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 . . . . . .
Working with Projects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 Select Project Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Creating a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54 Project Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56 Raster Dimensions . . . . . . . . . . . . . . . . .
Renaming a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82 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 . . . . . . . . . . . . . . . . . . .
Film Project Pulldown and Transfer Settings. . . . . . . . . . . . . . . . . . . . . . . . . . 115 Capturing Digital Audio in Film Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Selecting a Resolution in the Capture Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Selecting a Target Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Selecting the Target Drives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Preparing to Autocapture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 Autocapturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 Capturing from a Non-Avid-Controlled Deck . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Capturing with Time-of-Day Timecode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Capturing Directly from a DV Device . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 7 Working with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Setting the Bin Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 Object Icons in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Understanding Bin Highlight Colors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Bin Views . . . . . . . . . . . . . . . . .
Voluntarily Disconnecting from the Interplay Environment. . . . . . . . . . . . . . . . 204 Limitations of Disconnected Client Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Using Disconnected Client Mode with Network Problems . . . . . . . . . . . . . . . . 206 Using Avid Editing Systems in an Avid Unity LANshare Workgroup. . . . . . . . . . . . 206 Viewing Media with a 100Base-T Connection to Avid Unity ISIS . . . . . . . . . . . . . . 207 Understanding Drive Mounting . . . . . . . . .
Loading Clips or Sequences into Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 Switching Between Loaded Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 Clearing Clips from Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Controlling Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 Using Position Bars and Position Indicators . . . . . . . . . . . . . . . . . . .
Track Display for New Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Adding Filler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 Making a First Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Creating an Instant Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 Undoing or Redoing Edits . . . . . . . . . . . . . .
Chapter 11 Using the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Customizing Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 Examples of Customized Timeline Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 Using the Timeline Fast Menu. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 Timeline Fast Menu Options . . . . . . . . . . . . . . . . . . . . . . . . .
Patching Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 Understanding Locking and Sync Locking . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342 Locking and Sync Locking Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343 Adding and Deleting Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 Backtiming Edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Identifying Sample Rates by Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373 Using Audio Meters in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 Adjusting Volume . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375 Working with Surround Sound or 5.1 Audio (Avid Nitris DX and Avid Mojo DX Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using Live Mix Mode Without an External Controller . . . . . . . . . . . . . . . . . . . . 405 Switching Between Live Mix Mode and Other Audio Mixer Modes . . . . . . . . . 405 Audio Mixer Tool Fast Menu: Live Mix Mode . . . . . . . . . . . . . . . . . . . . . . . . . . 405 Live Mix Mode Example . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 Isolating Clip Portions for Audio Adjustment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Applying an Effect Template . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 Working with Keyframes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440 Understanding Standard Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 Adding a Standard Keyframe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 Selecting a Standard Keyframe. . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the ExpertRender Command After a Real-Time Playback Attempt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466 Modifying ExpertRender Results . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468 Considerations When Using ExpertRender . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 Chapter 15 Working with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471 Opening the Title Tools . . . .
Using a Keyboard Shortcut to Save a Title . . . . . . . . . . . . . . . . . . . . . . . . . . . 492 Using the Fast Save Option . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493 Revising a Title in a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494 Editing with Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495 Title Effect Clips in Bins . . . . . . . . . . . . . . . . . . . .
Chapter 17 Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . . 515 Understanding Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 515 Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516 Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 517 Using the Drag-and-Drop Method for Export . . . . . . . . . . . . . .
Using the Digital Cut Tool. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 546 Selecting a Deck in the Digital Cut Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549 Previewing a Digital Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 549 Recording a Digital Cut to Tape (Remote Mode) . . . . . . . . . . . . . . . . . . . . . . 550 Crash Recording Through Remote Deck Control . . . . . . . . . . . . . . . . . . . . .
Transferring a Project Using Shared Storage . . . . . . . . . . . . . . . . . . . . . . . . . 574 Transferring Project Files and Media Files Using Nonshared Storage . . . . . . 574 Devices and Methods for Transferring Files. . . . . . . . . . . . . . . . . . . . . . . . . . . 576 Nonshared Storage Issues for Cross-Platform Collaboration . . . . . . . . . . . . . 580 Transferring Media Files from Media Composer Version 7.2 or Avid Xpress Version 2.1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Media Objects in the Interplay Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 613 Renaming Clips in the Interplay Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614 Adding Comments in the Interplay Window. . . . . . . . . . . . . . . . . . . . . . . . . . . 614 Updating the Application Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 614 Navigating to a Folder that Contains a Selected Asset . . . . . . . . . . . . . . . . . .
