settings dialog box opens. 6. Select the appropriate options. For more information about Import settings, see “Import Settings” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh). 7. Click OK. To modify an existing Import setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2.
6 Importing Files Importing Files You can access files for import from any folder, disk, or drive source mounted on the desktop, such as a CD or DVD, fixed drive, removable drive, or network server. You can import more than one file at a time, including files of multiple types. Consider copying all graphics files to a single folder before you import the files.
Importing Files Windows Look In menu Details button File browser File to import Files of Type menu Video Resolution menu Options button Media Drive menus Single/Dual Drive button Disk Label (for XDCAM only) Macintosh Enable menu From menu Source file list Options button Resolution menu Disk Label (for XDCAM only) Single/Dual Drives button Video and Audio Drive menus 165
6 Importing Files 10. Click the Files of Type menu (Windows) or the Enable menu (Macintosh), and select an import file type to display only files of the selected file type in the source file list: Option Description Shot Log Use to import Avid Log Exchange (.ALE) files containing clip information to a bin. For more information about Avid log specifications, see “Understanding Avid Log Specifications” in the Help.
Importing Files 11. (Option) Click Options to open the Import Settings dialog box, and then do the following: a. Select the options you want and click OK to save the settings. b. Close the Import Settings dialog box and return to the Select Files to Import dialog box. For a complete description of all options in the Import Settings dialog box, see “Import Settings” in the Help. 12. Use the Look In menu (Windows) or the From menu (Macintosh) to locate the folder containing the source files. 13.
6 Importing Files Importing Audio Files from a Music CD To import audio files from a music CD: 1. Follow the procedure in “Importing Files” on page 164. 2. In step 10, select Files of Type > Audio (Windows) or Show > Audio Documents (Macintosh). 3. In step 16, navigate to the music CD and select the track or tracks you want to import. n (Macintosh) If you encounter an error, copy the audio files to your desktop and import them from there. 4. Finish the procedure.
Using the Drag-and-Drop Method to Import Files n See “Importing Files” in the Help. To adjust the gain after import: 1. Choose one of the following methods: t Select the clip in the bin and select Clip > Apply Gain. t (Windows) Right-click a single clip or (Macintosh) Ctrl+Shift+click and select Apply Gain. The Apply Clip Gain menu opens. 2. Type a decibel level from 12 to -96 to adjust the volume, or use the Up and Down arrows on the keyboard to locate the decibel level you want to apply. 3.
6 Importing Files Your Avid editing application 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. Reimporting Files If you are working with master clips or sequences that contain imported material, you can use the Batch Import command to reimport the imported files.
Reimporting Files t Select Tools > Media Creation. The Media Creation dialog box opens. 3. Click the Media Type tab. 4. Click the File Format menu, and select the format (MXF or OMF). n If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. 5. Open the bin, and select the imported master clips and sequences you want to reimport. 6. Select Clip > Batch Import. A message box opens. 7.
6 Importing Files If you select more than one clip displayed in red, the system attempts to find the rest of the clips in the same folder as the first clip and then, if not found there, in folders that maintain the same relationship with the first clip’s folder. When the clips are found, they are displayed in black. 10. Click the Video Resolution menu, and select a video resolution for all the reimported files. n 172 OMFI and AAF files do not convert DV 25 to DV 50 or DV 50 to DV 25.
Reimporting Files 11. 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 by clicking the Single/Dual Drives button. 12. (Option) By default, the file is imported using the Import settings from the last time it was imported. You can change the Import settings for all clips being imported by doing the following in the Import Options section: a.
6 Importing Files Batch Import Dialog Box: Reference The Batch Import dialog box allows you to select a source file for each master clip that you selected in a bin. Your Avid editing application finds the source file automatically if the source file is located in the same folder where you last imported the file. For information on opening and working in the Batch Import dialog box as part of the reimporting process, see “Reimporting Files” on page 170.
Batch Import Dialog Box: Reference Area Control Selected Clips (top area with list of clip names) Description Shows the clips you selected for import. The caption at the top of the section summarizes the total number of clips shown and how many of them were found and are available to be imported. Clips displayed in black were found and are imported. Clips displayed in red were not found in their original location.
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7 Working with Bins Bins provide powerful database tools for organizing and managing your captured material.
7 Working with Bins To set the bin display: 1. Click a bin. 2. Select Bin > Set Bin Display. The Set Bin Display dialog box opens. 3. Select the object types that you want to see: master clips, subclips, sequences, and so on. For information on the icons used to represent the different object types, see “Object Icons in Bins” on page 178. 4. (Option) Deselect “Show clips created by user” only if you want to hide all objects except those created by the system.
Understanding Bin Highlight Colors Icon Object Type Description (Continued) Shared Storage Subclips A subclip that references media files on a shared storage system Audio Clips A clip that references audio media files formed from captured audio or imported files Shared Storage Audio Clips An audio clip that references media files located on a shared storage system In-progress Audio Clips An audio clip that references media currently being captured that you can play and edit.
7 Working with Bins Bin Views You can display the contents of your bins in one of four different ways: n • Brief view • Text view • Frame view • Script view You can resize each display view by dragging the lower right corner of the Bin window. The size of the display view is saved as a User setting for the bin. The bin view retains its set size every time you open that view of that bin, even in separate editing sessions. Each bin view can have a different size.
Bin Views You can select individual or multiple headings to display or hide in the bin. For a complete description of each column heading, see “Bin Column Headings” in the Help. To enter Text view: t Click the Text tab in the bin. Text tab Bin View menu To select column headings: 1. With a bin in Text view, select Bin > Headings. 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.
7 Working with Bins • Rearrange the display of the frames in the bin by moving them • Realign the frames in a bin after you have changed their display • Select any frame to represent the footage • Play back the footage within any clip You can also mark IN points and OUT points in Frame view. For more information, see “Marking IN and OUT Points” on page 252. To enter Frame view: t Click the Frame tab in the bin.
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 dragging 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 to Grid.
7 Working with Bins You can: • Add text by typing directly • Use basic word processing procedures to highlight, delete, cut, copy, and paste text between script boxes • Rearrange clips • Select any frame to represent the footage • Play back the footage within any clip To enter Script view: t Click the Script tab in the bin. Script tab Clip information Script text box To type text in the script box: 1. Click the text box and begin typing. 2.
Basic Bin Procedures To rearrange clips in Script view: n t Drag each clip up or down to a new location in the bin. t Sort and sift clips in Text view, and then return to Script view to display selected clips in the sort order you want. When you return to Text view, the order of the clips is changed there as well. Basic Bin Procedures You can use basic procedures in any of the bin display views for manipulating clips in the bin.
7 Working with Bins Using the Bin Fast Menu All Bin menu commands are also available in the Bin Fast menu located in the lower left corner of every bin. The Bin Fast menu is especially convenient when you are working with several open bins and need to access Bin menu commands quickly. To open the Bin Fast menu: t Click the Fast Menu button. Selecting Clips and Sequences To select a clip or sequence in a bin, do one of the following: t Click the clip or sequence icon (Brief view or Text view).
Basic 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.
7 Working with Bins To copy clips or sequences from one bin to another bin: 1. Position or resize the bins so that you can see both of them at the same time. 2. In the original bin, click the clip or sequence that you want to copy, or select multiple clips. 3. Press and hold the Alt key (Windows) or Option key (Macintosh), drag the clips or sequences to the destination bin, and release the mouse button. The copies appear in the destination bin, and the originals remain in the source bin.
Basic Bin Procedures (Windows) To delete clips, subclips, and sequences with their media files from a bin: 1. Select the clips, subclips, or sequences that you want to delete. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The Delete dialog box opens, displaying the items that you selected. By default, media files are not selected for deletion. One master clip selected Multiple items selected 3.
7 Working with Bins The Resolutions to Delete section of the dialog box lists all video resolutions for the clips you selected. It also lists a single entry for all audio sample rates and compressed audio. You can select all resolutions for deletion by clicking All. 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.
Basic Bin Procedures The Delete dialog box opens, displaying information about the selected items. This example shows that you selected one sequence and one master clip before you selected Delete or pressed the Delete key. 3. Select the items you want to delete. t Select clips and their associated media files for deletion. t Select only the media files for deletion if you want to retain the clips for recapturing later.
7 Working with Bins 2. Select Edit > Set Bin Background and click on a color. The bin color changes, based on your selection. The change is applied to all four bin views. Working with the SuperBin You can use the SuperBin to conserve screen real estate. The SuperBin lets you open different bins in a single bin window and switch between the bins, keeping them open with only one visible at a time.
Working with the SuperBin 3. Click a bin name. The bin opens in the SuperBin. The SuperBin icon appears in the upper left corner, and the title is SuperBin: bin name. n When SuperBin is enabled, remember to single-click a bin name to open it within the SuperBin. Double-clicking the bin name opens the bin in its own window. Close button SuperBin button To view a bin previously opened in the SuperBin: t Click the SuperBin button, and then select a bin. The bin reappears in the SuperBin.
7 Working with Bins To move an opened bin into the SuperBin: 1. Click the Bins tab in the Project window. 2. Double-click the open bin’s icon in the Project window. The individual bin window closes, and the bin appears in the SuperBin. To move a bin out of the SuperBin and into its own window: 1. Click the Bins tab in the Project window. 2. Double-click the open bin’s icon in the Project window. The bin disappears from the SuperBin and appears in its own window.
Creating a Storyboard To copy a clip or sequence out of the SuperBin: 1. Click the Bins tab in the Project window. 2. Press and hold the Alt key (Windows) or Option key (Macintosh), and then drag the clip or sequence from the SuperBin onto a bin icon in the Project window. The clip or sequence is copied into the bin in the Project window, and the bin opens in its own window.
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8 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 that allow you to organize the clips that reference these media files, your Avid editing application provides tools and features for directly managing these media files.
8 Managing Media Files Working with Media Files in an Avid Interplay Environment If you are using your Avid editing system in an Avid Interplay environment, you can use Avid’s media asset manager, the Avid Interplay Engine, to share media files between systems.
Working with Media Files in an Avid Interplay Environment The Interplay Server setting is a Project Setting that applies to all users of a particular Avid editing system. If you want to access another asset manager, you must modify the Interplay Server settings to reflect the server. The directory defined in your Interplay Project settings identifies the Interplay folder location to which you check in media objects.
8 Managing Media Files Disconnecting an Avid Editing Application from the Interplay Environment The following topics describe Disconnected Client mode, which allows you to work while disconnected from the Avid Interplay environment. There are two basic cases when you might want to voluntarily disconnect an Avid editing application from the Interplay environment: • If you have a laptop that you want to disconnect from the network and then use to work with media on your local drives.
Disconnecting an Avid Editing Application from the Interplay Environment 4. Start the Avid editing application. The system displays the following message: “You don't have access to MediaIndexer. Do you want to continue in Disconnected Client Mode? If you do, you won't have access to shared media drives.” 5. Click Continue. The application starts without using the Media Indexer. The application uses .pmr and .mdb files to track media on your local drive.
8 Managing Media Files Using Disconnected Client Mode with Network Problems When the Avid editing application starts up in an Interplay environment, it uses the Interplay Framework Lookup Service to locate the local Media Indexer. The Lookup Service is usually running on a network server. If the Avid editing application cannot locate the Lookup Service, it cannot find the Media Indexer. To continue to work in Disconnected Client mode: 1. Start the editing application.
Viewing Media with a 100Base-T Connection to Avid Unity ISIS c Because LANshare workgroups and PortServer workgroups do not support all Avid resolutions, make sure you specify a supported resolution in your Avid editing application. For information on supported resolutions, see the LANserver system or PortServer system documentation.
8 Managing Media Files If the drive being ejected supports the auto-eject feature (for example, Jaz® drives), the command ejects the disk from the drive. The Unmount command does not remove drives from the Windows system. You can unmount one or several drive volumes mounted on the desktop at any time from within your Avid editing application. You can also remount all the drives and return them to the desktop.
Using the Media Tool To unmount a drive or make a drive unavailable to your Avid editing application: 1. With your Avid editing application running, select File > Unmount. The Unmount Disk or Drives dialog box opens. The list displays all drives currently available. 2. Select a drive to unmount. 3. Ctrl+click (Windows) or Shift+click (Macintosh) to select additional drives. 4. Click Unmount. The drives are no longer available to your Avid editing application.
8 Managing Media Files n • You can use the same Script view options described in “Using Script View” on page 183. • The Media Tool Fast menu gives you quick access to the same commands available in the Bin Fast menu. • You can highlight, move, copy, duplicate, delete, sort, and sift clips in the Media tool. You can also select media relatives, source clips, and unreferenced clips, as described in “Basic Bin Procedures” on page 185 and “Advanced Bin Procedures” in the Help.
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.
8 Managing Media Files 3. Select the projects to load by doing one of the following: t In the Projects list, select individual projects. t Click the Current Project button. t Click the All Projects button. Only projects with associated online media and the current project appear in the Project(s) list in the Media Tool Display dialog box. 4. Select Master Clips, Precompute Clips, Media Files, or any combination of the three. 5. Click OK. The Media tool opens.
Using the Media Tool Depending on your needs, you can do the following: • Delete selected audio or video tracks and retain other tracks from a clip. • Delete entire sets of media files and related clips from within the Media tool. • Delete all unrelated media upon completion of a project, and retain only the media required for playback of a finished sequence as described in “Consolidating Media” on page 210. To delete selected media files: 1. Select Tools > Media Tool. 2.
8 Managing Media Files 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 Understanding the Consolidate Feature The Consolidate feature operates differently, and provides different advantages, depending upon whether you are consolidating master clips, subclips, or sequences. Master Clips When you consolidate a master clip, your Avid editing application creates exact copies of the media files. If you link the original master clip to the new files, your Avid editing application creates a master clip with the file name extension .
8 Managing Media Files Subclips When you consolidate a subclip or group of subclips, your Avid editing application copies only the portion of the media files represented in the subclip and creates a new master clip that is the duration of the subclip and a new subclip. The file name extension .new is attached, along with incremental numbering beginning with .01.
Consolidating Media Consolidate finished sequences to: n • Create backup files. • Preserve only the captured media required for playback, and delete the rest to use less storage space. • Gather dispersed media onto one drive for storage or transfer to another system. Because a consolidated sequence is linked to the new files by default, consider duplicating the sequence each time you consolidate if you need to maintain links to the original files.
8 Managing Media Files The Consolidate/Transcode dialog box opens. 4. Select Consolidate in the upper left corner. 5. In the Target Drive(s) area, select a drive or drives. 6. Select the appropriate options, as described in Consolidate Options. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh).
Consolidating Media 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. For more information, see “Understanding the Consolidate Feature” on page 211. 9. Click OK. The application creates new media files and new clips which are linked according to your selection.
8 Managing Media Files Consolidate Options The following table describes the options for consolidating in the Consolidate/Transcode dialog box. Option Description Video and audio on same drive(s) Select to store the consolidated media files on the same target drive. Deselecting this option allows you to select separate drives for the audio and video media files.
Using the Transcode Command Using the Transcode Command The Transcode option in the Consolidate/Transcode dialog box lets you create new clips and new media files that use a different resolution. If you have a sequence composed of clips that use different resolutions, you can use the Transcode feature to create a sequence in which all clips use a single resolution. The Transcode option also lets you convert from OMF to MXF, and from MXF to OMF, except in HD projects where MXF is the only available format.
8 Managing Media Files The Consolidate/Transcode dialog box opens. 3. Select Transcode in the upper left corner. 4. In the Target Drive(s) area, select a drive or drives. 5. In you are an Interplay environment, with Dynamic Relink enabled, select whether or not to create new master clips for the transcoded media. For more information, see “Understanding How Clips and Media Are Associated” on page 615.
Transcode Options Create new clips option 6. Click the Target Video Resolution menu, and select a video resolution. 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, as described in “Transcode Options” on page 219. You can display Help for the dialog box by pressing F1 (Windows) or the Help key (Macintosh). 8. Click Transcode in the lower right corner.
8 Managing Media Files Option Description (Continued) Create new clips In an Interplay environment, with Dynamic Relink enabled, select this option to create new master clips for the transcoded media. If you do not select this option, the existing master clip is associated with both the original media file and the transcoded media file. For more information, see “Understanding How Clips and Media Are Associated” on page 615.
Refreshing Media Directories If you store the master clips and the edited sequences for a project in separate bins, you need to load the entire database to relink clips to their media files in the following two cases: • Recapturing: When you recapture the master clips while the sequences bin is closed, quit your Avid editing application, restart the application, and open the sequences bin only—the sequences might appear to be offline.
8 Managing Media Files 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.
Backing Up Media Files The options for backing up media files include: n • Using the Consolidate feature, as described in “Consolidating Media” on page 210, to make copies of selected media files on a target media drive connected to the system or for transfer to another system. • Backing up smaller projects captured at low video resolutions to a removable storage device, such as a hard drive. • Archiving larger media files and folders to a network storage device.
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9 Viewing and Marking Footage Before you begin editing, you can review your footage, add locators 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.
9 Viewing and Marking Footage Viewing Methods You can work with clips and sequences in several ways, depending on your needs and preferences. Each method has its own uses and advantages, as described in the following table: Viewing Method Description In bins You see pictorial images of the clips in your bins by using Frame or Script view and can play the clips in the bin. For more information, see “Using Frame View” on page 181 and “Using Script View” on page 183.
Customizing the Composer Window and Monitors Viewing Method Description Timeline in Source mode for viewing tracks Toggle Source/Record in Timeline button Customizing the Composer Window and Monitors The Composer window is central to the editing process, providing all the essential controls for viewing, tracking, marking, and editing source and record footage. The Composer window includes the Source and Record monitors.
9 Viewing and Marking Footage 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” in the Help. n Illustrations of the Composer window in this chapter show two button rows, two information rows, and the Center Duration display. You can set this display on the Window tab of the Composer Settings dialog box.
Customizing the Composer Window and Monitors To reduce the Record monitor to its standard size: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Record monitor, and deselect Full Size Video. To toggle between the single Record monitor and the Source/Record monitors: t Press and hold the Alt key (Windows) or Option key (Macintosh) and then click the Source/Record Mode button.
9 Viewing and Marking Footage Tracking information is updated continuously to reflect your current position in the footage. You can select which information you want to track from the Tracking Information menu (see “Tracking Format Options” on page 231). Second row of information (top row) Center duration display First row of information (bottom row) Click the display area to access a Tracking Information menu.
Customizing the Composer Window and Monitors 3. Select the type of tracking information you want to display. If you select the option for two information rows above the monitors in the Composer settings (in the Window tab), you can display two different types of tracking information for the footage in each monitor. For example, you can display both running timecode and IN to OUT durations for clips loaded in the Source monitor.
9 Viewing and Marking Footage Pane Description Pane 1 Allows you to select a format for the tracking information. In the Record monitor, you set select a format for either the Sequence tracking information or the Source clip tracking information. In the Source monitor, you can select a format for the Source clip tracking information only. The Sequence submenu allows you to select Timecode, Footage (feet and frames for 24p and 25p projects), or Frames (a sum total of frames for either film or video).
Customizing the Composer Window and Monitors Pane Description (Continued) 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.
9 Viewing and Marking Footage Tracking Format Options The following table describes the tracking format options. Option Description Master Displays master timecode at present location. Duration Displays total duration of the sequence. In/Out Displays duration between IN and OUT points. Absolute Displays absolute time duration at present position. Remain Displays time remaining at present position. V1 TC (or EC) Displays the source track of the video on track 1, and the timecode (or edgecode).
Selecting the Video Display Settings • For software only-systems, through an IEEE 1394 connection, analog connection, or dual-head display board. For details on connecting a Client monitor to a software-only system, see “Connecting the Editing Equipment” in the Help. n If you do not have a Client monitor connected, you can still view the video through the camera eyepiece or through a monitor attached to a deck when outputting to an external camera or deck.
9 Viewing and Marking Footage 2. 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 your Avid editing application. 3. Select or modify the options for video display and click OK. n The options available vary depending on the model of your Avid editing application. For information about all options in the dialog, see “Video Display Settings” in the Help.
Playing Video to a Full-Screen Monitor Some of these settings apply to playback and how effects are processed. See the following topics: - “Playing Back to a DV Device” on page 247 - “Video Quality Options for Playback” on page 249 - “Setting the Video Quality for Playback” on page 251 - “Options for Controlling Real-Time Effects Playback” on page 426 Playing Video to a Full-Screen Monitor The Full Screen Playback option allows you to view your video on a full-screen monitor.
9 Viewing and Marking Footage Loading Clips or Sequences into Monitors To load clips or sequences into a monitor: 1. Click the Source/Record Mode button to enter Source/Record mode. 2. Open a bin and do one of the following: t Locate a single clip or sequence. t Select multiple clips or sequences. For more information, see “Selecting Clips and Sequences” on page 186. 3. Do one of the following: t Double-click the single clip or sequence, or any one of the selected set of clips or sequences.
Loading and Clearing Footage n If you press and hold the Alt key (Windows) or Option key (Macintosh) while dragging multiple clips into the Record monitor, they appear as one sequence in the Clip Name menu. For more information, see “Creating an Instant Rough Cut” on page 272. To switch between clips: 1. Click the name of the current clip or sequence displayed above the monitor to reveal the Clip Name menu.
9 Viewing and Marking Footage To clear the monitor or the clip or sequence names from the menu: 1. Click the name of the clip or sequence currently displayed above the monitor to reveal the Clip Name menu. 2. Select one of the following commands: - Clear Monitor removes the displayed clip or sequence from the screen, leaving black. The clips or sequences are still loaded. - Clear Menu deletes the list of all loaded clip or sequence names and leaves only the clip currently displayed.
Controlling Playback Position indicator Position bar Position indicator in Timeline To access frames in or move through loaded footage, do one of the following: t To move the position indicator and access the frame at the new position, click anywhere in a monitor’s position bar or in the Timeline, or drag the position indicator to the left or right in a monitor’s position bar or in the Timeline.
9 Viewing and Marking Footage Playback Control Buttons You can use the buttons that appear below the Source and Record monitors and in the pop-up monitors to play and step through your footage. You can also use additional buttons available in the Command palette to control playback. You can remap Command palette buttons onto some existing button locations (for example, in the Tool palette) or to the keyboard.
Controlling Playback Button Primary Default Location Function (Continued) Step Backward button Monitors Moves the footage one frame backward. • Step Forward button Monitors Press and hold the Alt key (Windows) or Option key (Macintosh) while clicking the button to move 10 frames (NTSC and PAL) or 8 frames (24p) backward. Moves the footage one frame forward.
9 Viewing and Marking Footage To use single-field step: 1. Click the Step Forward One Field button or the Step Backward One Field button. A number 2 displays in the upper right corner of the monitor to indicate you are parked on field 2 of a frame. (The absence of the number 2 indicates you are parked on field 1 of the frame.) Subsequent single-frame steps are based on this field. 2. Continue to click the Step Forward One Field or Step Backward One Field button to view each field of a frame.
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
9 Viewing and Marking Footage 2. Use the following keys to shuttle at varying speeds: t Press the L key to move forward through the footage at normal speed.
Playing Back to a DV Device To pause shuttling: t Press the K key. To stop shuttling: t Press the space bar. Playing Back to a DV Device If you are using Adrenaline, Mojo, or Mojo SDI input/output hardware, or if you do not have Avid input/output hardware attached to your system (software-only), you can play back DV media through a DV device. Your options for playback of media to a DV device vary, depending on whether the media is played back as DV 25, DV 50, or DVCPRO HD (DV 100).
9 Viewing and Marking Footage To play back to a DV device connected through a 1394 port: 1. If you are using Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following to instruct your Avid editing application to play out through the 1394 port: t Click the DNA/1394 button in the Timeline top toolbar to display DNA or 1394, depending on how the DV device is connected.
Video Quality Options for Playback - n Select Realtime Encoding to output 24p media to a DV device. You must also select Full Quality playback. Realtime Encoding applies only to playing DV 25 and DV 50 media to a DV device. You can also select the DV playback options in the Video Display Settings dialog box. Video Quality Options for Playback Avid editing applications provide a range of video quality options for playback.
9 Viewing and Marking Footage Video Quality Name and Icon Description (Continued) DNxHD Native Processes and plays the full image raster of DNxHD native media only. This option does not process any effects in the sequence or any media that is not DNxHD encoded. Non-DNxHD media is replaced by black frames. This option provides a high-quality alternative to the Full Quality options described above for Avid Adrenaline input/output hardware with the DNxdel HD video board.
Setting the Video Quality for Playback Configuration Avid Adrenaline without DNxcel HD video board Available Options (single camera editing) Available Options (MultiCamera Mode) Full Quality 10-bit Full Quality (SD only) Full Quality Draft Quality (SD only) Draft Quality’ Best Performance (SD and HD) Best Performance Avid Mojo DX, Avid Nitris DX Full Quality 10-bit Full Quality (SD only) Full Quality Draft Quality (SD only) Draft Quality Best Performance (HD only) Best Performance (HD only
9 Viewing and Marking Footage Marking and Subcataloging Footage You can speed the editing process by marking clips with IN and OUT points, by subcataloging using locators, and by creating subclips. When subcataloging, you might want to create or open additional bins for storing and isolating specific subclips, marked clips, or sequences, as described in “Using the Bins Tab in the Project Window” on page 81.
Marking and Subcataloging Footage In the monitor, a Sawtooth icon appears on the left to indicate the mark IN frame. Sawtooth icon Marked IN point 4. Continue moving through the material. 5. Mark an OUT point by doing one of the following: t Click the Mark OUT button under the monitor to mark an OUT point and stop playback. t Press the Mark OUT key when marking a clip in a bin. By default on United States keyboards, the Mark OUT key is the O key.
9 Viewing and Marking 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 In most projects, subclips do not limit your access to the original, captured master clip material when trimming. Therefore, if you must trim beyond the marked IN to OUT boundaries of the subclip to make it longer or shorter, your Avid editing application accommodates the boundary adjustments during the trim.
9 Viewing and Marking Footage t Press the Alt key (Windows) or the Option key (Macintosh) while you click the Make Subclip button. Your Avid editing application creates the subclip and opens a dialog box that allows you to select the destination bin for the subclip. Creating Subsequences You can use IN and OUT marks to create a new, shorter sequence from an existing sequence. This subsequence becomes an independent sequence and you can edit it in the same way you edit any other sequence.
Finding Frames, Clips, and Bins 4. Do one of the following: t Click the Audio Mark IN button to mark an IN point. t Click the Audio Mark OUT button to mark an OUT point. The Audio Marks appear in the Timeline and in the position bar beneath the monitors. Position bar Audio Mark IN Audio Mark OUT To remove audio IN and OUT points: t Shift+click the Clear IN Mark, Clear OUT Mark, or Clear Both Marks button.
9 Viewing and Marking Footage Using Timecode to Find a Frame You can cue a loaded clip or sequence to a specific frame by typing timecode values with the numeric keypad on the right side of the keyboard. In addition, you can cue backward or forward from the current location in the clip or sequence by a specified number of minutes and seconds, or feet plus frames, by using positive or negative frame-offset values.
Finding Frames, Clips, and Bins In this example, the interface displays master timecode. Use one of the following formats: Format Description SMPTE timecode Use two digits each for the hours, minutes, seconds, and frames. For example, type 01230200 to enter 01:23:02:00. Current timecode To find a timecode that starts at the same hour, minute, or second as the current timecode, type only the last digits.
9 Viewing and Marking Footage Searching for a Clip or Sequence You can use the Find feature to search for a clip or sequence loaded in the Source monitor or the Record monitor using: • Clip names • Locator text • Text displayed in the Timeline • Comment text To do a text search of a loaded clip or sequence using the Find feature: 1. Load the clip or sequence into the monitor. 2. Select Edit > Find. The Find Text dialog box opens. 3. Type part or all of the text for which you are searching.
Finding Frames, Clips, and Bins Understanding Match Frame The Match Frame feature allows you to locate the source clip for the frame currently displayed in either the Record monitor or the Source monitor. This feature is useful when you want to relocate and reedit source material, such as subclips and master clips. Match framing loads the source clip into the Source monitor, cues to the matching frame in the source clip, and marks an IN point.
9 Viewing and Marking Footage 4. Do one of the following: t Click the Match Frame button. The source clip is loaded into the Source monitor, and any previous IN or OUT points are removed. A new IN point is marked at the matching frame. t Alt+click (Windows) or Option+click (Macintosh) the Match Frame button. The source clip is loaded into the Source monitor, and any previous IN or OUT points are maintained.
Finding Frames, Clips, and Bins To matchframe a selected frame on a single track: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the track number that you want to match frame, and select Match Frame Track. Finding a Bin With a clip or sequence loaded into a monitor, you can quickly find the original bin in which it is stored by using the Find Bin button. Clicking this button finds the bin, opens it, and highlights the clip or sequence within the bin.
9 Viewing and Marking Footage To locate a master clip from a subclip: 1. Cue to the subclip in the sequence. 2. Click the Match Frame button in the Record monitor to load the subclip into the Source monitor. 3. Click the Match Frame button in the Source monitor to load the original master clip into the Source monitor. 4. Click the Find Bin button in the Source monitor to open the bin and highlight the master clip.
10 Creating and Editing Sequences After you have viewed and marked your clips or created subclips, you are ready to create a sequence.
10 Creating and Editing Sequences To enter Source/Record mode from another mode: t Click the Source/Record Mode button displayed in the Timeline toolbar to the monitor toolbar. Composer window Source monitor Record monitor Source/Record Mode button Timeline window For more information about the Composer window, see “Customizing the Composer Window and Monitors” on page 227.
Creating a New Sequence Creating a New Sequence You can create a new sequence in one of two ways, depending on the requirements of your workflow: • If you want to set specific parameters for the sequence before you start editing, you can use the New Sequence command to create and name a sequence, set the start timecode, and determine the numbers and kinds of tracks to use before you make the first edit, as described in this topic.
10 Creating and Editing Sequences 2. (Option) Rename the new sequence by typing a new name while the Name field is active in the bin. n If you click anywhere in the interface after creating the new sequence, you deactivate the Name field. Click the sequence name again to rename the sequence. Changing the Name and Timecode for a Sequence You can rename a sequence and set a customized start timecode by using the Get Clip Info command.
Creating a New Sequence To change the start timecode of a sequence in a bin: 1. Click the start time for the sequence in the Start column in the bin. 2. Type a new timecode. Track Display for New Sequences When you create a new sequence by using 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).
10 Creating and Editing Sequences To add filler at the start of a sequence, do one of the following: t Select Clip > Add Filler at Start. t Right-click in the Timeline, and select Add Filler at Start. Filler appears at the beginning of the sequence in the Timeline. You can set a default duration for the filler in the Edit tab of the Timeline Settings dialog box. For more information, see “Timeline Settings: Edit Tab” in the Help. To add filler anywhere in a sequence: 1.
Making a First Edit 3. Click buttons in the Track Selector panel to select the tracks you want to include in the edit. Only the tracks that have been captured for the clip appear as source tracks in the Timeline. For more information on using the Track Selector panel, see “Understanding the Track Selector Panel” on page 313. Source tracks For example, with a talking head you might select tracks V1 (picture) and A2 (sound) if the voice was recorded on that track.
10 Creating and Editing Sequences Screen display of the first edit in a sequence Source clip Splice-in button Sequence The end of the last frame of the first new edit Timeline generated by the edit Creating an Instant Rough Cut As an alternative to creating a new sequence by editing clips one at a time, you can quickly create an instant rough cut. You do this by placing clips in order in a bin to create a storyboard, and then loading these clips directly.
Creating an Instant Rough Cut To create a rough cut from a bin: 1. In the bin, sort the clips in the order in which you want them to appear in the sequence. For example, in Frame or Script view, arrange the bin so that you can drag clips into the storyboard order you want. 2. Select the tracks for the edit. n If no sequences are loaded in the Record monitor, the Timeline has no features. 3. Do one of the following: t Ctrl+click (Windows) or Shift+click (Macintosh) the clips.
10 Creating and Editing Sequences Undoing or Redoing Edits You can undo or redo up to 32 previous actions listed in the Edit menu. You can quickly 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. Undo/Redo commands for previous edit Prior Redo commands appear in the upper portion of the Undo/Redo List submenu. Prior Undo commands appear in the lower portion of the submenu.
Editing Additional Clips into the Sequence Editing Additional Clips into the Sequence There are three primary edit functions for adding material to your sequence: • Insert (splice-in) • Overwrite • Replace edit In most cases, you perform three-point edits in which you set three marks—two in the source material and one in the sequence, or the reverse. The fourth mark is determined automatically. The way you set marks depends on the type of edit you perform.
10 Creating and Editing Sequences 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: n a. Move the position indicator for the sequence to the point where you want to splice the clip into the sequence. b. Click the Mark IN button, or press the Mark IN key. If you do not mark an IN point, the system splices the new clip into the sequence at the current location of the position indicator. 4.
Editing Additional Clips into the Sequence Performing a Replace Edit You use the Replace Edit button (blue) to replace 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. New Clip Material to be replaced Before replace edit Clip X Clip Y Clip Z Clip Y New Clip After replace edit Clip X n By default, the Replace Edit button is located on the Edit tab of the Command Palette.
10 Creating and Editing Sequences Enabling Single-Mark Editing Single-mark editing (also called mark-and-park editing) allows you to 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.
Working with Interlaced Clips in Progressive Projects The following table lists the video formats available for each frame rate. You can mix any of the formats from one row, but you cannot mix formats from different rows. Frame Rate Video Formats 23.976 NTSC 23.976, 720p/23.976, 1080p/23.976 24 NTSC 24p, PAL 24p, 1080p/24 25 PAL 25i, PAL 25p, 720p/25, 1080i/50, 1080p/25 30 NTSC 30i, 720p/29.97, 1080i/59.94, 1080p/29.97 50 720p/50 60 720p/59.
10 Creating and Editing Sequences Duplicated Field provides sufficient image quality in most cases and renders quickly if rendering is needed. You can experiment with any options in the Type menu other than Both Fields. Both Fields does not remove the undesirable field motion. Lifting, Extracting, and Copying Material Lifting, extracting, and copying allow you to remove or reposition material quickly in your sequence.
Lifting, Extracting, and Copying Material Extracting Material The Extract function removes selected material from a track in the sequence and closes the gap left by its removal. As a result, when you extract material, you shrink the duration of the track or sequence. Extracted Clip Y Before extract After extract Clip X Clip Y Material is placed in the Clipboard. Clip Z Track is shortened. Clip X Clip Z To extract material: 1.
10 Creating and Editing Sequences The Avid Clipboard The Avid Clipboard is a cut, copy, and paste tool adapted to the special needs of the editing environment. For information on using the clipboard, see “Using the Clipboard” on page 283. Uses for the Clipboard The Copy to Clipboard function is useful for moving or repeating material in a sequence without moving multiple segments in Segment mode or for rebuilding the section at another location.
Playing Back a Sequence Using the Clipboard To place a marked section of the sequence into the Clipboard at any time: t Click the Lift, Extract, or Copy to Clipboard buttons. To keep the Clipboard contents throughout a session, do one of the following: t Click the Clip Name menu above the Source monitor, and select Clipboard Contents. The contents appear as a clip in the Source monitor, and the name “Clipboard Contents.n” appears above the monitor and in the Clip Name menu.
10 Creating and Editing Sequences n You can also use looping playback to isolate and continuously play back a small portion of the sequence during a difficult edit. If you need to prepare a screening of the current cut or sequence away from the system, see “Viewing Dailies” in the Help for information on preparing a videotape version of the sequence, or the Avid FilmScribe User’s Guide for information on preparing a conformed cut or preview reel from workprint.
Sync Breaks 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. Your Avid editing application provides several features for avoiding, tracking, and removing sync breaks.
10 Creating and Editing Sequences Tips for Avoiding Sync Breaks One way to avoid breaking sync is to maintain the duration of the track when adding or removing material. The following table provides tips on how to do this in different circumstances: Task Tips Adding material to a track Use the Overwrite or Replace functions instead of Splice-in, whenever possible.
Sync Breaks To restore frames to sync in Trim mode: t Perform one or more single-roller trims on the out-of-sync tracks. Trim the exact number of sync-break frames displayed in the Timeline to reverse the break. For more information on performing trims, see “Working in Trim Mode” on page 323. To fix sync in Source/Record mode: t Add new material or extract material from the out-of-sync track. Add or extract the exact number of offset frames displayed in the Timeline.
10 Creating and Editing Sequences 288 Working Mode Tips Segment mode • Use the Lift/Overwrite function to leave filler behind and maintain any other sync relationships affected by the move. • Use the Lift/Overwrite function to delete the entire segment and leave filler to eliminate the break. • Use the Add Edit function to isolate a portion of the clip for moving or deleting.
11 Using the Timeline Your Avid editing application 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 that you can use to create and revise edits and transitions across multiple tracks. The audio and video tracks in the Timeline play in the Record monitor.
11 Using the Timeline • Highlight clips in the Timeline for special purposes For more information, see “Highlighting Offline Media Clips” on page 295 and “Highlighting Clips in a Mixed-Format (SD and HD) Timeline” on page 295. • Save different custom views that you can call up instantly in various circumstances For more information, see “Managing Customized Timeline Views” on page 296.
Customizing Timeline Views Purpose Description (Continued) Film and animation editing If you are working on a film or animation project, you can display the film track, show several frames in the sequence, and display sync breaks where they occur. Editing for online If you are editing offline with plans to generate an EDL and finish the sequence in an online videotape suite, you can track detailed clip and dupe-reel information by displaying clip text and enabling Dupe Detection.
11 Using the Timeline Using the Timeline Fast Menu You can customize the appearance of the Timeline by using various options from the Timeline Fast Menu. To use the Timeline Fast menu: t Click the Fast Menu button, and select or deselect an option from the menu. For information on the options, see “Timeline Fast Menu Options” on page 292. Timeline Fast Menu Options The following table describes the options available in the Timeline Fast Menu. Selected options have check marks next to them in the menu.
Customizing Timeline Views Option Description (Continued) Color Correction Displays indicator lines to show which segments have Source or Program color correction. Audio Data Displays a submenu for customizing audio tracks with waveforms or volume gain automation; see “Displaying Audio Waveforms” on page 347 and “Viewing Clip Gain and Automation Gain Values” in the Help.
11 Using the Timeline Enlarging and Reducing Timeline Tracks You can enlarge or reduce the height of one or more tracks to improve visibility and display more information within the tracks. For example, you can use this feature to: • Reduce and view all the tracks in a multilayer sequence, and enlarge them when finished. • Enlarge all tracks to view waveform plots or other displays in multiple tracks. You can save these changes with a Timeline view. To enlarge or reduce the height of tracks: 1.
Customizing Timeline Views Highlighting Offline Media Clips You can highlight the clips in the Timeline that have offline media. The clips appear red, indicating their media is offline. Selecting this option overrides any previous source or local color selections. n If you are working with nested layers, a clip that contains offline media appears red even if the missing media is nested many layers deep.
11 Using the Timeline Managing Customized Timeline Views You can save a customized Timeline view. Timeline views appear in the Settings list in the Project window. You can save, rename, and copy multiple views. Your Avid editing application saves the Timeline information from the Timeline Fast menu with each view. You can select alternate views from the View menu located in the Timeline bottom toolbar. The Timeline view is labeled Untitled until you name and save a customized Timeline view.
Navigating in the Timeline Navigating in the Timeline The Timeline window provides various controls for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing. You can use the position indicator, the Timeline scroll bar/position bar, the Timeline scale bar, the Zoom In and Zoom Back commands, or the Focus button. In addition, marked sections of the sequence can be highlighted for visual reference.
11 Using the Timeline The Timeline scroll bar functions like any standard scroll bar. You can drag the scroll slider to reposition yourself within the Timeline, or click the arrows to scroll left or right. Scroll slider Timeline scroll bar You can change the Timeline scroll bar to a position bar that acts like the position bar in the Record monitor, except that you can manipulate it without deactivating the Timeline window. For more information, see “Switching to the Timeline Position Bar” on page 299.
Navigating in the Timeline Switching to the Timeline Position Bar To switch to the Timeline position bar: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens. 2. Select the Show Position Bar option in the Display tab. A check mark appears in the box. To deselect an option, click it again. 3. Click OK. The scroll bar changes to a position bar. n For information on all Timeline settings, see “Timeline Settings” in the Help.
11 Using the Timeline Zooming and Focusing in the Timeline You can change your view of the Timeline to focus in on particular information in the following ways: • You can use the scale bar to stretch and contract the Timeline area centered around the position indicator. This allows you to either zoom in to focus on a specific area of your sequence or zoom out to display your whole sequence. This feature is especially useful when you have a lengthy sequence with many edits.
Navigating in the Timeline 2. Position the pointer at either the start or end of the place you want to zoom in on, and drag to select the section. When you release the mouse button, the material inside the Zoom In box expands to fill the Timeline window. 3. To return to the previous Timeline display, click the Timeline Fast Menu button, and select Zoom Back. To focus the Timeline using the Focus button: 1. Move the position indicator to the frame or transition you want to expand. 2.
11 Using the Timeline Using Segment Mode Segment mode provides editing controls for moving, deleting, marking, and editing entire segments in the Timeline. A segment is a portion of a sequence between two edit points. There are two basic stages to editing work in Segment mode: • Select the segments by using the Segment Mode pointer or by lassoing segments with the mouse. • Move, mark, or delete the segments in either Extract/Splice-in mode or Lift/Overwrite mode.
Using Segment Mode • Lasso at least two transitions or all transitions included in multiple segments. If your lasso surrounds only one transition, you enter Trim mode. • Drag from left to right. If you drag from right to left, you enter Trim mode with slip rollers selected. Selecting and Deselecting Segments You can select segments for moving or editing either by using the Segment Mode pointer or by lassoing one or more segments.