Considerations When Working with Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . 653 Using the Dynamic Relink Settings Dialog Box. . . . . . . . . . . . . . . . . . . . . . . . . . . . 654 Enabling Dynamic Relink . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654 Applying Working Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 655 Examples of Working Settings for Dynamic Relink . . . . . . . . . . . . . . . . . . . . .
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.
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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 271 and “Using the Timeline” on page 309. 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 347, “Working with Effects” on page 415, and “Color Correction” on page 503. 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 181. 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 229. 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 271. 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 515. • Output a digital cut in one or more formats. For more information, see “Generating Output” on page 525. • 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 To set the mouse scroll speed: 1. Double-click Mouse in the Settings list of the Project window. The Mouse Settings dialog box opens. 2. Select a speed from the Vertical Scroll Speed menu. Normal is the default setting. Normal scrolls one item at a time. Moderate scrolls two items at a time, and Fast scrolls four items at a time. To assign functions to additional mouse buttons: 1. Double-click Mouse in the Settings list of the Project window. The Mouse Settings dialog box opens.
2 Starting a Project Turn Off File Sharing (Windows) n Turning off File Sharing is required. If you do not do this, you might get Access Denied errors after moving files. To turn off Simple File Sharing (Windows XP): 1. Double-click My Computer. 2. Select Tools > Folder Options > View. 3. Scroll down to the bottom of the window and deselect “Use simple file sharing (Recommended).” To turn off File Sharing (Windows Vista): 1. Select Start > Control Panel. 2. Double-click Network and Sharing Center. 3.
Working with the Desktop Do the following (Windows XP): - Select Start > Control Panel. - Double-click Display. - Click the Appearance tab. - Click the Effects button. - Deselect “Show window contents while dragging.” Do the following (Windows Vista): - Select Start > Control Panel. - Click Personalization > Window Color and Appearance. - Click Effects. - Deselect “Show window contents.” • Do not leave the Console window open when you are editing.
2 Starting a Project (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. • When you are advancing by single frames through the Timeline, deselect Clip > Render On-the-Fly to enable faster response time. • Do not name files with special characters (/ \ : ? ” < > | *), because Windows does not recognize special characters in file names.
Starting Your Avid Editing Application (Windows) Starting Your Avid Editing Application (Windows) Your Avid editing application is located by default in the following folder: drive:\Program Files\Avid\Avid editing application The installation process adds a desktop icon and a pointer to your Avid editing application in the Start menu. For most users, these provide the easiest way to start the application.
2 Starting a Project n 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. To start your Avid editing application, do one of the following: t Double-click the alias icon for your Avid editing application on the desktop. t Double-click the alias icon for your Avid editing application on the Dock.
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 59).
2 Starting a Project Availability of Raster Dimensions for Full Quality Playback (Continued) Project type 1280 x 720 960 x 720 1920 x 1080 1440 x 1080 1280 x 1080 720p 59.94 Yes (standard) Yes No No No 1080p 23.976 No No Yes (standard) Yes No 1080p 24 No No Yes (standard) No No 1080p 25 No No Yes (standard) No No 1080p 29.97 No No Yes (standard) No No 1080i 50 No No Yes (standard) Yes No 1080i 59.
Working with Projects Opening the Startup Project If you choose to install the sample startup project and media when you install your Avid editing application, you can open this project from the Select Project dialog box. The startup project, called Avid Boston Project DV25, contains a complete sequence with rendered effects and titles, as well as all the video and audio clips used in the sequence.
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. Browse button 2. Click the Browse button. The Browse for Folder (Windows) or Project Directory (Macintosh) dialog box opens.
Working with Projects 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.
2 Starting a Project 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. The next time you open the Select Project dialog box, the path you selected will be displayed when you click the External button.
Quitting Your Avid Editing Application 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. Captured media related to a deleted project is not deleted with the project folder. For more information on deleting media files, see “Deleting Bin Items” on page 192 and “Deleting Media Files with the Media Tool” on page 212. To delete a project: 1. Start your Avid editing application.
2 Starting a Project To quit your Avid editing application and view the Select Project dialog box: 1. Click the Close button at the far right (Windows) or at the far left (Macintosh) of the Project window’s title bar. The Select Project dialog box opens. 2. Click Quit. A message box opens. 3. Do one of the following: t Click Leave to quit your Avid editing application. t Click Cancel to return to the Select Project dialog box and select another project.