11 Using the Timeline 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. For example, if you lasso segments on V1, V2, and A1, you can click the V2 and A1 Track buttons to leave only the segment on the middle track, V1, selected. t Use the Segment Mode pointer to Shift+click specific segments on any track. This deselects the segments you click on any track, leaving the remaining tracks selected.
Using Segment Mode t Click the Select RightSelect Right button to select segments under the position bar and all segments to the right. t Click the Select In/OutSelect In/Out button to select segments intersecting In and Out marks if both marks are present. If there is only an In mark or an Out mark in the Timeline, or no In and Out marks, the Select In/Out button selects all segments under the position bar.
11 Using the Timeline Four-frame display The two outer frames indicate ending and beginning frames of clips before and after the segment. Offset counter The two inner frames represent the start and end frames of the segment. 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.
Using Segment Mode 3. Click either the Extract/Splice-in button (yellow) or Lift/Overwrite button (red) to enter Segment mode. 4. Click the segment, and drag it to its new position. As you begin to drag, notice that the monitors maintain their Source/Record configuration rather than shift to the four-frame display or two-frame display. Maintaining Sync in Segment Mode When you use Lift/Overwrite in Segment mode, filler is added to the sequence to maintain sync.
11 Using the Timeline This segment will be moved. Before segment drag sync lock After segment drag sync lock Filler added after segment is moved. Filler left after segment is moved. Editing Segments in Segment Mode Segment mode provides two subsidiary modes for editing segments: • Use Extract/Splice-in mode to move the selected segments in the same track in the Timeline. Like the standard Splice-in function, the Extract/Splice-in edit inserts the segment into the new position.
Using Segment Mode Before splice-in Clip W (selected clip) Clip Z Surrounding clips are unchanged. After splice-in Clip W Clip Y Clip Y (selected clip) Clip Z Before overwrite Clip W (selected clip) After overwrite Clip W Clip Y Clip Y Blank filler Clip Z (selected clip) Clip Z Underlying materials overwritten You can perform standard Segment mode edits on multiple video and audio segments by selecting them and then dragging them to new positions in the Timeline.
11 Using the Timeline You can also drag clips from the Source monitor or from a bin and drop them in the Timeline, moving the segments to the position in the sequence you want. The following limitations apply when you drag a clip from a bin or the Source monitor to the Timeline: • You can drop video clips on any available video track. • If you move audio segments only, you can drop the selection on any available audio tracks.
Using Segment Mode 4. Click the Extract/Splice-in button or the Lift/Overwrite button again if you want to leave Segment mode. To cancel a segment move, do one of the following: t If you have not dropped the selected segment at a new location, drag the selection out of the Timeline window and release the mouse button. t If you have dropped the selected segment at a new location, select Edit > Undo.
11 Using the Timeline The system marks an IN point at the start and an OUT point at the end of the selected segments. If you selected more than one track, the IN and OUT points mark where the edit points across tracks line up. IN point OUT point 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. Click one of the Segment Mode buttons.
Working with Multiple Tracks Occasionally, effects editing involves a procedure known as nesting. Nesting involves stepping into existing tracks to reveal added layers for combining multiple images and digital video effects. When the effect is applied, you can step out to view and render the effect as one segment on the track. You can nest up to 24 additional tracks within each track. n For more information on nesting techniques, see “Nesting Effects” in the Help.
11 Using the Timeline 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 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. When there are multiple video tracks, all tracks below the monitored track are active during playback. The Video Track Monitor button displays a Monitor icon when the track is monitored for playback and output.
11 Using the Timeline • You can customize the output of audio tracks, as described in “Setting Audio Output Options” on page 515. Advantages of Solo Monitoring When editing, you can isolate individual video or audio tracks for monitoring without having to deselect monitoring of all other tracks. Solo monitoring provides several advantages: • You can eliminate slow cueing and playback when working with a complex sequence by monitoring a specific track.
Working with Multiple Tracks To activate or deactivate monitoring for a track: t Click the Track Monitor button for the track on either the source-side or the record-side. Video Track Monitor button for V1 track Audio Track Monitor button for A1 track Audio Track Monitor button for A2 track To select a track for solo monitoring: t Ctrl+click (Windows) or Command+click (Macintosh) the Track Monitor button for the selected track.
11 Using the Timeline To patch a track: t Drag from a source track (audio or video) to the targeted record track (a white arrow appears during the patch). New source track order identifies the patch. Audio patch from a source track to an audio record track During patch After patch To undo a patch: 1. Click in the Record monitor or Timeline. 2. Select Special > Restore Default Patch, or manually repatch to the previous track.
Working with Multiple Tracks n For more information on using the sync lock feature in Trim mode, see “Using Sync Lock” in the Help. The Sync Lock and Lock buttons of the Track Selector panel display a Sync Lock icon for sync-locked tracks, and a Lock icon for locked tracks. The procedure for applying the locks is different in each case. For more information, see “Locking and Sync Locking Tracks” on page 319.
11 Using the Timeline 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. t Click the Sync Lock All button to switch sync lock on and off for all tracks. To resume editing on individual tracks: t Click a Sync Lock button or the Sync Lock All button to remove the Sync Lock icon.
Working with Multiple Tracks 2. (Option) Select the type of track you want to add (for example, a video or an audio track) by clicking the Track Type menu, and selecting that option. 3. (Option) Select a track number other than the default number displayed in the dialog box by selecting another number from the Track Number menu. 4. Click OK. One of the following occurs: - The new track appears in the Timeline and in the Track Selector panel.
11 Using 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.
12 Working in Trim Mode 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 enter Trim mode and 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.
12 Working in Trim Mode Small Trim Mode Small Trim mode leaves the Source monitor display intact and has smaller displays of outgoing and incoming frames.
Understanding Trim Mode Quick Trim Mode If only the Record monitor is displayed (for example, if you are reviewing the final version of a sequence), you can enter Quick Trim mode for making quick adjustments to transitions in your sequence. Like Small Trim mode, Quick Trim mode replaces the Record monitor with smaller displays of outgoing and incoming frames.
12 Working in Trim Mode Big Trim Mode Big Trim mode replaces the Source and Record monitors with displays of outgoing and incoming frames. Big Trim mode also shows transition playback loop parameters. Big Trim mode Incoming frames Outgoing frames Playback loop parameters Trim buttons Play Loop button Frame offset counters Trim Settings Basics You can customize how Trim mode works from the Trim Settings dialog box. The Trim Settings dialog box has two tabs, Features and Play Loop.
Entering Trim Mode For information about all Trim settings, see “Trim Settings” in the Help. For general information on accessing and working with settings, see “Defining Settings” and “Working with Settings” in the Help. You can also: • Map trim-related buttons onto palettes or the keyboard in Trim mode, as described in “Understanding Button Mapping” in the Help. • Configure a Trim-mode-specific Timeline view, as described in “Customizing Timeline Views” on page 289.
12 Working in Trim Mode t Lasso the transitions in the Timeline. Draw the lasso by clicking at a point above the top track in the Timeline and dragging to surround the transitions. You can drag from right to left or left to right to lasso one transition across several contiguous tracks. Avoid lassoing more than one transition on a single track because lassoing left to right activates Segment mode, and lassoing right to left activates slip trim.
Setting Small Trim Mode Setting Small Trim Mode When you click the Trim Mode button from Source/Record mode, by default the system enters Big Trim mode. If you want to keep the Source monitor displayed, you can enter Small Trim mode, which lets you access the Source monitor controls. To set Small Trim mode: 1. Double-click Trim in the Settings list in the Project window. The Trim Settings dialog box opens. 2. Click the Features tab and select “Always use Small Trim mode.
12 Working in Trim Mode Using Basic Trim Procedures The following topics provide basic trim procedures you can use when working in Trim mode: • Selecting Trim Sides • Selecting Video Tracks in Trim Mode • Soloing Audio in Trim Mode • Selecting Additional Transitions • Performing a Basic Trim • Reviewing Trim Edits • Trimming On-the-Fly • Using Dual-Image Playback During Trims • Trimming During a Playback Loop Selecting Trim Sides You can trim a transition on either the outgoing side (A-si
Using Basic Trim Procedures t Click in between the two Trim monitors to trim both sides. The pointer changes to a dual-roller icon. Dual-roller Trim icon A and B t Use the Trim buttons or Trim keys on the keyboard to select side A, side B, or both. Trim buttons appear in the Trim tab in the Command palette. You can map these buttons to other locations, as described in “Mapping User-Selectable Buttons” in the Help.
12 Working in Trim Mode Soloing Audio in Trim Mode Audio solo in Trim mode allows you to listen to a single audio track while trimming multiple tracks. To solo an audio track in Trim mode: 1. Click the Trim Mode button. 2. Ctrl+click (Windows) or Command+click (Macintosh) the Audio Track Monitor button next to the audio track. The Audio Track Monitor button changes to green with a black Speaker icon to indicate solo monitoring.
Using Basic Trim Procedures Two A-sides and one B-side selected for asymmetrical trimming As you move the pointer back and forth across a transition, notice that the roller icon changes from an A-side roller (facing left) to a B-side roller (facing right) to indicate the type of selection. A-side roller B-side roller You do not see the dual-roller icon within the Timeline. To select both sides, you must first select one side, and then Shift+click to select the other side.
12 Working in Trim Mode Performing a Basic Trim After you select your transitions and trim sides, you can perform a basic trim. To perform a basic trim, do one of the following: t Use the Trim buttons to trim forward or backward by 1-frame or 10-frame (NTSC or PAL) or by 1-frame or 8-frame (24p) increments. 1 frame 10 frames (8 frames for 24p) t Use the J-K-L keys to trim forward or backward in the sequence.
Using Basic Trim Procedures Reviewing Trim Edits You can review an edit by using the Play Loop button or the Edit Review button. The Edit Review button (in the Play tab of the Command Palette) allows you to review an edit or other change that you made to a transition. You can set how far the position indicator moves backward by using the Preroll option in the Play Loop tab of the Trim Settings dialog box. For more information, see “Trim Settings Basics” on page 326.
12 Working in Trim Mode 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.
Using Basic Trim Procedures To use dual-image playback during trims: 1. Double-click Trim in the Settings list in the Project window. The Trim Settings dialog box opens. 2. Select the Dual Image Play option in the Features tab. 3. Click OK. 4. Click the Trim Mode button to enter Trim mode, and select a transition for trimming. 5. Press one or a combination of the J-K-L keys. As the transition plays, notice that both the A-side and B-side of the trim play back in the Trim monitors. 6.
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13 Working with Audio You edit audio by using many of the same techniques and tools you use to edit video. Your Avid editing application 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.
13 Working with Audio Overview of Audio Tools The following table describes the general purpose of each audio tool in your Avid editing application: Audio tool Description Audio tool Use this tool primarily for adjusting and calibrating global input and output levels when you capture from analog sources or output to tape. For more information, see “Understanding the Audio Tool” on page 126 and “Preparing for Audio Output” on page 513.
Using Audio Timecode To switch to another tool when one of the audio tools is already open: t Click the Effect Mode Selector menu, and select the new tool. To keep more than one tool open at the same time: t Select Tools > tool name, or click the Effect Mode Selector menu and Alt+click (Windows) or Option+click (Macintosh) a new tool. To prevent confusion, your Avid editing application allows only one copy of an audio effect tool to be open at a time.
13 Working with Audio c Information contained in the user bits of the LTC must be timecode only. Other data stored in the user bits does not appear in your Avid editing application. 4. Click the Audio Timecode Source menu, and select the audio track containing the timecode. A1 is the default. 5. Click the Destination Track menu, and select the target auxiliary timecode bin column for recording the audio timecode. Auxiliary TC1 is the default selection. 6.
Using Audio Scrub - The frames of audio you hear are always at your point of destination. For example, if you step forward 10 frames (8 frames for 24p), you hear a selected number of audio frames from a point behind the position indicator (outgoing frames) to a point in front of the position indicator (incoming frames) as it reaches the new destination point.
13 Working with Audio The following table shows how many tracks you can scrub at the varying speeds of play. When you play footage forward or backward at: You can scrub: Normal speed 16 tracks Two times normal speed 16 tracks Three times normal speed 2 tracks Greater than three times normal speed 0 tracks To ensure an audio track is monitored during scrubbing: t Click the Audio Track Monitor button in the Track Selector panel for the selected track.
Using Audio Scrub Adjusting Digital Scrub Parameters The default parameters for the number of frames you hear as you scrub are zero frames of outgoing audio (behind the position indicator) and one frame of incoming audio (ahead of the position indicator). To isolate frames for marking or trimming, the default parameters are sufficient.
13 Working with Audio n The Play Buffer Size in Samples option and the Tool Buffer Size in Samples option appear only if your Avid editing application is not using Avid input/output hardware (software-only). 2. Click in a text box and type a new number of outgoing or incoming frames on the source side, the record side, or both. The new parameters take effect. Performing Digital Audio Scrub To locate an audio edit point by using digital scrub: 1.
Audio Displays in the Timeline To solo an audio track: t Ctrl+click (Windows) or Command+click (Macintosh) the Audio Track Monitor button for the track you want to solo. The Audio Track Monitor button turns green. Audio track selected for soloing To turn off soloing for the track: t Click the Audio Track Monitor button again. To turn off the solo feature for all audio tracks: t Ctrl+Alt+click (Windows) or Command+Option+click (Macintosh) an Audio Track Monitor button for a solo track.
13 Working with Audio Your choice of plot type is a matter of visual preference: - Energy plot: Displays only the peaks of the audio amplitude in the waveform from the baseline. It is a graphical representation of the mathematical Energy Function for audio waveforms. Waveform energy plot - Sample plot: Displays the entire amplitude of the audio waveform. This is the same as the sample voltage values you would see on an analog oscilloscope waveform.
Audio Displays in the Timeline t To enlarge the size of the sample 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.
13 Working with Audio 5. 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 44.1 kHz) is displayed as white. 44.
Adjusting Volume Adjusting Volume You can adjust your speaker or headphone volume without leaving the application. You can also mute audio in several ways: • Using the Master Volume button in the Timeline • Using the Mute button in the Play tab of the Command palette The Mute button allows you to quickly turn all sound tracks on and off during editing. This is especially convenient when you fine-tune complex audio and video edits, making it possible to shift quickly between the two.
13 Working with Audio To adjust the volume control (models using Avid input/output hardware): t n Adjust the volume control on your Avid input/output hardware to the audio level you prefer. Adjusting the volume control affects the volume only while you are in your Avid editing application. Once you exit the application, the volume control defaults to how it was set on your desktop. To mute volume from the Timeline: t Click the Master Volume button.
Working with Surround Sound or 5.1 Audio (Avid Nitris DX and Avid Mojo DX Only) The Output tab in the Audio Project settings dialog box allows you to select the 5.1 option to designate a project with surround sound audio. If you have more than six tracks, or the tracks are given in a different order, you can use the Direct Out channel map to designate which tracks of the sequence will go to which channels. The preferred format is shown in the following table.
13 Working with Audio Setting Up the Analog Audio Output for Surround Sound (Avid Nitris DX and Avid Mojo DX Only) Depending on the Avid input/output hardware attached to your system, there are two balanced TRS audio outputs labeled Monitor and four balanced XLR audio outputs labeled Analog. The TRS outputs are always left and right speakers. The XLR outputs can be configured in the Output tab of the Audio Project Settings dialog box.
Working with Surround Sound or 5.1 Audio (Avid Nitris DX and Avid Mojo DX Only) 5. Click the Mix Mode Selection Menu button to select Direct Out. 6. If necessary, assign the tracks and channels through the Direct Out channel menu. n If the sequence in the Timeline is stereo or is direct out without being surround sound, the four analog XLR outputs remain silent and only the left and right speakers are active.
13 Working with Audio To set up for a surround sound (HDMI) audio output: 1. Double-click Audio Project in the Settings tab of the Project window. The Audio Project Settings window opens. 2. Click the Output tab. 3. Click Direct Out, then select First six tracks are 5.1 surround: L, R, C, LFE, LR, RR. 4. Click the HDMI tab. 5. Depending on your setup, select Use as Output to Tape Deck or Use as Desktop Surround Monitors.
Using the Audio Mixer Tool 3. In the Tool Buffer Size in Samples, click and drag the slider to select a sample size. If the default setting is changed, a warning dialog box opens informing you of how this change might affect your system. 4. Click Change. 5. To select the Avid recommended default setting, click the rs (recommended sample) button.
13 Working with Audio Audio Mixer Tool Controls The following illustration identifies the controls of the Audio mixer tool in Clip Gain and Pan mode, including controls that are common to all three modes. For specific information on Automation Gain and Pan mode, see “Using Automation Gain and Pan” on page 369. For specific information on Live Mix mode, see “Using Live Mix Mode” on page 377.
Using the Audio Mixer Tool The elements described in the following table appear in all Audio Mixer modes unless otherwise noted: Element Description Effect Mode Selector Lets you select an audio effect tool. See “Accessing Audio Effect Tools” on page 340. menu Audio Loop Play button Lets you adjust audio effects while looping over a portion of audio. This button is also available in the Play tab of the Command palette.
13 Working with Audio Element Description (Continued) Audio Mixer mode button Lets you select the mode for the Audio Mixer tool: • Auto (Automation Gain and Pan) • Clip (Clip Gain and Pan) • Live (Live Mix) The default mode is Clip Gain and Pan. The mode that you select is saved as a project setting. If you want to change the default mode, select the mode you want in the Audio Mixer tool, then save the Audio Project settings as a site setting. See “Using Site Settings” in the Help.
Using the Audio Mixer Tool To adjust levels when the sliders are hidden, do one of the following: t Select a track, and type level values by using the numeric keypad on the keyboard. t Type values into the Volume Level display. Track Selection in the Audio Mixer Tool and in the Timeline When you select a track in the Audio Mixer tool, your Avid editing application selects the corresponding track in the Timeline.
13 Working with Audio 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. Either there is no fader controller or mixer attached to the system or the Avid system does not recognize the fader controller or mixer.
Using Clip Gain and Pan Mode Using Clip Gain and Pan Mode The Audio Mixer tool in Clip Gain and Pan mode allows you to: • Adjust volume and pan for an individual clip, a whole track, several tracks at once, or a whole sequence. • Adjust the volume, pan, or both for one track at a time. • Adjust the volume, pan, or both for multiple tracks simultaneously by ganging them together. The system uses these adjustments for all playback, including output to a digital cut.
13 Working with Audio Adjusting Clip Gain and Pan for Audio Tracks To adjust clip gain and pan for audio tracks: 1. Load a clip or sequence, and activate the appropriate monitor: t To adjust a track in a source clip, click the Source monitor to make it active. To view a source clip’s tracks in the Timeline, click the Toggle Source/Record in Timeline button. t To adjust a track in a sequence, click the Record monitor to make it active. 2.
Using Clip Gain and Pan Mode 6. 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 volume or pan adjustments. The keyboard can control either the Source or Record monitor, depending on which monitor was active when you opened the Audio Mixer tool. Switch your selection by clicking the appropriate monitor. 7. Decide whether to raise or lower the volume.
13 Working with Audio 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 Value display to reveal the pop-up slider, and then drag the slider to a new position. t Alt+click (Windows) or Option+click (Macintosh) the Pan Value display for MID. If the sequence is playing, play stops when you make an adjustment. n You can adjust volume while playing the clip.
Using Clip Gain and Pan Mode The following table describes the Audio Mixer tool Fast menu commands for Clip Gain and Pan mode: Command Description Set Level on Track, Set Pan on Track Applies the same pan or volume levels currently set in the Audio Mixer tool to all segments in the marked regions of the tracks. 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.
13 Working with Audio To modify the way the system interprets pan during playback: t Set the default pan values in the Audio Settings dialog box, which you access from the Settings list in the Project window. By default, the audio tracks for clips alternate with track 1 on the left speaker and track 2 on the right speaker for monitoring and output. The All Tracks Centered option instructs the system to center the pan of all tracks between the two speakers for monitoring and output.
Using Automation Gain and Pan Using Automation Gain and Pan Automation gain and pan allows you to change the volume or pan values of a segment by adding and manipulating automation gain or automation pan keyframes in the Timeline. The following illustration shows an expanded audio track containing gain keyframe information.
13 Working with Audio 3. (Option) Expand the audio track by doing one of the following: t Press and hold Ctrl+L (Windows) or Command+L (Macintosh). 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, volume data is displayed. The following illustration shows the expanded audio track with volume data. 4.
Using Automation Gain and Pan 5. Adjust the automation gain or automation pan keyframes by doing one of the following: t Click a keyframe and drag it up or down to increase or decrease the gain or pan at that point. If there is a point at the same position on another enabled track, it moves also. When you move the keyframe up or down, the corresponding Volume Level slider or Pan Value slider in the Audio Mixer tool also moves.