Avid Projects and Avid Users Folders 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. Turn off external storage devices. c Never remove media drives from your Avid system when it is turned on. Shut down the computer, and then remove the drives. 5. Turn off all other hardware.
2 Starting a Project The Avid Users folder is located in the application folder: • (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Avid Users • (Windows Vista) drive:\Users\Public\Public Documents\Avid editing application\Avid Users • (Macintosh) Macintosh HD/Users/Shared/Avid editing application/Avid Users n (Windows only) The location of the Avid Users folder depends on the installation path for your Avid editing application.
Changing Project and User Names Changing Project and User Names You cannot change project or user names from within your Avid editing application. You must change the names from your desktop before starting your application. For information about the location of the Avid Projects and Avid Users folders, see “Avid Projects and Avid Users Folders” on page 67. c When you change a user name or a project name, make sure you change the name of the folder and all the files in the folder that have the old name.
2 Starting a Project n To back up the larger media files created when you capture footage, use a high-capacity storage device. For information on backing up media files, see “Backing Up Media Files” on page 227. Saving Your Project Information on a Drive or on Removable Media To save your work on a drive or on removable media: 1. Mount the drive or insert the storage media (USB drive, CD-ROM, or DVD-ROM) as appropriate. 2. (Windows only) From the Windows desktop, double-click the My Computer icon. 3.
Avid Attic Folder Avid Attic Folder The Avid Attic folder contains backup files of each bin in a project.
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.
Retrieving Files from the Avid Attic Folder (Macintosh) 5. Select View > as List, if the bin folder is not already in the List view. The bin folder displays the backup bin files and their creation dates. A backup bin file has the same name as the bin, with a number appended. For example, a bin named Source Clips might have backup bin files named Source Clips.1 and Source Clips.2. 6. Command+click the files you want to retrieve. 7. Option+drag the selected backup bin files to the desktop.
2 Starting a Project Using Toolsets You can use predesigned work environments (toolsets) that are suited to your most common tasks: • Color Correction • Source/Record Editing • Effects Editing • Audio Editing • Capture The Toolset menu provides you with several environments, or special-purpose workspaces, that include the following: • Tools appropriate for the task • A screen optimized for the task, screen resolution, and number of monitors • A neatly organized workspace without overlapping
Using Toolsets To remove your customizations: t Select Toolset > Restore Current to Default. Linking Toolsets to Other Settings You can link the current toolset to custom User settings, or link several toolsets to named settings but leave the other toolsets linked to a default, unnamed setting. To link a toolset to another 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.
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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 197.
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 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. Emptying the Trash in the Bins List You can empty the contents of the Trash that is located in the Bins list. c n Emptying the trash permanently removes the bins or folders from the drive.
Using the Settings Tab in the Project Window To save all the bins: 1. Click the Bins tab in the Project window to activate it. 2. Select File > Save All. The system saves all the bins for the project. Using the Settings Tab in the Project Window From the Settings tab in the Project window, you can view, select, open, and alter various User, Project, and Site settings. Each setting includes Help that you can access directly from the setting dialog box.
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 527.
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 n Do not autoconfigure a DV camera or deck. Not all DV devices respond to the Auto-configure command. Due to this limitation, Auto-configure selects only a generic device template. When a digital camera is attached to your system, click the Deck Type menu, and select the proper device (described later in this procedure). When a deck is attached, click the Deck Type menu, and select the applicable deck.
Configuring Decks 10. Select the manufacturer and model number of your deck or other device. Selecting a model opens a template of settings for the device you selected. You can change these settings based on your device. For more information, see “Deck 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). 11. Click OK to close the Deck Settings dialog box and return to the Deck Configuration dialog box.
4 Preparing for Capture 14. Type a name in the Configuration name text box to name the deck configuration. The new deck configuration appears in the Settings list in the Project window. 15. Click the Apply button to complete the configurations and close the Deck Configuration dialog box. 16. Double-click Deck Preferences in the Settings list in the Project window to review and if necessary adjust global deck control options. For information about these controls, see “Deck Preferences Settings” in the Help.
Connecting a DV Device 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. On systems with an Avid Mojo SDI, you can use the 1394 port on the Avid Mojo SDI or a 1394 port on your computer. The following table describes the recommended DV connections available for each DV resolution.
4 Preparing for Capture Setting Up the Capture Tool The Capture tool provides controls for cueing, marking, and logging footage, and specifies capturing parameters such as source and target locations. n In Capture mode, the Client monitor displays the playback footage whenever the video track is selected in the Capture tool. The following illustration shows the Capture tool for an HD project.