13 Working with Audio Automation Gain and Pan Mode This topic describes controls in the Audio Mixer tool that are active only in Automation Gain and Pan mode. The following illustration shows the Audio Mixer tool controls that are active only in Automation Gain and Pan Mode. Cancel button Record Status light Preroll and Postroll text boxes Record button Audio Mixer mode button External fader controller or mixer position indicators Volume slider areas are blue in Auto mode.
Using Automation Gain and Pan Feature n Description (Continued) In the Audio Mixer tool, the Record Status light is gold during the Hardware Calibration test. Preroll text box Allows you to provide a visual cue before the recording begins. Your Avid editing application backs up the blue position indicator for the prescribed number of seconds. Postroll text box Allows you to provide the same kind of visual cue at the end of the recording.
13 Working with Audio To record automation gain or automation pan information by using the Audio Mixer tool sliders: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Auto Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Auto mode setting. 3. Select an audio track for adjusting volume or pan. 4.
Using Automation Gain and Pan You can move, add, and delete keyframes individually or as groups to further adjust the volume or pan. For details on how to adjust the keyframes, see “Using Automation Gain and Pan in the Timeline” on page 369 and “Deleting Automation Gain or Automation Pan Keyframes in the Timeline” on page 371.
13 Working with Audio Command Description (Continued) Remove Automation Gain on Track Removes all of the automation gain keyframes within the marked region. Remove Automation Pan Removes all of the automation pan keyframes within the marked region. on Track Remove Auto Gain/Pan on Track Deletes all automation gain and pan adjustments that were applied to segments in the marked regions of selected tracks. Each audio clip is restored to its previous pan and volume settings.
Using Live Mix Mode Using Live Mix Mode Live Mix mode allows you to temporarily override existing Automation Gain and Pan settings that are currently applied to a sequence. The most common way to use Live Mix mode is with a Digi 002 or Command|8 attached as a control surface. When you use an external controller you can play the audio and override existing automation gain and pan settings in real time.
13 Working with Audio 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 You can use a Digi 002 or Command|8 as an external controller in Live Mix mode.
Using Live Mix Mode Console/channel view section (contains a pan knob for each track) Transport and Navigational controls Mix button Fader Section The following illustration shows the layout of the Command|8 and identifies the controls discussed in this section.
13 Working with Audio 4. Do one of the following to enter Live Mix mode in the Audio Mixer tool: 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 Mix mode setting. 5. Play and listen to the audio. 6. While the audio is playing, you can adjust the faders or turn the pan knobs on the controller.
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 the Avid editing system. Changing to another sequence has no effect on the Live Mix mode settings.
13 Working with Audio Live Mix Mode Example The following illustration shows the Live Mix mode settings on two tracks in the Timeline. Track A1 is at 0 dB, and the volume of track A2 is set to -45. The Live Mix mode settings are not represented in the Timeline, but you can hear the difference when you play the audio. Live Mix settings at 0 dB and -45 dB The following illustration shows a sequence in the Timeline with Automation Gain applied.
Isolating Clip Portions for Audio Adjustment 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. The system adds automation gain keyframes at the IN and Out points and creates ramps from the IN and OUT points to the new value.
13 Working with Audio Fading and Dipping Audio In traditional analog editing, you manually change volume levels to smooth audio transitions between elements in an edited sequence by: • Fading audio up or down • Dipping audio to a lower level • Crossfading between audio elements on two separate channels In Avid editing applications, these effects are more accurately termed audio dissolves because they occur instantly when you apply the same dissolve effect that you use for video tracks.
Fading and Dipping Audio The Quick Transition dialog box opens. 3. Make sure Dissolve is selected in the Add menu at the top of the Quick Transition dialog box 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.
13 Working with Audio 8. (Option) If you have IN and OUT points marked in your sequence, the Quick Transition dialog box contains the following two options: n - Apply to All Transitions (IN -> OUT) - Skip Existing Transition Effects The Skip Existing Transition Effects option is useful when you want to add a number of dissolves to a sequence that already has transition effects.
Audio Sample Rate Conversion 5. Apply a dissolve to both Add Edit points, using the techniques described in “Fading Audio” on page 384. 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.
13 Working with Audio 3. Choose from the following options: Option Description Sample Rate Allows you to choose between 32 kHz, 44.1 kHz and 48 kHz. The broadcast standard for most high-end video postproduction houses is 48 kHz. Choose the rate based on the requirements of your facility. Quality Allows you to choose the conversion quality. The choices are High, Medium, and Low.
Mixing Down Audio Tracks Selected section of audio Destination tracks 5. Do one of the following: t Select Mono, and select the target track to which you want to mix down the audio. t Select Stereo, and select two target tracks for the mixed-down audio. 6. Select a drive and a bin. The drive is the media drive where the system stores the media files for the mixed-down audio. 7. Select Save Premix Sequence if you want to save the sequence before mixing down the audio. 8. Click OK.
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14 Working with Effects Your Avid editing application offers many effects that you can apply to your sequences.
14 Working with Effects Types of Effects The effects available in Avid editing applications can be divided into a number of categories, which are described in the remainder of this section. It is important to understand that there is considerable overlap within these categories. For example, Timewarp effects are one of the main types of motion effects available in Avid editing applications, but they are also examples of segment effects.
Types of Effects Title Effects Title effects contain text and graphic objects that you create with one of the title tools available in your Avid editing application. Title effects are saved into bins as a special clip type, and are edited onto their own layers in a sequence, usually above all other video layers. For information on title effects, start with the chapter “Working with Titles” on page 447. 2D Effects and 3D Effects Effects in Avid editing applications can be either 2D or 3D.
14 Working with Effects Motion Tracking and Stabilization Effects Motion tracking allows you to track the motion of an area in an image and then use the tracking data to control the motion of another effect. You can also use tracking to stabilize an image to compensate for camera motion. For more information, see “Motion Tracking and Stabilization” in the Help.
Types of Effects Effects Creation Tools The following illustration provides a visual overview of the basic tools used to create effects. Sources of effects: Effect Palette Motion Effect dialog box Title tool Apply transition and segment effects directly to tracks. Effects editing: Edit effect clips into the Timeline. Title and some motion effects appear first as clips in the bin. Effects adjustment in Effect mode: Effect Editor: Allows you to adjust effect parameters.
14 Working with Effects Real-Time Effects and Non-Real-Time Effects Effects in Avid editing applications can be either real-time or non-real-time. A real-time effect is an effect that you can apply to a sequence and play without having to render it first. Rendering is a processing operation that your Avid editing application performs to merge effect layers, creating one stream of digital video for playback in real time.
Types of Effects If you attempt to play or output a sequence that your Avid editing application cannot play in real-time, you can display information in the Timeline that shows where the demands of the sequence are preventing successful real-time play. For more information, see “Understanding Real-Time Playback Information in the Timeline” on page 424.
14 Working with Effects Understanding the Effect Palette The Effect Palette is a window that lists all transition and segment effects, and some motion effects, that are available for your editing application. The Effect Palette is the primary tool that you use to apply effects to your sequences. For information on accessing the Effect Palette, see “Displaying and Adjusting the Effect Palette” on page 399. The left side of the Effect Palette displays a list of effect categories.
Displaying and Adjusting the Effect Palette • Timewarp • Xpress 3D Effect Displaying and Adjusting the Effect Palette This topic provides basic information on displaying and adjusting the Effect Palette. For more information on the organization and purpose of the Effect Palette, see “Understanding the Effect Palette” on page 398. To display the Effect Palette: t In the Project window, click the Effects tab.
14 Working with Effects Promoting and Demoting Existing Effects in Sequences If you are working with a sequence that already has effects applied to it, you might need to promote some of those effects. Also, if you apply color corrections to a sequence in the current version of your Avid editing application, you might need to save a duplicate version of the sequence with demoted effects that can be opened in older versions of Avid editing applications.
Promoting and Demoting Existing Effects in Sequences To promote any types of promotable effects in a sequence: 1. Select the sequence in a bin. 2. Right-click (Windows) or Ctrl+click (Macintosh) the sequence, and select Promote Effects. Depending on the effects in the sequence, either a message box or a dialog box appears. 3. (Option) If the sequence includes effects that you can promote, the dialog box indicates the effect types.
14 Working with Effects Applying Effects You apply the great majority of effects to video material once it has been edited into a sequence. This section describes basic methods for applying effects to a sequence using: • The Effect Palette • The Fade Effect button • The Quick Transition button In addition to the methods described in this section, you can also create titles and some types of motion effects as new clips that you then edit into a sequence.
Applying Effects To apply an effect to multiple transitions in the Timeline: 1. Enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 411. 2. Click the first or last transition to which you would like to apply the effect. 3. Click above the Timeline and begin dragging to activate a selection box. Continue to drag down and either to the left or right to include additional transitions in the selection. Selection box 4.
14 Working with Effects To apply an effect to multiple segments in the Timeline: 1. Enter Effect mode, for example, by selecting Toolset > Effects Editing. For more information, see “Entering Effect Mode” on page 411. 2. Click above the Timeline and to the left of the leftmost segment that you want to select and begin dragging to the right and down to activate a selection box. 3. Continue to drag the selection box to the right until you lasso the rightmost segment that you want to select.
Applying Effects Using the Fade Effect Button You can use the Fade Effect button to fade segment effects quickly and easily. A dialog box opens that allows you to enter the number of frames to fade up and fade down. The Fade Effect feature automatically creates keyframes for the effect. You can access the keyframes in the Effect Editor. n The Fade Effect button appears on the Tool palette and in the FX tab of the Command palette. You can map the Fade Effect button to another location.
14 Working with Effects n The Quick Transition button appears on the Tool palette, in the Timeline top toolbar, and in the FX tab of the Command palette. For more information, see “Using the Tool Palette,” “Displaying the Timeline Top Toolbar,” and “The Command Palette” in the Help. To create an effect by using the Quick Transition button: 1. Move the position indicator to the transition in the Timeline. 2. Click the Quick Transition button. The Quick Transition dialog box opens.
Applying Effects n When you save a Dissolve effect template into a bin named Quick Transitions, the effect template appears in the Add menu. For more information, see “Saving an Effect Template” on page 414. When you select a color transition with Quick Transition, the default color is black. You must enter Effect mode to select another color. For more information, see “Using the Effect Editor” in the Help. 4.
14 Working with Effects The application positions the effect, updates the graphical display to show the new position of the effect, and updates the value in the Start text box. If you select an alignment for which there is not enough media, the application comes as close as it can to the alignment you requested. 6. If you click the Dissolve Effect icon and drag it, the Position menu changes to Custom.
Deleting Effects in a Sequence Deleting Effects in a Sequence You can delete transition effects from a sequence in Source/Record mode, Trim mode, or Effect mode. Use the following procedures to either delete a single effect from a sequence or delete effects in multiple segments. To delete a single effect: 1. Move the position indicator to the Timeline segment containing the effect’s icon. 2.
14 Working with Effects To delete multiple transition effects: t In Effect mode, Shift+click each transition effect you want to delete. To delete multiple segment effects: 1. If you are not in Effect mode, click one of the Segment Mode buttons (the Extract/Splice-in button or the Lift/Overwrite button) below the Timeline. 2. Shift+click each segment that contains a segment effect to be deleted. 3. Do one of the following: t Click the Remove Effect button. t Press the Delete key.
Adjusting Effects Adjusting Effects After you have created an effect and applied it to a transition or segment in your sequence, you can adjust its appearance and operation. To make most effect adjustments, you enter Effect mode and work with the Effect Editor and the Effect Preview monitor. This section explains how to enter Effect mode and provides basic information on how to use the Effect Editor and the Effect Preview monitor.
14 Working with Effects Understanding Effect Mode The following illustration shows the main components of Effect mode, the Effect Editor and the Effect Preview monitor. Effect Editor Effect Preview monitor Each property of an effect that you can control is known as an effect parameter. For example, a Picture-in-Picture effect has a Position parameter that controls where the picture-in-picture is located on the screen.
Adjusting Effects Making Basic Effect Adjustments This topic describes a general procedure for selecting and adjusting effects, including some simple examples of types of adjustments. When you need more detailed information than this procedure provides, you can use the Help. For example, for full details of how to use effect adjustment controls, see “Applying and Customizing Effects” in the Help.
14 Working with Effects Moving Through an Effect The position bar in the Effect Preview monitor represents only the length of the currently selected effect. If you want to move to a different location in the effect, you can use the Effect Preview monitor’s position bar in the same way that you use the position bars in Source/Record mode to move through a clip or a sequence.
Working with Effect Templates To save a segment effect with its source media: t Press and hold the Alt key (Windows) or Option key (Macintosh) while you drag the effect icon from the Effect Editor to a bin. To save a title effect as a keyframe-only template: t Press and hold the Alt key (Windows) or Option key (Macintosh) while you drag the effect icon from the Effect Editor to a bin. To rename an effect template: t In the bin, click the template name below the icon and type a new name.
14 Working with Effects 4. Click the effect template icon in the bin or in the Effect Palette, and drag it to the specific parameter group in the Effect Editor. c Do not drag the effect template through the Timeline because this deselects the effect. The application applies the effect template only to the effect parameter group you selected. Working with Keyframes You use keyframes to change the appearance and behavior of an effect over time.
Working with Keyframes Understanding Standard Keyframes When you create an effect, your Avid editing application always provides the starting and ending keyframes of an effect. These keyframes are selected by default, and thus any parameter changes are constant throughout the effect. Using techniques for adding, deleting, moving, selecting, and deselecting keyframes, you can begin to change the appearance and operation of the effect over time by applying parameter changes to specific keyframes.
14 Working with Effects To select one keyframe: t In the position bar below the Effect Preview monitor, click the keyframe indicator. To select multiple keyframes: t In the position bar below the Effect Preview monitor, Shift+click the keyframe indicators that you want. To select all keyframes in the effect’s position bar, do one of the following: t Press Ctrl+A (Windows) or Command+A (Macintosh).
Working with Keyframes Copying and Pasting Standard Keyframe Parameters You can copy and paste parameters from one standard keyframe and apply them to another standard keyframe. You can also copy keyframe parameters from one effect to another effect. To copy and paste standard keyframe parameters: 1. Click one keyframe indicator in the position bar below the Effect Preview monitor whose parameters you want to copy. 2. Select Edit > Copy. 3.
14 Working with Effects Playing Effects There are several situations where you need to play effects: • While you are adjusting effects in Effect mode, you might want to play an individual effect to check its look. Depending on your needs, you might want to see the effect playing in real time and at high quality, or you might be able to accept playback at lower quality or in less than real time. Alternatively, you might only need to play an outline preview of the effect’s movement.
Playing Effects To play an effect in a continuous loop in Effect mode: 1. Move the position indicator in the Timeline to the effect you want to play. 2. Click the Play Loop button. Play begins at the start of the effect and continues until you press the space bar. To play an outline preview of an effect in Effect mode: 1. In the Timeline, select the effect. 2. In the position bar of the Effect Preview monitor, move the position indicator to the location where you want play to begin. 3.
14 Working with Effects Understanding Render On-the-Fly for Effect Preview When you want to preview effects in a sequence, you can use the Render On-the-Fly feature to control how your Avid editing application displays a monitored frame to which one or more effects have been applied. When Render On-the-Fly is selected, you can step through your sequence and preview any frame to check the look of the effects applied to it, regardless of the type or number of those effects.
Real-Time Playback of Video Effects To interrupt Render On-the-Fly, do one of the following: t Drag the position indicator in the Timeline. While you are dragging, the sequence appears in the Composer monitor as it would if Render On-the-Fly were not selected from the Special menu. t If you click in the Timeline and rendering begins, quickly move to another location in the Timeline. This interrupts the rendering process until you release the mouse button.
14 Working with Effects A small number of effects, when certain parameters are enabled, use OpenGL processing. For these effects, you might want to select a processing method that emphasizes either image quality or playback performance. For more information, see “Select a Different OpenGL Mode” in “Options for Controlling Real-Time Effects Playback” on page 426.
Real-Time Playback of Video Effects • Yellow bars mark the ranges that caused difficulty for your Avid editing application during playback because of processing power. No frames were dropped during play. This is only a warning. • Blue bars mark the location of frames that caused difficulty for your Avid editing application because of disk speed limitations. No frames were dropped during play. This is only a warning.
14 Working with Effects Options for Controlling Real-Time Effects Playback When your Avid editing application is unable to maintain real-time playback of an effects sequence, there are a number of ways you can attempt to ensure that the sequence plays back successfully in real time. Start Playback Earlier in the Sequence If possible, start playback earlier in the sequence, before the effects that are causing difficulties begin.
Real-Time Playback of Video Effects This method allows effects to display at the highest possible quality, but not in real time. If you need both the highest effect quality and real time performance (for example, for final output), you must render the effects. You can use a setting in the Video Display Settings dialog box to switch between the OpenGL processing provided by your graphics card and software OpenGL processing.
14 Working with Effects Use the Submaster Effect or Perform a Video Mixdown For more information, see “Submaster Editing” and “Performing a Video Mixdown” in the Help. Reduce the Number of Real-Time Streams Each Avid editing application supports a specific number of real-time streams. If the system on which the application plays does not have the capacity to run that many real-time streams, you can experience a degradation of system performance.
Real-Time Playback of Video Effects To select the OpenGL mode: 1. In the Project window, click the Settings tab. The Settings list appears. 2. Double-click Video Display. The Video Display Settings dialog box opens. 3. In the OpenGL Hardware section, select one of the following: - Software OpenGL - The OpenGL video board installed on your system (listed by model number) 4. Click OK. To set the number of seconds of video to prefill: 1. In the Project window, click the Settings tab.
14 Working with Effects Playing Effects Back at Different Video Qualities The Video Quality Menu button in the Timeline bottom toolbar allows you to switch the quality (display resolution) of the video playback. This feature allows you to trade off video quality with smooth playback of real-time effects. If you notice missing frames or choppy video during real-time playback, switch to a lower quality setting.
Basics of Effects Rendering Understanding Effects Rendering In Avid editing applications, effects rendering is the process of calculating and storing video information for the finished look of an effect so that the effect always plays in real time at full quality. Avid editing applications store a rendered effect and its media file as a precomputed master clip (often referred to as a precompute).
14 Working with Effects Rendering a Single Effect To render a single effect: 1. Move the position indicator to the effect in the Timeline. Make sure the track containing the effect is selected. 2. Do one of the following: t In the Tool palette, Effect Editor, or Timeline top toolbar, click the Render Effect button. t Select Clip > Render at Position. The Render Effect dialog box opens.
Basics of Effects Rendering Rendering Effects at Position When you have more than one effect at a particular point in the Timeline (for example, effects on several stacked video tracks), you can render them as a group. To render multiple effects at position: 1. Move the position indicator to the effects in the Timeline. 2. Select all tracks that contain effects you want to render. 3. Select Clip > Render at Position. The Render Effects dialog box opens. 4.
14 Working with Effects Rendering Effects Between IN and OUT Points When you have multiple effects to render for a whole sequence or a portion of a sequence, you can render them as a group by marking IN and OUT points. n Save your sequence before you use this feature. Depending on the number, type, and complexity of the effects, the group-render process can take a long time. To render multiple effects using IN and OUT points: 1. Select all tracks that contain effects you want to render. 2.
Basics of Effects Rendering Displaying Estimated Render Time To display estimated render time during render: t Press the T key on the keyboard. Press the T key again to clear the display. To display how much of the render is completed as a percentage: t Press the P key. Clearing Rendered Effects When you have one or more effects in a sequence that you want to return to unrendered status, you can clear the rendered effects within a range marked by IN and OUT points.
14 Working with Effects 3. Select Clip > Clear Renders In/Out. The Clear Renders dialog box opens. 4. Select the appropriate options: - Skip Motion Effects, if you want to retain all motion effects in the marked range - Skip Unknown Effects, if you want to retain effects marked with blank effect icons 5. Click OK. Your Avid editing application clears all rendered effects between the IN and OUT points.
Basics of Effects Rendering To restore cleared effects, do one of the following: t Select Edit > Undo. The cleared effects are restored only if Clear Renders was the previous action. t Select Edit > Undo/Redo List, and then select Clear Renders. All the previous commands, including the Clear Renders command selected from the submenu, are undone or redone as appropriate. Rerendering Effects In some situations you need to rerender an effect that you have already rendered.
14 Working with Effects n You can also rerender effects using the shortcut menu Render commands. On the Macintosh, Shift+Ctrl-click in the Timeline to display the shortcut menu, and then press and hold the Shift key while you select Render at Position or Render In/Out. On Windows, Shift+right-click in the Timeline, and then select Render at Position or Render In/Out. ExpertRender ExpertRender determines which effects need to be rendered to achieve successful playback of a sequence.
ExpertRender Sequence with seven effects. Results of an ExpertRender analysis of this sequence. Only the three effects on the top track are highlighted, and these are the only effects that must be rendered for successful output. The ExpertRender option helps to solve the problem of unnecessary rendering by analyzing all the effects in selected material and by determining which effects need to be rendered to achieve successful playback.
14 Working with Effects • n If you are ready to output your sequence, for example, by performing a digital cut to tape, you can use the ExpertRender In/Out command and select the Prepare for Digital Cut option to determine which effects need to be rendered for successful output. In particular, when there are overlapping effects on multiple tracks, ExpertRender can calculate when the rendering of an effect on an upper track will incorporate picture information from lower tracks.
ExpertRender 3. Select Clip > ExpertRender at Position or Clip > ExpertRender In/Out. ExpertRender analyzes the selected effects and highlights the effects that require rendering in the Timeline. The Expert Render dialog box opens and indicates how many of the effects submitted to ExpertRender require rendering. 4. Click the Drive button, and select a drive on which to store the rendered effects.
14 Working with Effects Using the ExpertRender Command After a Real-Time Playback Attempt Use the following steps when your Avid editing application has had difficulty with real-time preview of effects and has displayed information indicators in the timecode track of the Timeline. n When you render recommended ranges in material by following this procedure, you can usually achieve analog output of the same material without further rendering.
ExpertRender 4. Do one of the following: t To render only the effects necessary to achieve successful real-time effects preview, select “Render recommended ranges,” and then click OK. t To render all the effects that ExpertRender has identified for rendering within your marked selection, select “Render entire selection.” The message in the Expert Render dialog box changes to indicate the number of effects that ExpertRender has identified for rendering across the entire selection.
14 Working with Effects 6. Do one of the following: t Click Cancel. Your Avid editing application removes all ExpertRender highlighting and cancels the ExpertRender process without rendering any effects. t Click Modify Selection. The effects identified for rendering remain highlighted, and you can modify the set of effects to render. For more information, see “Modifying ExpertRender Results” on page 444. t Click OK. Your Avid editing application renders the highlighted effects.
ExpertRender To modify the results of an ExpertRender analysis: 1. Perform an ExpertRender by following steps 1 through 3 in “Using the ExpertRender Command” on page 440 or in “Using the ExpertRender Command After a Real-Time Playback Attempt” on page 442. 2. In the Expert Render dialog box, click Modify Selection. 3. Shift+click effects in the Timeline to add them or remove them from the set of effects to render. Effects currently selected are highlighted. 4.
14 Working with Effects To cancel ExpertRender during the modification process, do one of the following: t Click in the timecode track to move the position indicator. t Double-click one of the Segment Mode buttons (Extract/Splice-in or Lift/Overwrite) below the Timeline. t From the Clip menu, select an ExpertRender command; and then in the Expert Render dialog box, click Cancel. ExpertRender removes all its highlighting and cancels the ExpertRender process without rendering any effects.
15 Working with Titles You can create titles in your Avid editing application using either of two title tools, the classic Avid Title tool or the Marquee® Title tool. Titles can incorporate text, graphic objects, imported graphics, and video. The following sections provide basic information on using the Title tool to create titles, and on editing titles (whether created in the Title tool or in Marquee) into sequences. n You can promote titles created using the classic Avid Title tool to Marquee titles.
15 Working with Titles • Replacing a Title • Fading a Title For advanced information about working with titles, see “Creating and Editing Titles” in the Help or in the Avid Advanced Effects Guide. Throughout this chapter, the term “title” refers to both text and graphics, the classic Avid Title tool is referred to as the Title tool, and the Marquee Title tool is referred to as Marquee. Opening the Title Tools You can open either the Title tool or Marquee from the Clip menu or the Tools menu.
Using Marquee n For the current session, if you know you want to create only Marquee titles or only standard titles, select Persist before you click Marquee or Title Tool. For the rest of your editing session, the application automatically opens the title tool you selected. You turn off automatic selection from the Settings list: open the Marquee Title Setting dialog box and click Ask Me. To bring the Title tool to the foreground: t Select Windows > Title Tool.
15 Working with Titles Once you have created and saved a title, you can edit it into a sequence. For more information, see “Editing with Titles” on page 470. Understanding the Title Tool The following illustration shows a title over a video background. Safe action area Safe title area Video background Title object Toolbar The Title tool has several major components: • A video background based on a sequence or a color background that you create.
Using the Selection and Text Tools For information on the two most widely-used tools, the Selection tool and the Text tool, see “Using the Selection and Text Tools” on page 451. For detailed reference information on all the tools in the toolbar, see “Toolbar Reference for the Title Tool” in the Help. • In addition, there are title-related menu items in the File, Edit, Object, and Alignment menus. These menu items are described throughout this chapter.
15 Working with Titles To use the Text tool: t Click the Text tool, click anywhere within the text object, and begin typing. An I-beam pointer indicates your position within the text. The Text tool remains selected until you select another tool. n By default, the Text tool is active when you open the Title tool, and you can begin entering text as soon as you click in the Title tool.
Setting Up the Drawing Environment Previewing Titles with Anti-Aliasing Text and objects in titles are created anti-aliased with an 8-bit alpha channel. Anti-aliasing ensures that text, lines, and object edges appear smooth, regardless of size. You can preview a title to see the title drawn with anti-aliasing, just as it will be saved. Titles are always saved in anti-aliased format.
15 Working with Titles Understanding Title Backgrounds You use the Video Background button to switch between a video background and an opaque color background, or to update the video background with the currently selected frame in the Timeline. Background Color window Video Background button If there is a sequence in the RecordSource/Record monitor, the Title tool opens with a video background.
Creating Text 3. Move the position bar in the Timeline or in the monitor to display the new frame. 4. Click again in the Title tool to activate its window. The background is updated to reflect the current contents of the Record monitor. To create a title that appears over an opaque color background: 1. Click the Video Background button to switch off the video background if it was previously turned on. 2. Click and hold on the Background Color (Bg) window. The Title Tool Color Picker dialog box opens. 3.
15 Working with Titles 3. Type the text. To insert a line return, press Enter (Windows) or Return (Macintosh). n Text is word-wrapped automatically as you type. You can adjust the wrapping by changing the width of the text object. For more information, see “Sizing and Positioning Text Objects” on page 456. 4. When you finish typing, click the Selection tool in the toolbar to deselect the text object. To copy and paste text into the Title tool: 1. Open the text file in a word processor or text editor. 2.
Editing a Text String To reposition a text object: 1. Click the Selection tool, and click the text object. 2. Move the text by doing one of the following: t Click in the middle of the object, and drag it to a new position. t Use the arrow keys to move the object one pixel at a time. t Use commands in the Alignment menu to position the text. For more information, see “Aligning Objects” in the Help. Editing a Text String To edit an existing text string; 1.
15 Working with Titles In addition to the text-specific formatting described in this section, you can modify or manipulate text objects in a variety of other ways. For more information, see “Modifying and Manipulating Title Objects” on page 464. While you type text, only the text color is apparent. Shadows, outlines, and other color attributes appear when you finish typing the text and click the Selection tool.
Formatting Text To change the font: t Click the Font Selection button, and select a font. The Title tool displays the name in the Font Selection button and uses this font for text until you change it during the editing session. n When you select a text object, the Font Selection button displays the name of the font in the text object. Changing Point Size The point size controls the size of the selected text. A point is a typographical unit of measure.
15 Working with Titles Making Text Bold or Italic The Bold button and the Italic button are located under the Point Size text box. The Object menu also contains commands for bold and italic. Italic button Bold button To make text bold or italic: 1. Select the text you want to change. 2. Do one of the following: t Click the Bold button or the Italic button. t Select Object > Bold or Object > Italic. To remove bold or italic formatting: t Repeat the procedure.
Formatting Text Understanding Kerning Kerning improves the appearance of titles by controlling the amount of space between characters. You can expand or condense the character spacing to make text more readable or to create special effects, such as dramatically expanded spacing in a title. You can kern the text for an entire text object, or you can manually kern individual character pairs or character strings.
15 Working with Titles The text kerning controls are located beneath the text justification buttons. Kerning text box Kerning button To adjust kerning manually with the arrow keys: 1. Click the Text tool in the toolbar. 2. Click between a character pair, or select a group of characters to be kerned. 3. Press the Alt key (Windows) or Option key (Macintosh), and use the Left Arrow key or the Right Arrow key to increase or decrease the kerning. To adjust kerning with predefined sizes: 1. Select the text.
Creating Graphic Objects Adjusting Leading Use leading to adjust the line spacing between lines in a title. Leading is measured in points, from baseline to baseline of the lines of text. The Title tool uses the leading that is built into the font as the default. Positive leading values add space; negative values decrease space. You might want to add leading for sans serif, tall, or boldface fonts, and for fonts with a strong vertical emphasis.
15 Working with Titles To draw a square or a rectangle: 1. Click the Square and Rectangle tool in the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create an object. n Pressing the Shift key while you drag constrains the Square or Rectangle tool to create a square. Rectangle drawn over video background To draw a circle or an oval: 1. Click the Oval tool in the toolbar. The pointer becomes a crosshair pointer. 2.
Adding Shadows to Title Objects • You can add and adjust drop or depth shadows for any title object. For more information, see “Adding Shadows to Title Objects” on page 465. • You can modify the transparency level of any title object or of its shadow. For more information, see “Adjusting the Transparency of a Title Object” in the Help.
15 Working with Titles To apply shadows to text or objects: 1. Select text or an object. 2. Click the Drop and Depth Shadow button to switch between a drop or depth shadow. 3. Adjust the depth or direction of the shadow by doing one or more of the following: t Click the Shadow Depth and Direction button, and drag the shadow displayed to any position.
Saving Titles Saving a Title and Exiting the Title Tool To save the title and exit the Title tool: 1. Select File > Close. If the contents of the title have changed since the last time it was saved, a dialog box opens, asking if you want to save the existing title. 2. Click Save. The Save Title dialog box opens. 3. Type a name to identify the title in the bin; then select a bin, drive, and resolution from the menus.
15 Working with Titles 3. Select or deselect Fast Save, depending on your needs. For more information, see “Using the Fast Save Option” on page 468. 4. Click Save. The new Title Effect clip appears in the bin. 5. Create another title. 6. Select File > Save Title as, and repeat steps 2 to 5 for each subsequent title that you create. The application loads titles into the Source monitor as they are saved, so the most recently saved title always appears in the Source monitor.
Saving Titles c Before exporting a sequence using OMF and before creating an EDL from the sequence, always render fast-saved titles. In addition, before you export a sequence as OMF, render all rolling titles. To use the Fast Save option: t Select Fast Save (Unrendered) in the Save Title dialog box when saving the title. For complete procedures for saving titles, see “Saving a Title and Exiting the Title Tool” on page 467 or “Saving Multiple Titles in a Session” on page 467.
15 Working with Titles 4. Save the title with a new name or change any of the media parameters (bin, drive, and resolution) by doing the following: a. Select File > Save Title as. The Save Title dialog box opens. b. Rename the title, or select other options from the Bin, Drive, and Resolution menus.
Title Effect Clips in Bins Title Effect Clips in Bins When the Title tool or Marquee saves a title, it creates a Title Effect clip and saves it in the selected bin. One media object, referred to as a precompute, has references to the RGB and alpha channel information. Every time you make a change, your Avid editing application creates two additional media files. The original media files are left unchanged.
1 5 Working with Titles To display a frame from the title: 1. Select one or more Title Effect clips. 2. Press the Home key on the keyboard. Editing a Title into a Sequence After preparing the sequence with a second track for the title, there are three basic methods for editing the title into place: • Edit the title into the sequence, using standard editing methods Mark edit points in the sequence and in the title clip, and then splice or overwrite the title into place.
Editing a Title into a Sequence You can play and mark a rolling title clip in the Source monitor by using standard procedures. For more information, see “Controlling Playback” in the Help. If you want to use the complete roll in the sequence, do not set marks. For information about adjusting the duration of the roll, see “Trimming the Duration of Rolling and Crawling Titles” on page 476. n You can view a crawling title frame by frame if you select Special > Render On-the-Fly.
15 Working with Titles 5. In the Source monitor, mark an IN point. You should mark the IN point toward the middle of a still title clip so you can trim the title, if necessary. For rolling and crawling titles, set no marks and move the position indicator to the beginning of the clip if you want to use the full roll. 6. In the Record monitor, mark IN and OUT points. 7. Make sure all other Record Track buttons are deselected in the Track Selector panel. 8.
Editing a Title into a Sequence 4. In the Source monitor, mark an IN point and an OUT point to establish the duration that you want for the title. You should mark the IN point toward the middle of a still title clip so you can trim the title, if necessary. For rolling and crawling titles, set no marks and move the position indicator to the beginning of the clip if you want to use the full roll. The application uses the position indicator to determine the IN point on rolling titles. 5.
15 Working with Titles 2. (Option) Select Clip > New Video Track. The application adds the next video track for the sequence to the Timeline. For example, if the sequence includes only V1, the application adds V2. 3. Move the position indicator to the location where you want the Title effect to begin. 4. Click either the Extract/Splice-in button or the Lift/Overwrite button, depending upon how you want to insert the Title effect. 5. Click the Title Effect Clip icon in the bin, and drag it to the Timeline.
Removing a Title To trim the duration of a rolling title or a crawling title: 1. Use the Track Selector panel to select the track containing the Title effect and to deselect all other tracks. 2. To enter Trim mode, click the Trim Mode button in the Timeline top toolbar. 3. Select either the head or the tail of the title segment for trimming. 4. Trim the title segment to the duration you want by using standard trim procedures. The entire roll or crawl plays back within the new duration.
15 Working with Titles Fading a Title You can use the Fade Effect button to fade a title. A dialog box opens that allows you to enter the number of frames to fade up and fade down without opening the Effect Editor. Rather than adding Dissolve effects that require rendering, you can use the Fade Effect button to quickly create keyframes in the title with the proper level settings for playback in real time. You can access the keyframes in the Effect Editor.
16 Color Correction Your Avid editing application includes a comprehensive set of tools for correcting and adjusting colors.
16 Color Correction Effect Editor. Some color correction controls look very similar to effect parameter controls, while others have a more specialized appearance suitable for precise color adjustment. For more information, see “Understanding Color Correction Mode” in the Help. You can animate most color correction adjustments using advanced keyframes. For more information, see “Performing Color Corrections” in the Help.
Color Correction Mode Basics The two most common color problems in a given image are: • Poor contrast (or a lack of a full range of tones). For example, parts of an image that should be black are only dark gray. If an image does not have a good range of tones, details do not stand out sharply. • Poor color balance (or a color cast). For example, parts of an image that should be pure white are instead pinkish, or parts that should be pure blue are instead greenish-blue.
16 Color Correction Depending on the model of your Avid editing application, the Color Correction Mode button might appear in the default interface (for example, below the Timeline), or it might need to be used or mapped from the Command Palette. For more information, see “The Command Palette” in the Help. To leave Color Correction mode, do one of the following: t Select a toolset other than Color Correction from the Toolset menu.
Color Correction Mode Basics Using Monitor Buttons in Color Correction Mode Some of the buttons beneath the monitors in Color Correction mode have the same functions as they do in other modes. Several other buttons perform functions specific to color correction.
16 Color Correction The other two available tabs (the Controls tab within the HSL tab, and the Curves tab) provide additional sets of controls. For complete information on all color correction controls and other features in the Color Correction tool, see “The Color Correction Tool: Advanced,” “The HSL (Hue, Saturation, Luminance) Group,” and “The Curves Group” in the Help.
Making Basic Automatic Color Corrections To set basic AutoCorrect options: 1. Do one of the following: t In the Settings tab of the Project window, double-click Correction. t In the Color Correction window, click the Correction Mode Settings button. The Correction Mode Settings dialog box appears. First Correction menu Second Correction menu Third Correction menu 2. Click the AutoCorrect tab. 3. Click the First Correction menu and select HSL Auto Contrast 4.
16 Color Correction 3. In the Effect Palette, click the Image category. 4. Double-click the Color Correction Effect icon. Correcting Color Automatically in the Hue Offsets Tab You can use the Automatic Color Correction buttons in the Hue Offsets tab to correct contrast and balance problems across the whole luminance range of an image. For information on other automatic color corrections that you can make in the Color Correction tool, see “Using Automatic Color Corrections” in the Help.
Making a Basic Color Match Correction Button Icon Auto Contrast n Description (Continued) Maximizes the tonal range in the image, making the brightest areas of the image as bright as possible and the darkest areas of the image as dark as possible. Adjusts the Gain and Setup slider controls. The four HSL automatic color correction commands described in this table are also available as buttons in the CC tab of the Command Palette.
16 Color Correction 5. If the Match Type button is not set to R+G+B, click the Match Type button and select R+G+B. 6. Click the Match Type button and select NaturalMatch. 7. Select the input color (the color to be changed): a. Move the pointer over the input (left) color swatch. b. Press and hold the mouse button, and then drag the eyedropper to the area of the image in the monitor from which you want to select an input value.
Safe Color Basics Managing Safe Color Warnings You turn safe color warning on or off, and set the range of values your Avid editing application should consider safe, in the Safe Color Settings dialog box.
16 Color Correction Safe Color Warnings in the Composer Window When your Avid editing application is set to provide safe color warnings, warning information appears in the Composer Window monitor for any image whose color values are outside the safe range. You see an orange safe color warning triangle in the top left corner of the image, along with warning indicators for each of the safe color value types that are currently set to warn.
17 Exporting Frames, Clips, or Sequences You can export files for use with another system, another application, or another platform. Your Avid editing application provides tools for exporting clips and sequences in various formats.
17 Exporting Frames, Clips, or Sequences • You can export audio files for audio sweetening in a digital audio workstation (DAW), such as a Pro Tools system. • You can use the export process to convert audio media files from one supported audio format to another. Your Avid editing application supports the AIFF-C, Sound Designer II (Macintosh only), and WAVE formats.
Exporting Frames, Clips, or Sequences • Check and adjust all pan and audio levels in advance. All current Pan and Level settings in the sequence are carried to the exported media. For information on adjusting level and pan, see “Using the Audio Mixer Tool” on page 357. • You cannot export OMFI files that are larger than 2 GB. For OMFI files, consider consolidating the sequence to create smaller source clips, thereby saving time and disk space.
17 Exporting Frames, Clips, or Sequences To export frames, clips, or sequences: 1. Identify the portion of the clip or sequence you want to export in one of the following ways: n t To export specific tracks in a clip or sequence, enable those tracks in the Track Selector panel, and disable all others. Make sure Use Enabled Tracks is selected in the Export Settings dialog box. You can set this option before the export. See “Customizing Export Settings” on page 499.
Exporting Frames, Clips, or Sequences The Export As dialog box opens with a default file name in the File name text box (Windows) or the Save As text box (Macintosh), based on the file type.
17 Exporting Frames, Clips, or Sequences 4. Click the Export Setting menu, and select a setting. This setting determines the format of the exported file. The default setting is labeled Untitled. Any settings that appear in the Settings list in the Project window appear in the menu. For information on creating custom settings, see “Customizing Export Settings” on page 499. n Your Avid editing application supplies you with templates for Export settings. 5.
Using the Drag-and-Drop Method for Export Using the Drag-and-Drop Method for Export To export a frame, clip, or sequence by using the drag-and-drop method: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” on page 492. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 493. n You cannot use the drag-and-drop method to export ALE, tab-delimited, or sequential files. 3.
17 Exporting Frames, Clips, or Sequences Using Avid Interplay Media Services The Media Services Settings dialog box allows you to connect to an Avid Interplay Media Services Broker. Broker services are used in an Avid Interplay environment where dedicated computers automate time-consuming operations.
Customizing Export Settings Customizing Export Settings In addition to providing preset templates, your Avid editing application lets you create and customize your own Export settings. To create a new Export setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click Export. 3. Select Edit > Duplicate. 4. Name the setting by doing the following: n a. Click the custom name column b. Type a name c. Press Enter (Windows) or Return (Macintosh).
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18 Generating Output Your Avid editing application provides tools that let you generate output for individual tracks or entire sequences to various videotape or audiotape formats.
18 Generating Output • Calibrate and adjust video output levels, as described in “Calibrating for Video Output” on page 505. • For HD projects, determine if you need to crossconvert or downconvert your sequence, as described in “Preparing for Converting HD Formats” on page 510. • Set audio output levels and other output options, as described in “Preparing for Audio Output” on page 513. • Mix down multiple audio tracks, if necessary, as described in “Mixing Down Audio Tracks” on page 388.
Selecting the Sync Source for Output Selecting the Sync Source for Output You can use one of the following sources as sync for output: • Black burst or house sync through the reference input (REF or REF SYNC) of your Avid input/output hardware • Tri-level sync through the HD Tri-Level Sync input or the REF SYNC input on some Avid input/output hardware devices • Internal timing from your Avid input/output hardware. The source that you use depends on your production environment and your project needs.
18 Generating Output Sequence Format Tri-level Frame Rate Setting Black Burst 1080p/24 1080p/24sF — 1080p/25 1080p/25sF PAL n If 1080p/25sF is not available, you can use 1080i50. 1080i/50 1080i/50 PAL 1080i/59.94 1080i/59.94 NTSC Using LTC Timecode for Output You can use LTC (longitudinal or linear timecode) for output from your Avid editing application through some Avid input/output hardware devices.