Setting Up the Capture Tool When you are ready to capture, you need to open the Capture tool and set the Capture tool up by using the following procedures: • Opening the Capture Tool • Changing the Power Scheme (Windows Only) • Selecting a Deck in the Capture Tool • Activating Playback from an Available Deck • 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 •
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 To target a single drive: 1. If the Capture tool is not already open, select Tools > Capture. The Capture tool opens. 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.
Setting Up the Capture Tool 2. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple drives to include in the capturing session, or click the All button to select all drives. 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.
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 411. 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 “Preparing for Capture” on page 91. 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.
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 “Preparing for Capture” on page 91. 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 “Preparing for Capture” on page 91. 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.
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 “Preparing for Capture” on page 91. 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 You specify the DV input device by using the DNA/1394 button above the Timeline window or commands in the Device menu. For more information, see “Selecting a DV Device” on page 146. • If you are using an Avid Nitris DX or Mojo DX, or if you are not using an Avid input/output hardware device (software-only), you use a 1394 port on your computer (Host 1394).
5 Capturing Media Capturing DV 50, DVCPRO HD, or HDV Media How you capture DV 50, DVCPRO HD, or HDV media depends on whether you are using Avid input/output hardware and on what type of Avid input/output hardware is connected to your system: • If you are using an Avid Mojo SDI, you can use the 1394 port on the Avid Mojo SDI or a port on a separate 1394 card. In either case, you select IEEE 1394 as the device input by using the DNA/1394 button above the Timeline window or commands in the Device menu.
Frame Chase Capture For information on connecting a DV device to your system, see “Connecting a DV Device” on page 106. To select a DV device for capture, play, or output on systems with Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following: t Click the DNA/1394 button in the Timeline top toolbar to display DNA or 1394, depending on how the DV device is connected.
5 Capturing Media n You can also perform Frame Chase captures using a line feed or ingest device connected to the Interplay workgroup, for example, an Avid AirSpeed® video server controlled by an application such as Avid CaptureManager™. For more information, see the Avid Interplay Transfer Setup and User’s Guide or Avid Interplay Best Practices.
Frame Chase Capture Your Avid editing application and Interplay might not know the true length of a capture in advance (because you can end a capture at any time). So the length of an in-progress clip is based on the expected duration of the clip when capture begins. This duration is either the duration indicated by IN and OUT points set in the Capture tool, or, if no marks are set, is a default duration that you define in the Capture Settings dialog box.
5 Capturing Media Requirements and Guidelines for Frame Chase Capture You should be aware of the following when you are planning to perform Frame Chase captures: n 150 • Frame Chase capture is only available on Avid editing applications that are part of an Avid Interplay workgroup environment. The media file format must be MXF.
Batch Capturing from Logged Clips Batch Capturing from Logged Clips After you have imported a log or have manually logged a group of clips into a bin, you can automate the capture process by using your Avid editing application’s batch-capturing capabilities. When you batch capture, you open a bin, select the clips you want to capture, and select Clip > Batch Capture. Your Avid editing application automatically finds the start and end timecode for each clip and captures it.
5 Capturing Media To resize the Capture tool during batch capturing: t Click the arrow to the left of the deck controller. The arrow points to the right, and the deck control and logging controls close. To display the controls, click the arrow again. Arrow To prepare for unattended batch capturing: 1. Double-click Capture in the Settings list in the Project window. The Capture Settings dialog box opens. 2.
Batch Capturing from Logged Clips Batch Capturing Clips To batch capture clips: 1. Select the proper Capture settings and set up the capture tools, as described in “Preparing for Capture” on page 91. 2. Open the bin that stores the clips you want to capture. c If you are recapturing media from a project created on another Avid system, only reuse video settings if the other system and your current system use the same video I/O board. Otherwise, readjust the video levels for each tape.
5 Capturing Media 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.
Recapturing and Decomposing t Select Skip this tape to bypass all the clips from the mounted tape. The system then prompts you for the next tape. t Click Abort to end the batch-capturing process. You can also stop capturing at any time by clicking the Trash button in the Capture tool. n To bypass specific clips in the process of batch capturing a particular tape, you must abort each clip manually by clicking the Trash button. Then click the Skip Clip button in the Abort window to continue.
5 Capturing Media c Recapturing requires your original source footage. Do not delete the media files if the source footage is no longer available, unless you are sure you do not need the material. For information on loading the media database to relink clips, see “Loading the Media Database” on page 224. Recapturing Master Clips and Subclips The procedure for recapturing master clips and subclips is identical to the process for batch capturing logged clips.