Calibrating for Video Output n To output an analog video signal through the Adrenaline, Avid Mojo, or Avid Mojo SDI, select Avid DNA as the output device. See “Selecting the Device for Output” on page 502. To select an analog video output signal: 1. Select Tools > Video Output Tool. The Video Output tool opens. 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.
18 Generating Output c n You cannot set separate calibration levels for S-Video output, Composite output, and Component output. When calibrating video output, select one video output for calibration. The two other outputs are not guaranteed to be properly calibrated. If you need to send output to more than one SD device, Avid recommends that you use one analog output (Composite, Component, or S-Video) and one digital output (SDI).
Calibrating for Video Output To calibrate for video output: 1. Select Tools > Video Output Tool. The Video Output tool opens. 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.
18 Generating Output 4. If you are using an HDMI-compliant Avid input/output device, click the HDMI Color Space menu and select a color space (YCbCr or RGB), and then select either an SD or an HD format from the HDMI Format menu. Some monitors only support one SD HDMI format. See your monitor documentation for more information. 5. (Option) Click the VBI menu (if available) and select Preserve to preserve 5 lines above each field in NTSC or 8 lines above each field for PAL. 6.
Calibrating for Video Output 10. Depending on your output type and input/output hardware, adjust the following sliders until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. Not all sliders are available for some configurations.
18 Generating Output Adjusting Phase Controls The Video Output tool provides controls for adjusting horizontal phase globally for output. Horizontal phase, or H Phase, is the horizontal blanking interval used to synchronize the timing of two or more video signals. SC Phase (subcarrier phase) controls are also available for timing two or more signals based on the color burst portion of a composite or S-Video signal. System Phase controls allow you to adjust the output signal relative to a reference signal.
Preparing for Converting HD Formats The options are Anamorphic, Letterbox, Center Cut. The following illustrations show how a high-definition image is adjusted for downconvert. High Definition SD - Anamorphic SD - Letterbox SD - Center Cut 5. For some input/output hardware configurations, you need to set the Component format and HDMI format when you select Downconvert: a. Click the Component Format menu and select SD Interlaced. The Component Format menu appears when you select Downconvert. b.
18 Generating Output HD Sequence Format n Crossconverted HD Format Downconverted SD Format When crossconverting the 720p/23.976 format, your Avid editing application adds 2:3 pulldown frames to create a sequence with the correct frame rate. 720p/25 1080p/25 25p PAL 720p/50 1080i/50 – 1080p/23.976 1080i/59.94 720p/59.94 (if available) 30i NTSC 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 339.
18 Generating Output Calibrating Global Output Levels You can use the meters in the Audio tool to monitor the global output level of your sequence. If necessary, you can use the Output Gain slider (master attenuator) in the Output tab in the Audio Project Settings dialog box to adjust the output from the system. These adjustments affect levels for all output tracks to both the speakers and record devices. c You should leave this output level at the factory preset of 0 dB.
Preparing for Audio Output 3. Select Tools > Audio Tool. The Audio tool opens. Reset Peak button Peak Hold Menu button In/Out toggle buttons 4. Click the In/Out toggle buttons above the meters to display O for Output. 5. 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. 6.
18 Generating Output Mix Mode Selection Menu button All or Timeline Track Maps menu Output Track Maps Which Set of Track Maps button Output Format and Channels options 3. 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. - Select Mono to pan all the monitored tracks to center. - Select Direct Out to map monitored tracks directly to up to eight channels of output (depending on your hardware configuration).
Preparing for Audio Output - If you select Direct Out, you can select All or Timeline from the “All or Timeline Track Maps” menu as follows: All allows you to select between all available tracks. Timeline allows you to assign output channels to the tracks monitored in the Timeline. Click the Reset button to reassign the tracks to the default channels that are currently available.
18 Generating Output n Output channels 9–16 do not appear in the Audio Tool until you assign an output format to the tracks from one of the output format tabs at the bottom of the Output panel. For a description of all output options, see “Setting Audio Output Options” on page 515 and “Selecting Audio Output Formats and Channels” in the Help. Embedded Audio and Output Sample Rate Conversion The format for embedded audio must be 48 kHz.
Preparing Record Tapes Preparing Record Tapes There are two basic methods of recording to tape: • Frame-accurate recording by using the Digital Cut tool to record your sequence onto either a prestriped tape (a tape with prerecorded control track and timecode) or a partially striped tape • Manual recording by using controls on the record deck Each of these methods requires different treatment of the record tapes.
18 Generating Output To manually record bars and tone: 1. Select Tools > Video Output Tool and Tools > Audio Tool. 2. In the Video Output tool, click the Test Patterns menu, and select a color bars pattern. 3. In the Audio tool, click the PH (Peak Hold) menu, and select Play Calibration Tone. See “Setting the Calibration Tone” on page 513. 4. Set the record deck to Local for manual recording. 5.
Using ExpertRender to Prepare Effects for a Digital Cut 4. Make sure the record deck has the following settings: - The free run/rec (record) run switch should be set to record run. - The Ext (external)/Int (internal) sync switch should be set to internal. - The switch for internal timecode should be set to Regen (regenerate) or Slave Lock, not Preset.
18 Generating Output The ExpertRender dialog box opens. 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 allows you to control the record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape.
Using the Digital Cut Tool n If you install your Avid editing application on a laptop computer, an Incompatible Power Scheme warning button might appear in the top right corner of the Digital Cut tool. Some of the standard power schemes available to laptops running Windows XP might affect the performance of editing functions, including performing a digital cut. Avid recommends you use the “Always On” power scheme when working with Avid applications.
18 Generating Output Sequence Track buttons Play Digital Cut button Enable Track buttons Preview Digital Cut button Halt Digital Cut button Ref Lock icon Deck control area Deck controls Deck Selection menu 524 Timecode text boxes
Using the Digital Cut Tool Selecting a Deck in the Digital Cut Tool The Deck Selection menu in the Digital Cut tool contains a list of all decks that were connected to the system, turned on, and initialized when you opened the Digital Cut tool. n Device templates from Meridien-based Avid systems are not compatible with current Avid editing systems. Do not copy Meridien templates to current systems, and do not copy current system templates to Meridien systems.
18 Generating Output To preview a digital cut: 1. Select Output > Digital Cut. The Digital Cut tool opens. 2. Select Remote or Local in the Deck Control options area. 3. Select the options you want for the digital cut. 4. Select the audio tracks and topmost video track you want represented in the digital cut preview by using the Sequence Track buttons. The track display in the Digital Cut tool varies according to the tracks existing in the sequence. 5. Click the yellow Preview Digital Cut button.
Using the Digital Cut Tool 5. Select or deselect the Entire Sequence option based upon the following: t Select the Entire Sequence option if you want the system to ignore any IN or OUT points and to play the entire sequence from start to finish. t Deselect the Entire Sequence option if you have established an IN point, an OUT point, or both for recording a portion of the sequence. 6.
18 Generating Output 12. Click the menu in the Deck Control options area, and select an option to indicate where to start recording on the tape. Option Description Sequence Time Starts the recording at a timecode existing on tape that matches the start timecode of the sequence. If you intend to record several sequences to tape one after another, this option requires resetting the start timecode on each sequence to match appropriate IN points on the tape.
Using the Digital Cut Tool 18. (Option) To stop the recording at any time, do one of the following: 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. This provides several frames of overlap for the next IN point before the control track and timecode break up.
18 Generating Output Recording a Digital Cut to Tape (Local Mode) Recording in Local mode allows you to 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 522. 2. Load a sequence into the Record monitor.
Using the Digital Cut Tool 8. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of the digital cut. 9. Select Local in the Deck Control options area. 10. Click the Sequence Track buttons to select the audio and video tracks you want represented in the digital cut. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence. 11. For 23.
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19 Conforming and Transferring Projects Avid offers a range of editing applications for editing film, video, and audio. Within the Avid family of editing and finishing products, you can work at the system most appropriate for your task. When you are ready for the next step in the process, you can easily move your work to another system. For example, you might start your project on an Avid Xpress® Pro system and then move it to a Media Composer system when you are ready for finishing.
19 Conforming and Transferring Projects If you are moving from one Avid editing product to another in the current release, or from a product in a previous release to a product in the current release, you can move project files and media without losing any of your work. However, when you move projects from a product in the current release to a product in the previous release, some effects that have been created with features that are new for a particular release do not appear, or appear as unknown effects.
Preparations for Conforming HD Online SD Offline 720p/50 25p PAL 720p/59.94 30i NTSC 1080p/23.976 23.976p NTSC or 24p NTSC n 24p NTSC sequences require additional conversion. 1080p/24 24p NTSC or 24p PAL 1080p/25 25p PAL 1080i/50 25i PAL 1080i/59.94 30i NTSC File Transfer for the Online Session Before you begin moving project files between Avid editing applications, consider the following.
19 Conforming and Transferring Projects File Naming To make it easier to move files between products and across platforms, use the following guidelines when naming files: • Do not use the following characters in project, bin, or other file names: /\:*?”<>| The Windows system does not recognize these characters in file names and substitutes other characters, possibly making the file name unrecognizable.
Preparations for Conforming AVX Plug-Ins If your project contains AVX™ plug-in effects and you are moving across platforms, make sure the same plug-ins are available on both the Macintosh and Windows systems. If the same AVX plug-in effect is not available, you can mix down or render the effect to a high-quality resolution and then transfer it using an OMFI or an AAF file. However, you cannot change the parameters of the effect.
19 Conforming and Transferring Projects Aspect Requirement Notes File field order Odd (Upper field first) For interlaced media, your Avid editing application uses the Even (Lower field following order: first) • NTSC (601 and DV): lower field first • PAL 601: upper field first • PAL DV: lower field first • HD Interlaced: upper field first If the field order of the graphic is not correct, select the field order of the graphic during import and the application reverses the fields appropriately.
Conforming Workflow If you are sharing files between Macintosh and Windows systems, avoid using Sound Designer II™, which is a Macintosh format. For more information, see “Transferring Sound Designer II Audio Files from Macintosh Systems” on page 549. Conforming Workflow The following topics provide information to help you transfer projects from one Avid editing system to another and conform the sequence to create one or more finished masters.
19 Conforming and Transferring Projects Transferring Project Information Only Project information includes the information about the components of your project (such as settings, bins, master clips, edited sequences, and so on), but does not include the media for these components. This project information is sometimes called metadata.
Conforming Workflow Step 2: Open the Project Depending on the project requirements and your personal preference, you can open a project in the following ways: • Start a new project. - Use the Select Project dialog box to create a new project with the format you want to use for final mastering. Starting a new project lets you configure the project settings and eliminate any errors or problems caused by the offline project’s settings.
19 Conforming and Transferring Projects Step 3: Measure the Video Signal When working with analog material, measure the actual video signal during both input and output to make sure the signal does not exceed the broadcast specification. n For SDI or HD-SDI formats, you cannot adjust input or output levels by using the video controls in your Avid editing application. For HD media, you can calibrate only HD component output, which is usually used for monitors.
Conforming Workflow n When you recapture from SD source tapes, Avid recommends that you readjust the video levels. You can transfer video input settings from another system, but the existing settings have been calibrated to a different set of hardware and might not operate properly. If you are capturing serial digital video (SDI) or DV, your Avid editing application ignores the video input settings.
19 Conforming and Transferring Projects • It is easy to edit revised graphics into your project by giving them the same names as the original graphics, copying the revised graphics to the folder that contains the original graphics, and batch importing the revised graphics. You can also edit new graphics into your project by deleting the media for your original graphics, batch importing your sequence, and pointing the old clips to the revised graphics files.
Conforming Workflow Considerations when Re-creating Title Media You should be aware of the following when re-creating title media: • For best results, use OpenType fonts, which reduce problems when transferring projects from one platform to another. • If you are moving across platforms and the transferred title text uses a single style (the same font and type size), the title text aligns as closely as possible to its original position.
19 Conforming and Transferring Projects 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.
Transferring Project and Media Files Step 9: Render Effects as Needed You might need to render some complex effects or plug-in effects. The ExpertRender feature includes a special setting called Prepare for Digital Cut. For more information, see “ExpertRender” in the Help. Step 10: Create the Final Masters Your Avid editing application offers you a range of output formats you can use for your final master. The output formats that are available depend on the format of your source footage.
19 Conforming and Transferring Projects • Devices and Methods for Transferring Files • Nonshared Storage Issues for Cross-Platform Collaboration • Transferring Media Files from Media Composer Version 7.2 or Avid Xpress Version 2.1 Transferring Audio Files You might need to transfer audio separately from video. One workflow might involve sending audio from an offline system to a Pro Tools system for sweetening, and then sending the finished audio to a Symphony system for syncing with final video.
Transferring Project and Media Files n DigiTranslator v2.0 is required on the Pro Tools system for import and export of OMF and AAF files. For information about working with Sound Designer II audio files, see “Transferring Sound Designer II Audio Files from Macintosh Systems” on page 549 and “Working with Sound Designer II Audio Files on Macintosh Systems” on page 549.
19 Conforming and Transferring Projects You can also share bins and projects in an Avid Unity environment that does not use Avid Interplay. See “Sharing Bins and Projects in an Avid Unity Environment” in the Help and in the Avid Unity documentation.
Transferring Project and Media Files The default locations for application folders are listed in the following tables. Folder or File Location Project folder 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 editing ap
19 Conforming and Transferring Projects 7. Copy the folders or files to the appropriate folder. The folder locations might be slightly different, depending on the product and how it was installed. Ignore any Resource folders or files that appear. 8. Start your Avid editing application. The new project appears in the Project window. New user settings appear in the Users list. Site settings are active for all projects at the new location. c Do not open a project directly from the transfer device.
Transferring Project and Media Files Method Requirements Restrictions External 1394 (FireWire) drive HFS+ format Cannot be used as a media drive for Symphony. For compatibility information, see the Avid Drive Striping Tables. Project Files, OMF Files, and AAF Files (including embedded media) Server-based network None None. External 1394 (FireWire) drive or USB2 drive HFS+ format Size of the disk. Floppy disk Macintosh-formatted disk Holds 1.4 MB. CD-ROM None HFS+ format is recommended.
19 Conforming and Transferring Projects Transferring Files Between Windows Systems The following table shows the available methods for transferring files between Windows systems. Method Requirements Restrictions All Files (can be used as media drives) External SCSI drive None For compatibility information, see the Avid Drive Striping Tables, which are available on the Avid Customer Support Knowledge Base. Fibre Channel drive None For compatibility information, see the Avid Drive Striping Tables.
Transferring Project and Media Files Transferring Files Between Macintosh and Windows Systems The following table shows the available methods for transferring files between Macintosh and Windows systems. Method Requirements Restrictions All Files (can be used as media drives) Macintosh external drive (SCSI or Fibre Channel) HFS+ format and an See “Nonshared Storage Issues for Cross-Platform application that enables Collaboration” on page 556.
19 Conforming and Transferring Projects Method Requirements Restrictions E-mail E-mail that supports attachments See the documentation for the e-mail software. FTP Network access and FTP software on both systems For more information on using Fetch on Macintosh systems, see www.fetchsoftworks.com. DigiDelivery Installation of None. See www.digidesign.com/products/digidelivery/.
Transferring Project and Media Files Transferring Media Files from Media Composer Version 7.2 or Avid Xpress Version 2.1 Video media from Media Composer v7.2 or Avid Xpress v2.1 is not directly compatible with later releases, so you must export with specific format settings. The import process might be slow, and your media loses some quality. For more information about working with Media Composer v7.2, Avid Xpress v2.
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20 Working with the Avid Interplay Window The Avid Interplay Window allows you to work with clips and sequences in a shared storage environment without first checking out assets from a workgroup. When you are working in an Avid Interplay environment and you open a bin with assets stored in the Interplay database, your Avid editing application gets the bin contents from the database and displays the contents of the bin locally, but the application does not copy the assets to your local system.
20 Working with the Avid Interplay Window The following topics describe how to access and to use remote assets in your Avid editing application: • Using Remote Assets • Managing Remote Assets • Editing with Remote Assets • Finding Remote Assets • Capturing Media to Interplay Folders Using Remote Assets When users collaborate, they usually do so in a project.
Using Remote Assets For information on mounting workspaces and configuring settings, see the following topics: • Mounting Workspaces on an Avid Unity MediaNetwork System • Mounting Workspaces on an Avid Unity ISIS System (Version 1.5 and Earlier) • Mounting Workspaces on an Avid Unity ISIS System (Version 2.0 and Later) • Configuring Interplay Settings For complete information on working with shared storage, see the client documentation for Avid Unity MediaNetwork or Avid Unity ISIS.
20 Working with the Avid Interplay Window The Avid Unity Connection Manager dialog box opens and displays a list of all the MediaNetwork workspaces to which you have access. Workspaces that are already mounted appear selected in the workspace list. To mount MediaNetwork workspaces: 1. Make sure your Avid application is not running. 2. Open the Connection Manager. Workspaces that are already mounted appear selected in the workspace list.
Using Remote Assets 3. In the workspace list, select the workspace or workspaces you want to mount. To select all workspaces, click the Select All button. To deselect all workspaces, click the Clear All button. 4. (Option) If you want the selected workspaces remounted the next time you log in, select “Automatically remount these workspaces the next time I log in” (Windows) or “Remount these workspaces on next login” (Macintosh). 5. Click Apply (Windows) or OK (Macintosh).
20 Working with the Avid Interplay Window The Avid Unity ISIS Client Manager opens. Menu panel Fast menu Connections list Sort menu 2. In the Menu panel, click Connections. The Connections list displays all available System Directors. 3. Select the System Director you want to connect to from the Connections list. You can sort the Connections list by clicking the Sort menu and selecting Hostname or Connection Status.
Using Remote Assets 4. Do one of the following: t (Windows) If your ISIS system is configured to use the Windows user name and password for your local system, select OS Login. By default, the Username and Password text boxes are inactive when you select this option.
20 Working with the Avid Interplay Window Fast menu Auto Mount button Workspaces list Mount button Mounted drive 3. In the Workspaces list, select the workspace you want to mount. 4. Do one of the following: t Click the Mount button. t Click the Fast menu, and select Mount. The Client Manager mounts the selected workspace on your client and the Mount button changes to green. The Workspaces list displays the drive the workspace is mounted to.
Using Remote Assets Mounting Workspaces on an Avid Unity ISIS System (Version 2.0 and Later) If your system is connected to an Avid Unity ISIS media network, you can use the Client Manager to mount a workspace before you begin your work session. To connect to the Avid Unity ISIS network: 1. Do one of the following: t (Windows) If the Client Manager icon is not available in the Windows taskbar, select Start > All Programs > AvidUnityISIS > ClientManager.
20 Working with the Avid Interplay Window The ISIS Client Manager opens. 2. Select the System Director you want to connect to from the Connections list. 3. Do one of the following: 568 t (Windows) Type your account name in the Username text box, and type your password in the Password text box. t (Windows) If your ISIS system is configured to use the Windows user name and password for your local system, select OS Login.
Using Remote Assets 4. Click the Connect button. When the connection is successful: - The Connect button changes to Disconnect when the connection is complete. - The Change Password and Launch Management Console buttons become active. 5. (Option — Windows only) If you used the OS Login option, and you want to connect to the network automatically every time you start your system, select the Auto-Connect box. To mount an Avid Unity ISIS workspace on your system: 1. Open the Client Manager.
20 Working with the Avid Interplay Window To mount multiple Avid Unity ISIS workspaces on your system: 1. Open the Client Manager. The Workspaces list opens. The Online field displays a green ball for workspaces that are already mounted. You can filter the Workspaces list by Workspace name. 2. Do one of the following: t Select multiple non-contiguous workspaces with Control+click.
Using Remote Assets 3. Double-click Interplay Server. The Interplay Server Settings dialog box opens. 4. In the Interplay Server Name text box, type the computer name of your Interplay server, and then click OK. It is important to type the correct computer name. This is the location where the editing system looks to access the database and to check in and check out Avid assets. You can also enter the IP address instead of the computer name. 5. Double-click Interplay Folder.
20 Working with the Avid Interplay Window 9. In the Settings list, double-click Interplay User. The Interplay User Settings dialog box opens. 10. In the User Name text box, type a user name. This name must be a known user on your workgroup system. For information on managing users, see the Avid Interplay Engine and Avid Interplay Archive Engine Administration Guide. 11.
Using Remote Assets To open the Interplay Window: 1. If your Interplay User settings are not configured to log in when you start a project, do the following: a. In the Settings list, double-click Interplay User. The Interplay User Settings dialog box opens. b. Click Login to establish the connection to the Interplay database. The Interplay Login dialog box opens. 2. In the Interplay Login dialog box, type your password, and click OK.
20 Working with the Avid Interplay Window 3. Select Tools > Interplay Window. The Interplay Window opens. Managing Remote Assets You access remote assets through the Interplay Window. This allows you to see all of the Avid assets available to your project, manage your assets, and access the Avid assets stored in Interplay folders so you can edit the clips in your sequence.
Managing Remote Assets The Interplay Window lists your active content, which includes sequences, master clips, and all the media files and metadata files that are associated with them. The Media Directory panel allows you to browse and navigate to all of the shared Interplay folders that contain those Avid assets available for your project. The Research panel shows you the contents of the selected folders and the results of media searches.
20 Working with the Avid Interplay Window Reservation icons on folders in the Media Directory panel Only the owner of a reservation or the Administrator can remove the reservation or delete or move the contents of a reserved folder. Since folders can have reservations set by multiple users with multiple end dates, you might not be able to move or delete the asset even if you placed a reservation on it.
Managing Remote Assets Restrictions tool. You can change restriction comments by using Interplay Assist and then view them in the editing application. For more information on setting restrictions and on using Interplay Assist, see the Avid Interplay Assist User’s Guide. The clip icon of any clip that contains restricted material displays the Restriction icon. For more information about working with restrictions, see “Working with Restricted Material” in the Help.
20 Working with the Avid Interplay Window Moving, Copying, Duplicating, and Deleting Avid Assets You can move, copy, and duplicate clips and sequences to other folders in the Interplay Window in order to group and organize various types of material based on project needs. When you copy clips from one folder to another, any custom columns that you created in the first folder are also copied to the second folder. The custom columns appear in the order in which you created them.
Managing Remote Assets To duplicate a clip: t Right-click the clip or sequence and select Duplicate. A new copy of the clip or sequence with a new Creation date is created. Assist appends a number such as .01 to the end of the name, creating a new name. n The duplicated clip refers to the original media; the media can be deleted accidentally when the duplicated clip is deleted. To delete clips or sequences from a folder or bin: 1. Select the clips and sequences that you want to delete. 2.
20 Working with the Avid Interplay Window Creating Folders and Shortcuts in the Interplay Window You can create folders in the Avid Interplay database to help organize your projects. You can also save time accessing remote assets you use often by creating shortcuts to Interplay folders and catalogs in the Media Directory panel. To create a new folder in the Interplay Window: t Right-click an Interplay folder in the Media Directory panel, and select Create Folder.
Managing Remote Assets Modifying the Appearance of the Interplay Window You can modify the appearance of the Interplay Window to hide the Media Directory panel or to split the tool horizontally (so the Media Directory panel and the Research panel display on the left and right sides of the tool) or vertically (so they display at the top and bottom of the tool). You can also specify which media objects you want to display in the Interplay Window.
20 Working with the Avid Interplay Window Understanding Column Display in the Interplay Window You can modify the display of columns in the Interplay Window in a variety of ways. You can: • Sort the information in all of the columns in the media tabs in the Research panel except the Frame column The Icon column sorts alphabetically based on the type of media object (audio clip, master clip, sequence, subclip).
Managing Remote Assets To move a column in the Interplay Window: t Click the heading of the column in the Research panel that you want to move, then drag the column to the position you want and release the mouse button. The column appears in the new position, and the other columns shift to make room. To hide a column: t Right-click the column heading and select Hide this Column. When you hide columns, they are listed on the menu below the Hide this Column option.
20 Working with the Avid Interplay Window 2. Select the columns you want to display. For MultiRez clips, you can select a column for each resolution (1:1, DV 25, and so on). See “Single Clip, Multiple Resolutions” on page 616. 3. Click OK. The new columns appear to the right of the existing columns in the Research panel. To create a new column: 1. Right-click a column heading and select New Column. The Add New Column dialog box opens. 2. Type a name for the new column.
Managing Remote Assets 3. Navigate to the new custom column heading, select it, and click OK. 4. Locate the custom column in the Research panel and click it in the cell for the asset you want to label. The list of values for the property appears.
20 Working with the Avid Interplay Window 5. Select a value. The value appears in the cell. 6. Select values for additional assets.
Managing Remote Assets Selecting Asset Types To select asset types and reference clips to display: 1. Right-click the Type column heading in the Research panel and select Set Type Filter. n You need to right-click the column heading. If you right-click elsewhere in the column, the option does not appear in the context menu. The Set Type Filter dialog box opens. 2. Select the asset types you want to display. 3. (Option) Select “Show reference clips” to display objects that are referenced by sequences.
20 Working with the Avid Interplay Window To change the name of a clip: 1. Click the cell in the Name column that you want to modify. The clip row is highlighted. 2. Click the cell again to enter text. The pointer changes to an I-beam. 3. Type the new clip name, and press Enter. Adding Comments in the Interplay Window You can add comments to the clip information in any media tab in the Research panel to help you keep track of details not displayed in the other columns.
Managing Remote Assets To update a search result tab: t Execute the search again. Updating Writable Properties in the Property Merge Dialog Box If you have Write privileges in your Interplay environment, you can change several of the properties associated with assets, for example, Comments or Name. These are called writable properties. If you try to change a writable property that another user modified after you accessed the asset, the Property Merge dialog box opens.
20 Working with the Avid Interplay Window To update the server with your change: 1. Select the version of the property you want to see in the Merged Value text box: - Original - the state of the asset before you accessed it - Your change - this version is selected by default - Current (on server) You can select any combination of the versions. The versions appear in the Merged Value text box in the order in which you select them. 2.
Managing Remote Assets Layout menu The Enter Column Layout Name dialog box opens. 4. Type a name for the custom view, and click OK. The layout is saved and added to the list of layouts in the Layout menu. You can select any of the saved layouts from the Layout menu. To change to another saved layout: t Click the Layout menu, and select a saved menu from the menu list. If you select Default, the Interplay Window reverts to the layout that appears when you first open the editing application.
20 Working with the Avid Interplay Window To open multiple folders in the Interplay Window: 1. Click the active tab in the Research panel, and then click the Pin button. The contents of the folder are saved as a tab in the Research panel. 2. In the Media Directory panel, click a new folder. The folder opens as a new tab in the Research panel. Media tabs Pin button Close button To close a tab in the Interplay Window: t On the tab you want to close, click the Close button.
Managing Remote Assets 2. Select Bin > Set Interplay Window Display. The Set Interplay Window Display dialog box opens. For a description of the object icons listed in the Set Interplay Window Display dialog box, see “Media Objects in the Interplay Window” on page 593. 3. Select the object types that you want to see. 4. Select “Show reference clips” to automatically display objects that are referenced by sequences in the Interplay Window, whether those clips were previously in the Interplay Window or not.
20 Working with the Avid Interplay Window To change the font from the Research Panel context menu: 1. Right-click and select Set Research Panel font. The Select Research Panel Font dialog box opens. The dialog box allows you to select and preview options other than Font and Size, but those options do not take effect in the application; you can change only Font and Size. 2. Select a font and a size, and then click OK. The font in the panel changes.
Editing with Remote Assets To change the font from the Directory panel context menu: 1. Right-click in the Directory panel and select Set Directory Panel font. 2. Follow Step 2 in the preceding procedure. The dialog box is called Select Directory Panel font instead. 3. Click OK when you are done selecting options. The font in the panel changes.
20 Working with the Avid Interplay Window Working with Avid Assets in the Interplay Database You use the Interplay Window to access master clips and sequences in the Interplay database. When you locate the appropriate Avid asset, you open the asset in the Source monitor where you can preview it and mark In and Out points. You can then add the assets to the sequence in the Timeline just as you would any other media clip.
Editing with Remote Assets Checking Avid Assets Out of the Interplay Database You can also move your assets from the Interplay database to a bin. Checking out assets from the Interplay database creates a local copy of the assets. When you check in the assets, Interplay looks for any changes to the assets and copies the changes back to the database. n Avid Interplay also lets you check in and check out file assets, which are different from Avid assets.
20 Working with the Avid Interplay Window 5. Click the assets you want to check out, and drag them to your bin. The bin displays the clips and sequences. Checking Avid Assets In to the Interplay Database When you check in clips, sequences, or other assets for the first time, the Interplay Engine automatically creates a database entry for each Avid asset.
Editing with Remote Assets To add Avid assets from your bin to the Interplay database: 1. Open the bin that contains your clips or sequences. 2. Log in to the Interplay database if you have not already done so. For more information, see “Connecting to the Avid Interplay Database” on page 560. 3. Select Tools > Interplay Window. The Interplay Window opens. 4. (Option) Right-click the Projects folder in the Interplay Window, select Create a New Folder, and then type a name for the folder. 5.
20 Working with the Avid Interplay Window t To check in an audio file for use in a Pro Tools project, select File > Check In to Interplay for Pro Tools or right-click and select Check In to Interplay for Pro Tools. (For more information, see “Using Pro Tools and Interplay” in Avid Interplay Best Practices.) t To check in all Avid assets in a bin, select the bin and then select Bin > Check In Bin To Interplay. t To check in Avid assets in all open bins, select Bin > Check In All Open Bins to Interplay.
Editing with Remote Assets Updating Remote Assets in Bins Every time you open a Interplay project that includes remote assets, your bins display any Avid assets that you have checked out as part of your project. You can update the contents of bins in your project without using the Interplay Window by updating the remote assets from the database. Updating from the database automatically checks out the most recent version of the clips or sequences in your project.
20 Working with the Avid Interplay Window To edit using an in-progress clip: 1. Open your Avid editing application, open a project, and open the Interplay Window. 2. In the Interplay Window, navigate to the folder that holds the clip that you want to use for editing. If you know some information about the clip, you can use the Search feature. A clip that is being captured displays an in-progress icon. 3. Load the clip into the Source monitor and play the clip.
Editing with Remote Assets The editing functions described in the following table are limited to working with the available captured media of an in-progress clip: Editing Function Description Editing in-progress clips into a sequence You can only edit those portions of in-progress clips for which media is available into a sequence. Subclips When creating a subclip from an in-progress clip, you must place the IN and OUT points where media has already been captured and is available.
20 Working with the Avid Interplay Window Finding Remote Assets You find Avid assets stored in the Interplay database by searching Interplay folders. n Interplay Access includes an extended search with additional features. For more information, see “Searching for Assets” in the Avid Interplay Access User’s Guide or the Interplay Access Help. Overview of Finding Remote Assets The most common method of finding remote assets is to perform a search based on attributes.
Finding Remote Assets 2. In the Text field, type a search term. You can specify words or characters for your search. Search terms are not case-sensitive and apply to all searchable text attributes of the Avid assets in your search. 3. Expand the Text Fields field and select the kinds of text fields to search in 4. Expand the Search In field and navigate to the folder you want to search. If you do not specify a location, the Interplay Window searches the entire Interplay database.
20 Working with the Avid Interplay Window Search Attributes for the Interplay Window The following table describes the search attributes available in the Media Search tab in the Interplay Window.
Capturing Media to Interplay Folders Keeping Search Results in the Interplay Window If you want to keep the results of your search when you perform another search, you must “pin” the search tab to keep it open before you start a new one. To keep your search results: t Click the Pin button. The search is kept open as a tab in the Research panel. Capturing Media to Interplay Folders By using the Interplay Window to connect to the Interplay database, you can capture media directly to an Interplay folder.
20 Working with the Avid Interplay Window 3. Select Tools > Capture. The Capture tool opens. Bin menu Interplay Folders selection button 4. Set up the Capture tool as described in “Capturing Media” on page 135. 5. Click the Interplay Folders selection button. 6. Click the Bin menu, and select an open Interplay folder. 7. Start capturing as usual. For information on different methods and procedures for capturing media, see “Capturing Media” on page 135 and “Capturing Media: Advanced” in the Help.
21 Using MultiRez and Dynamic Relink MultiRez (a term derived from “multiple resolutions”) is a feature that lets you create a master clip that is associated with multiple media files of different resolutions. For example, you can use the Avid Interplay Low-Res Encoder to simultaneously capture a single master clip that is associated with both low-resolution and high-resolution media files. MultiRez also works with audio files: you can capture an audio clip with more than one sample rate.
21 Using MultiRez and Dynamic Relink Understanding MultiRez and Proxy Editing Proxy editing is editing a low-resolution version of media and then conforming the edits into a composition that refers to an equivalent high-resolution version of the same content. In this sense, proxy editing is similar to the offline/online model that is common in a post-production workflow. Typically, post-production editors capture material at a low resolution and perform what is referred to as offline editing.
Creating Multiple Resolutions of a Master Clip Creating Multiple Resolutions of a Master Clip There are several ways that you can create multiple resolutions of a master clip: • In a newsroom environment, you can use CaptureManager™, one or more AirSpeed® systems, and the Avid Interplay Low-Res Encoder to simultaneously capture high-resolution and low-resolution versions of the same master clip.
21 Using MultiRez and Dynamic Relink 3. Select Clip > Batch Capture. The Batch Capture dialog box opens. 4. Deselect “Offline media only.” After you deselect this option, the option “Discard original local media” is displayed. 5. Deselect “Discard original local media.” 6. (Option) Select “Extend handles beyond master clip edges” to allow the handles to extend before the beginning and after the end of the original master clip.
Creating Multiple Resolutions of a Master Clip For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on page 641. Batch Importing Multiple Resolutions The MultiRez feature allows you to batch import graphics and animations at more than one resolution. To batch import multiple resolutions: 1. Mount any removable media drives that held the original graphics. 2. Open the bin, and select the imported master clips and sequences you want to reimport. 3.
21 Using MultiRez and Dynamic Relink 4. Click All Clips. The message box closes and the Batch Import dialog box opens. 5. In the Import Target section, select the desired resolution and storage location. 6. In the Import Options section, select “Keep existing local media” and any other options. 7. Click Import. The application imports the files and creates media in the resolution you specified.
Understanding How Clips and Media Are Associated Understanding How Clips and Media Are Associated When you are working in a MultiRez environment, relinking is source based. That is, the Avid editing application relinks a clip to its media according to the source of the clip rather than the name of the clip. In an Avid editing application, whenever you create a new tape or import a file, the application creates a unique source ID. This source ID is used by the application and is not visible to users.
21 Using MultiRez and Dynamic Relink Later, if you recapture a clip at a different resolution, make sure to select the tape name originally associated with that clip. If you select the existing name and use the original tape, the application associates the new media with the original master clip. In an Avid Interplay environment, this source-based association is the basis for dynamic relink. c n Be careful not to use the same name for two different tapes or different names for the same tape.
Understanding How Clips and Media Are Associated This information also appears in the Interplay Window. For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on page 641. n You can batch capture the clip in additional resolutions; there is no limitation to the number of media files associated with a clip.
21 Using MultiRez and Dynamic Relink DV 01;00;00;00 Tape A SourceID: 12345 Clip 1 Source ID: 12345 01;00;10;00 Media: 1:1 Source ID: 12345 Transcode Clip 1.new Source ID: 12345 Media: 15:1s Source ID: 12345 Original association (affinity) Transcoded association In a bin, both clips appear with black circles in the 15:1s column and the 1:1 column.
Understanding How Clips and Media Are Associated Partial Clips, Multiple Resolutions The MultiRez feature also supports association of clips that share only part of a timecode span. For example, after capturing a clip at 15:1s, you might need to recapture only part of the clip at 1:1. Because both clips share a source ID and a timecode span, the application associates both clips with the same resolutions and lets you dynamically relink the shared section.
21 Using MultiRez and Dynamic Relink MultiRez Tape Management When working in a MultiRez workflow, it is important to name tapes properly. Follow these guidelines: • Any time you create a new tape, the application generates a new source ID, even if the name you type for the new tape exactly matches that of an existing tape. You cannot dynamically relink media that does not share a source ID. • Be careful not to use the same name for two different tapes or different names for the same tape.
Understanding Dynamic Relink For complete information on the options in this dialog box, see “Using the Dynamic Relink Settings Dialog Box” on page 624. The following illustration shows a bin and a sequence. The first version of the sequence shows the clip in the working resolution (15:1s) and the second version shows the same clip in the target resolution (1:1). Notice that the clip name is the same, but the resolution of the clip (as shown in the text on the clip) is different.
21 Using MultiRez and Dynamic Relink Clip associated with working resolution and target resolution Sequence with clip in working resolution (15:1s) n Sequence with clip in target resolution (1:1) To display the clip resolution for each clip in the Timeline, click the Timeline Fast Menu button and select Clip Text > Clip Resolutions. When you are finished with the offline editing, the Send to Playback command automatically outputs the sequence in your target resolution.
Considerations When Working with Dynamic Relink You need to override the working settings if you want to create effects such as color correction. However, do not render effects until you have completely finished your edits in the working resolution. c Render effects in the target resolution only as the last step before output. Media files created by rendering effects (precomputes) are not dynamically relinked.
21 Using MultiRez and Dynamic Relink • If you dynamically relink a sequence and then check the sequence into Avid Interplay, the application checks in the resolution to which you are currently linked. • Dynamic relink does not work with OMF media files that include an alpha channel (titles or graphics with alpha that are imported or created in OMF resolutions). Clips with OMF alpha are unaffected when the dynamic relink settings are changed.
Using the Dynamic Relink Settings Dialog Box Applying Working Settings The Working Settings tab lets you specify the rules that determine the resolution that you use when editing. For example, you might specify any low resolution or a specific single-field resolution because you are working on a 100Base-T connection and need to work with low-resolution material. For illustrated examples of typical working settings, see “Examples of Working Settings for Dynamic Relink” on page 625.
21 Using MultiRez and Dynamic Relink Relink to offline media if no match is found. Specific video resolution Specific audio sample rate and bit depth The working settings in the following illustration specify that the application should use the specific video resolution of DV 25. If the application cannot find this resolution for a particular clip, it should relink to media that most closely matches DV 25, based on the specified parameters.
Using the Dynamic Relink Settings Dialog Box Use closest media if no match is found. Less than or equal to specific video resolution Less than or equal to specific audio sample rate and bit depth Applying Target Settings The Target Settings tab lets you specify the rules that determine the media that you use for your final output. For an illustrated example of typical target settings, see “Example of Target Settings for Dynamic Relink” on page 628.
21 Using MultiRez and Dynamic Relink To apply the target settings: 1. Do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink. t Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink Settings. 2. Select Enable Dynamic Relink. 3. Click the Target Settings tab. 4. Select your target settings as described in “Dynamic Relink Settings” on page 630. 5. To apply the target settings, do one of the following: t Click Apply.
Using the Dynamic Relink Settings Dialog Box Relink to offline media if no match is found. Specific video resolution Specific audio sample rate and bit depth Dynamically Relinking to the Target Settings There are two situations when you need to dynamically relink to the target settings: • If you need to do color correction or apply another effect that requires viewing media in the target resolution.
21 Using MultiRez and Dynamic Relink c Render effects in the target resolution only as the last step before output. Media files created by rendering effects (precomputes) are not dynamically relinked. If you render effects when they are linked to target settings and then switch back to working settings, the rendered effects will be lost. You can create effects in either mode, but render them only in when they are linked to target settings as the last step before output.
Using the Dynamic Relink Settings Dialog Box Dialog Box Area Option Description (Continued) Working settings tab and Target settings tab If no match is found Allows you to specify the action to take if no media is available that matches the working or target settings. You can select one option as a working setting and a different option as a target setting. Select one of the following: • Keep Existing Media: The application displays the media to which the clips are currently linked.
21 Using MultiRez and Dynamic Relink Dialog Box Area Option Description (Continued) Relink if quality When you select Specific Resolution as the Relink method, the Relink quality menus allow you to specify a relational operator and a resolution to compare against.
Relinking in Frame Chase Editing Dialog Box Area Option Description (Continued) Relink if sample rate and bit depth The relational operators on the left for sample rate and bit depth are similar to the relational operators for the Video parameter “Relink if quality” menu. However, the two menus have an additional entry, “Any,” which allows you to use one criteria and ignore the other. For example, you could select sample rate equal to 44.1 kHz and bit depth to “Any”.
21 Using MultiRez and Dynamic Relink Using the Relink Dialog Box in an Avid Interplay Environment Relinking through the Relink dialog box is different from dynamic relink. In an Avid Interplay environment, relinking through the Relink dialog box is limited to non-master clips (subclips and sequences). These can be relinked only through source timecode and tape. Other options are unavailable.
Displaying Whether Media Is Available for Dynamic Relinking Displaying Whether Media Is Available for Dynamic Relinking You have the option of displaying whether media is available in the resolution or sample rate specified in the Dynamic Relink settings. To provide this information, your Avid editing application communicates with the Media Indexer to determine the availability of working and target media for each clip in the Timeline.
21 Using MultiRez and Dynamic Relink To show whether media in a sequence is available, do one of the following: t Click the MultiRez button to select one of the displays described in the following table. Button Display Description Gray - inactive Bottom half of diamond black - Show Mismatches display. If the background is blue, some media does not match or is not available in the current settings.
Displaying Whether Media Is Available for Dynamic Relinking If you click the MultiRez button to show mismatches (bottom half of diamond black), clips are colored as follows: - No color change: The clip matches the working or target settings, depending on which settings you are linked to. - Blue or red: The clip does not match the working or target settings.
21 Using MultiRez and Dynamic Relink MultiRez button is blue If you selected Keep Existing Media or Use Closest Media (in the Working Settings tab of the Dynamic Relink Settings dialog box) and enabled clip coloring, the clips that are not in the working resolution are colored blue. The application is warning you that the DV 25 clips do not match the working resolution but are linked to a different resolution (a mismatch).
Displaying Whether Media Is Available for Dynamic Relinking n The “Relink to Offline” option does not delete the existing media. To relink to the media, select a different option in the Dynamic Relink dialog box. Clip color is red MultiRez button is blue The next example shows the Timeline after you click the MultiRez button to view the target resolution availability.
21 Using MultiRez and Dynamic Relink MultiRez Button Menu The following table describes the options in the MultiRez button menu: Option Description Enable Clip Coloring When selected, this option colors clips that are linked to media that does not match the specified Dynamic Relink settings. The application uses the following colors for clips in the Timeline: • No color change: In the Show Mismatches display, the clip is linked to media that matches the working settings.
MultiRez Bin Headings Option Description (Continued) Find Next In the Show Mismatches display, moves the blue position indicator to the next item that is not Mismatched or in the working or target settings. This could be a clip or a rendered effect. Unavailable Clip In the Show Target Availability display, moves the blue position indicator to the next clip that is not available in the target settings. The command does not apply to rendered effects in this display.
21 Using MultiRez and Dynamic Relink You need to select which columns you want to appear in the Text tab of the bin. For more information, see “Manipulating Bin Columns” in the Help. There might be more resolutions available on an Avid Interplay workspace than appear in your bin headings. For example, there might be an uncompressed version of the clips you are working with, but if your Avid editing application doesn’t support uncompressed video, the resolution does not appear in your bin settings.
Understanding Options for Deleting MultiRez Clips and Media The following illustration shows three different icons in a bin. The following bin columns display special behavior when you are using MultiRez and dynamic relink: • Video format: This column displays the resolution of the media files to which the clips in the Timeline are currently linked, so it changes, depending on which resolution is currently displayed: either working or target.
21 Using MultiRez and Dynamic Relink However, if you select the original clip (DV 25) for deletion, you see only DV 25 listed in the Delete dialog box. For clips that were batch captured, captured in a dual-ingest configuration, or transcoded without a new clip, you see both resolutions listed in the Delete dialog box. n 644 Multiple audio sample rates are not listed in the Delete dialog box.
Deleting MultiRez Clips and Media from a Bin Options for deleting MultiRez clips from a bin are summarized in the following table: Type of Clip Resolutions Displayed for Deletion Clip created through dual ingest All associated resolutions Clip created through batch capture or batch import All associated resolutions Transcoded clip, one clip All associated resolutions Transcoded clip, multiple clips Original resolution only Clips that share timecode and source Original resolution only Deleting Mul
21 Using MultiRez and Dynamic Relink Working with Partially Online Files There are several cases where you might be working with MultiRez clips that are partially online: • Consolidating and transcoding a portion of a clip or a subclip • Consolidating and deleting original media • Partially restoring from an archive Clips that are partially online are marked in a bin by a half circle.
Working with Partially Online Files After the consolidating and transcoding, the new master clip is shown in the bin as having media in both DV 25 and 15:1s, while the original master clip is shown as having full media in DV 25 and partial media for 15:1s. Transcoded clip Original master clip If you trim the original sequence to expose more of the DV 25 clip, the Timeline displays as offline frames in the portions that are not available in 15:1s.
21 Using MultiRez and Dynamic Relink In the following example, the MultiRez button is blue, indicating that the application is in the Show Mismatches display. The original master clip is displayed in the Timeline, with a working resolution set to 15:1s. Two portions of the clip are colored red, indicating that these portions of the clip are offline and thus are not available in the working resolution.
Working with Partially Online Files Partially Restoring from an Archive A clip might be displayed as partially online when you perform a partial restore from an archive. To perform a partial restore from an archive: 1. Assume you have a 10-minute master clip and you have both 15:1s and DV 25 versions of the media. 2. Archive the DV 25 version of the media. 3. Delete the online DV 25 media and keep the low-resolution, 15:1 media online. 4.
21 Using MultiRez and Dynamic Relink 650
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Index Numerics 10-bit effects processing 426 10-bit Playback command (Video Quality menu) 426 1394 capturing through 144, 145 connecting devices 106 1394 button playback to DV device with 247 selecting DV device with 146 selecting output device with 502 setting video quality with 251 16:9 display for 24p and 25p editing 229 option 229 16:9 format 94 16:9 Video command (Composer window context menu) 229 16-channel audio enabling 517 24p and 25p projects creating 54 30i NTSC
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ effect templates 415 effects from Effect Palette 402 target settings for dynamic relink 627 working settings for dynamic relink 625 Archiving with MultiRez 610 Arrow keys navigating with 45 stepping with 244 As List command (View menu in Macintosh Finder) 74 A-side (outgoing frames) in trims 330, 336 Assemble-edit recording 519 enabling in Deck Preferences 520 Asset Manager specifying settings 198 Asset manager accessing assets 596 automatically checking in assets 600 Avid
ABCDEFGHIJKLMNOPQRSTUVWXYZ solo feature, in Trim mode 332 solo feature, monitoring one track 316 sound card configuration 124 Sound Designer II, support for 549 Sound Designer II, transferring files 549 surround sound 352 sync, on output 503 tools, accessing 340 tracks, adjusting in Audio Mixer tool 364 tracks, soloing 346 transferring to Digidesign Pro Tools 548 volume, adjusting in Audio Mixer tool 364 volume, adjusting in Timeline 369 waveform plots 347 Audio Data commands (Timeline Fast menu) 347, 369,
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ recording 373 Track Solo and Track Mute buttons 361 Automounting workspaces 566, 569 Avid assets accessing assets 596 automatically checking in to asset manager 600 checking in to asset manager 598 checking out from asset manager 597 defined 559 local bins 560 permissions 577 reservations 575 restrictions 576 Avid Attic folder retrieving files from 71 Avid Clipboard See Clipboard Avid DNA command (Device submenu of Special menu) 251, 502 Avid DNA hardware sync sources 503
ABCDEFGHIJKLMNOPQRSTUVWXYZ multiple resolutions 611 options 152 preparing for 151 procedure 152 unattended 151 Batch Import command (Clip menu) 170, 613 Batch Import dialog box 174, 613 Batch importing multiple resolutions 613 procedure 170 Best Performance command (Video Quality menu) 249 Big Trim mode described 323 switching with Small Trim mode 329 Bin display 177 Bin Fast menu described 186 opening 186 Bins adding text in Script view 183 aligning frames in 181 Brief view 180 changing background color 19
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Bypassing pan settings 367 C Calibrate Hardware Sliders command (Audio Mixer Tool Fast menu) 375 Calibrating global output levels for audio 514 phase controls 510 video input 130 video output, basic procedures 506 video output, methods described 505 Calibration tone audio output 513 Camera effects brief description 392 Capture command (Tools menu, Toolset menus) 107, 607 Capture in Progress slide in monitors 147 Capture mode entering 107 Capture tool Interplay Folders opt
ABCDEFGHIJKLMNOPQRSTUVWXYZ Clear IN Mark button 252 Clear Monitor command (Clip Name menu in Source monitor) 239, 474 Clear OUT Mark button 252 Clear Renders command (Clip menu) 435 Clearing clips from monitors 239 marks 252 Clearing rendered effects 435 Client Manager Fast menu 566 v1.5 and earlier 563 v2.
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Color bars recording bars and tone 519 types of 130 Color coding effects 396 playback information in Timeline 424 Color correction automatic, applying from Effect Palette 484 automatic, from Effect Palette 484 automatic, with buttons in Hue Offsets tab 486 automatic, with Color Correction effect 484 Client monitor, using for 483 overview 479 reasons for using 480 Safe Colors, basic overview 488 with Color Match control 487 Color Correction command (Toolset menu) 481, 486,
ABCDEFGHIJKLMNOPQRSTUVWXYZ segments in Timeline 312 to Clipboard 281 Correction Mode Settings dialog box 484 Crash recording 529 Crawling titles See also Rolling titles See also Titles setting marks in 472 trimming 476 Create Subclip icon (Composer window) 254 Create Subsequence icon (Composer window) 256 Creating bins 82 folders in projects 84 projects 54 rough cuts 272 subclips 254 subsequences 256 Crossconverted sequences outputting 510 Crossconverting HD for output 510 Crossfading audio 384 Custom prero
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Demoting effects 400 Destination bins selecting 116 Destination drives selecting 117 Details command (View menu in Windows Explorer) 72 Device commands (Special menu) 146, 247, 502 Devices for transferring files 552 Dialog boxes navigating in 45 See also individual dialog boxes by name Set Bin Display 177 Set Interplay Window Display 592 Digi 002 373 Digidesign Pro Tools transferring audio files to 548 Digital audio capturing in film projects 116 scrub, compared to smooth
ABCDEFGHIJKLMNOPQRSTUVWXYZ Drawing tools (Title tool) circles and ovals 463 lines 463 squares and rectangles 463 Drive filtering setting 100 Drives See also Media drives filtering 100 saving work on 70 selecting 98 selecting for capturing 117 striped for capturing 94 striping 95 Drop and Depth Shadow button (Title tool) 465 Dropped frames avoiding during output 521 during digital cut 526, 530 real-time effects 396 Dual Split button (Color Correction Composer window) 483 Dual-image play during trims 336 Dual
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ resizing 399 Effect Palette Color Correction effect applying 484 Effect Preview monitor described 412 position bar 414 Effects 2D and 3D, brief description of differences 392 adjusting 413 applying from Effect Palette 402 applying to multiple transitions 405 AVX plug-in, defined 397 categories 398 changing position within 414 choosing bit depth for processing 426 clearing rendered effects 435 color-coding 396 controlling real-time preview 426 creating with Quick Transition
ABCDEFGHIJKLMNOPQRSTUVWXYZ rendering with 440 using, for digital cut 521 ExpertRender commands (Clip menu) 440 ExpertRender In/Out command (Clip menu) 521 Export as dialog box 493 Export command (File menu) 493 Export Settings dialog box 499 Exporting clips 493 frames 493 preparing sequences for 492 procedure for 493 reasons for 491 sequences 493 settings for, creating 499 using drag-and-drop method 497 External devices turning off 66 turning on 43 External display monitor connecting 234 selecting setting 2
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Find Frame button 264 Find Next Mismatched or Unavailable Clip command (MultiRez menu in Timeline) 640 Finding bins from a monitor 263 clip names 260 clips 260 frames, with the Find command 260 frames, with timecode offset 258 locator text 260 FireWire capturing through 144, 145 connecting devices 106 drives, for transfer between systems 552 selecting channel type 102 Flat View command (Bin display Fast menu) 84 Focus button (Timeline) 300, 335 Focusing Timeline 300 Folder
ABCDEFGHIJKLMNOPQRSTUVWXYZ G Gain automation 369 Get Clip Info command (File menu) 268 Get Info command (Macintosh Finder File menu) 556 Global settings Import 162 Go To Capture Mode command (Bin menu) 107, 142, 158 Go to Next Uncorrected Shot button (Color Correction Composer window) 483 Go to Previous Uncorrected Shot button (Color Correction Composer window) 483 Graphics in titles drawing 463 Green dot 396 in Timeline 431 Guidelines for moving files 535 H Halt Digital Cut button (Digital Cut tool) stop
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Input audio 123 Insert edits 275 Insert-edit recording 519 Insufficient Source message 410 Interlaced clips using in progressive projects 279 Internal command (Sync Lock menu in Video Output tool) 503 Interplay Media tool with 206 Interplay Assist restrictions through 576 Interplay environment relinking in 634 Interplay Folder Settings dialog box 570 Interplay Folders option (Capture tool) 607 Interplay Host, specifying settings 198 Interplay Login dialog box 572 Interplay
ABCDEFGHIJKLMNOPQRSTUVWXYZ creating standard 417 defined 416 deleting standard 419 moving 418 selecting 417 standard, defined 417 L LANshare 202 Lassoing objects 186 segments 303 Launch 51 Launching Avid editing application (Macintosh) 51 Avid editing application (Windows) 51 Layout (Interplay Window) changing 590 custom 590 deleting 590 saving 590 Layout button (Interplay Window) 581 L-cut edit (Overlap edit) for audio clips 256 Leading title text 463 Left Arrow key moving through footage with 244 navigat
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Mark IN and Mark OUT buttons using in titles 472 Mark IN button 252 Mark In Time option (Digital Cut tool) 526 Mark OUT button 252 Mark-and-park editing See Single-mark editing Marking audio clips 256 clips 254 footage 252 IN and OUT points 252 segments 254 segments in Segment mode 311 Marks clearing 252 IN and OUT points 252 Marquee Title tool described 449 opening 448 Master clips See also Clips See also Subclips consolidating 211 copying 187 deleting 188 duplicating 186
ABCDEFGHIJKLMNOPQRSTUVWXYZ Set Interplay Window Display (Bin menu) 592 Unmount (File menu) 204 Video Input Tool (Tools menu) 128, 130 Menus context (right-click, shortcut) 45 Mixed resolutions highlighting in bins 177 Mixing video formats in sequences 278 Mixing and monitoring audio 126 Mixing down audio 388 Moderate command (Vertical Scroll Speed menu in Mouse Settings dialog box) 47 Modifying ExpertRender results 444 Import settings 162 pan values 363 Monitoring audio output global levels 513 icons (Track
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Nested effects 312 brief description 392 Nesting tracks 312 New Audio Track command (Clip menu) 269, 320 New Bin button (Project window) 82 New Bin command (File menu) 82, 155 New Folder command (Bin display Fast menu) 84 New Meta Track command (Clip menu) 320 New Project button (Select Project dialog box) 54 New sequence setting up 267 New Sequence command (Clip menu) 267 New Title command (Clip menu) 448 New Video Track command (Clip menu) 269, 320, 473, 474, 475 Non-Avi
ABCDEFGHIJKLMNOPQRSTUVWXYZ video, adjusting luminance settings 509 video, basic calibration 506 video, calibrating 505 output audio 355 Output to DV Device command (Video Quality menu) 247 Overlap edits audio 256 Override Working Settings with Target Settings command (MultiRez menu in Timeline) 629 Overwrite button overwrite edits with 276 Overwrite edits 276 P Page Down key navigating with 45 Page Up key navigating with 45 PAL (Phase Alternating Line) video frame size and safe title/action guidelines 453
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Position bar described 240 Effect Preview monitor 414 in Timeline 297 Position bar in Timeline 299 Position indicator in Timeline 297 using 240 Position indicator lights (Automation Gain and Pan) 361 Postroll in Trim mode playback loop 335 Precompute for title effect clip 471 Preferences fonts 593 Preparing for batch capturing 151 for importing files 161 for output 501 for video input 128 hardware before capturing 94 record tapes 519 sequences for export 492 Preroll custom
ABCDEFGHIJKLMNOPQRSTUVWXYZ Quit Avid Media Composer command (Avid Media Composer menu - Macintosh only) 65 Quitting Avid editing application 65 R Ratcheting play speed 245 Read Audio Timecode command (Special menu) 341 Read Audio Timecode dialog box 341 Real-time effects color coding for 396 defined 396 dropped frames 396 playback capabilities of 396 preview of 423 processing of 423 Realtime Encoding command (Video Quality menu) 247 Real-time streams in an Avid Unity environment 426 limiting to improve pla
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Removable media saving work on 70 Remove Auto Gain/Pan command (Audio Mixer Tool Fast menu) 375 Remove Automation Gain command (Audio Mixer Tool Fast menu) 375 Remove Automation Pan command (Audio Mixer Tool Fast menu) 375 Remove Clip Gain command (Audio Mixer Tool Fast menu) 366 Remove Effect button (Color Correction Composer window) 483 Remove Effect button (Timeline) 409 Remove Pan command (Audio Mixer Tool Fast menu) 366 Remove Pan/Vols command (Audio Mixer Tool Fast m
ABCDEFGHIJKLMNOPQRSTUVWXYZ Restore Default Patch command (Special menu) 317 Restoring default Timeline view 296 files from backup 70 Restricted characters in project names 54 Restrictions 574, 576 Retrieving files 71 Reverse Match Frame button 262 Reverse Selection command (Bin menu) 186, 222 Reviewing edits 335 footage in Interplay Window 577 trim edits 335 Revising titles in a bin 469 Rewind button 242 moving between audio keyframes with 376 Right Arrow key moving through footage with 244 navigating with
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Scroll bar/position bar in Timeline 297 Scroll option in Timeline 299 Scroll wheel mouse, using 46 setting up 47 Scroll While Playing option (Timeline settings) 299 Scrubbing audio 342 SD/HD command (Clip Color submenu in Timeline Fast menu) 295 SDI embedded audio and sample rate conversion 518 Search tab (Interplay Window) 574 Searches Category attribute 606 Interplay Window 604 keeping open 607 performing 604 remote assets attributes 606 saving 607 Text attribute 606 Tim
ABCDEFGHIJKLMNOPQRSTUVWXYZ colors in a workgroup environment 179 consolidating 211 copying 187 copying in and out of SuperBin 194 creating new 267 crossconverted, outputting 510 deleting 188 displaying information about 268 downconverted, outputting 510 duplicating 186 exporting 493 finding original bin for 263 making the first edit in 270 marking IN and OUT points in 252 mixing video formats 278 moving 187 moving in and out of SuperBin 194 output options for 501 playback loop in 283 playing 283 playing usi
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Show Every Frame command (Timeline Fast menu) 292 Show Mismatched Render Ranges command (MultiRez menu in Timeline) 640 Show Mismatches command (MultiRez menu in Timeline) 635 Show Position Bar option (Timeline settings) 299 Show Target Availability command (MultiRez menu in Timeline) 635 Showing bin columns 180 Shut Down command (Macintosh Apple menu, Windows Start menu) 66 Shutting down the system 66 Shuttling J-K-L key method 245 Single track monitoring See Solo track m
ABCDEFGHIJKLMNOPQRSTUVWXYZ Stepping J-K-L key method 245 single-field 242 with buttons 242 Stereo option (audio) 388 Stop button 242 Story body changing fonts 593 Storyboard creating from a bin 195 Striped drives capturing 94 online information for 95 Striping record tapes 519 Subcataloging footage 252 Subclips See also Clips See also Master clips audio sync for 24p and 25p 256 consolidating 211 copying 187 creating 254 deleting 188 duplicating 186 handles 254 locating a master clip from 263 moving 187 reca
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Text adding in bin Script view 183 copying and pasting into Title tool 455 creating in Title tool 455 title, editing 457 title, formatting 457 title, justifying 460 title, kerning 461 title, leading 463 title, repositioning 456 title, resizing 456 Text Justification buttons (Title tool) 460 Text tool (Title tool) defined 451 Text view (bin display) described 180 in the Media tool 205 Three-button play (J-K-L keys) 245 Timecode changing 268 finding frames with 258 formats f
ABCDEFGHIJKLMNOPQRSTUVWXYZ preparing drawing environment 452 repositioning text 456 resizing text 456 safe title/action area display 453 selecting fonts in 458 Selection tool, defined 451 setting point size in 459 Text tool, defined 451 updating video background in 454 video tracks as background 454 working with shadows 465 Title Tool command (Windows menu) 448 Titles See also Crawling titles See also Rolling titles adding shadows to 465 bold text in 460 brief description 392 color of background 454 creatin
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ sync locking 318, 319 video, as background in Title tool 454 Transcoding options for 219 procedure for 217 Transferring audio files to Digidesign Pro Tools 548 files, reference of devices and methods 552 projects between systems 550 settings between systems 550 Sound Designer II audio files 549 Transition effects applying, to multiple transitions 405 applying, with Quick Transition button 405 audio, fine-tuning 384 defined 392 deleting 409 Skip Existing Transition Effects
ABCDEFGHIJKLMNOPQRSTUVWXYZ Unrendered titles saving 468 Up Arrow key navigating with 45 Update from Interplay command (Bin menu) 601 Update from Interplay command (Bin menu, Bin Fast menu) 601 Update Media Status command (MultiRez menu in Timeline) 640 Updating remote assets 601 writable properties (Interplay window) 589 User changing folder name 69 User bits in LTC reading 341 User files restoring from backup 70 User profiles items created by system 67 Users folder See Avid Users folder V Variable-speed p
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Volume adjusting in the Audio Mixer tool 364 in Timeline 369 meters, in the Timeline 369 recording audio gain 373 while playing an effect 369 Volume control 351 Volume unit scale (Audio tool) 127 W Warnings in monitors 490 WAVE file format 122 Waveform monitor calibrating input 130 Waveform plots options in the Timeline Fast menu 347 Wide-screen (16:9) display option 229 Wide-screen format (16:9) 94 Windows Composer 227 Interplay 572 Project 79 Windows taskbar 44 Work env