Recapturing and Decomposing You cannot recapture a mixed-rate sequence without using decompose because you cannot batch capture or batch import material in formats other than the project format. A message box appears if you attempt to recapture such material. Instead, you can decompose the sequence, then recapture the resulting clips by opening the bin in projects that match each of the decomposed formats. Consider creating a duplicate of the original version of your sequence before recapturing.
5 Capturing Media Expert Decompose Expert Decompose allows you to control the following aspects of the decompose process: • You can select which material in the sequence to decompose, either by tape/source or by clip. • For tapes/sources or clips that you can recapture in several different formats, you can select the target format to which you want to recapture. For information on the available formats, see “Target Formats for Expert Decompose” on page 158.
Recapturing and Decomposing Target Formats for Expert Decompose The following table lists the target formats that are available using Expert Decompose. If the format of an existing clip is listed in the first column, you can decompose the clip to any of the formats listed in the second column, and then recapture the clip in that format. If the format of an existing clip is not listed in the first column, then you can only decompose and recapture it in its existing format.
5 Capturing Media 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 any material in the sequence or sequences that has available media. 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.
Recapturing and Decomposing 7. (Option) If you want to create a copy of each selected sequence to use for the decompose, select Create New Sequence. When the decompose process starts, your Avid editing application creates a duplicate of each of the selected sequences, named using the suffix .Decomposed.xx. For example, the duplicate of a sequence named MySequence is named MySequence.Decomposed.01. Your application decomposes the duplicate sequences, and the original sequences remain unchanged. 8.
5 Capturing Media Using Expert Decompose If you select the Expert Decompose option in the Decompose dialog box, the Expert Decompose dialog box opens before the decompose process begins.
Recapturing and Decomposing To sort or reverse sort a column of information: t Right-click (Windows) or Ctrl+click (Macintosh) the column heading for any column, and then select one of the following: Command Description Sort Column Sorts the information in order, for example, alphabetically A to Z.
5 Capturing Media To select the target format for a tape/source or clip: t Select a format from the menu for the tape/source or clip in the Target Format column. The available target formats vary depending on the source formats. Some source formats can only be recaptured in their original format. For these formats, the entry in the Target Format column is only for your information, and you cannot select a different format. For more information, see “Expert Decompose” on page 158.
Recapturing and Decomposing 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 175.
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 171
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 170. 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 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. Click OK.
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 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 9. Locate the sources for files that weren’t found by doing the following: a. Select a clip or clips displayed in red in the Selected Clips section. b. Click the Set File Location button. The Locate File dialog box opens. c. Navigate to the location of the source file.
Batch Import Dialog Box: Reference 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 176.
6 Importing Files 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. Skip This Clip button Removes any clips that you select in the list so that they are not reimported.
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 182. 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 Using Text View Text view provides the most complete view of clip information. It uses database columns that you can rearrange and customize to suit your needs. For information about saving a custom bin view, see “Saving a Custom Bin View” in the Help. 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.
7 Working with Bins Using Frame View In Frame view, each clip is represented by a single frame, with the name of the clip displayed below the frame. The system uses the head frame as the default.
Bin Views To reduce the frame size: t Select Edit > Reduce Frame. The display size decreases each time you select this option, up to seven times. To rearrange a single frame: 1. Click the frame, and drag it to its new position. 2. Click the background area of the bin to deselect the clips. To rearrange multiple frames: 1. Do one of the following: t Shift+click the frames.
7 Working with Bins n You can also change the represented frame using the Home key or End key on the keyboard. For more information about playing footage, see “Controlling Playback” on page 244. If you have group or multigroup clips in the bin and want to change the displayed frame, you must use controls in Source/Record mode. Using Script View Script view combines the features of Text view with Frame view and adds space for typing notes or script.
Basic Bin Procedures To type text in the script box: 1. Click the text box and begin typing. 2. (Option) If the text you type extend beyond the size of the script box, you can use the Page Up and Page Down keys on the keyboard to scroll through the text. This text does not appear in sequences edited from the clips, only in printouts of the bin in Script view. To change the represented frame in Script view: t Press the J-K-L keys to move through the clip.
7 Working with Bins The following topics provide more information about basic bin procedures: • Using the Bin Fast Menu • Selecting Clips and Sequences • Duplicating Clips and Sequences • Moving Clips and Sequences • Copying Clips and Sequences • Deleting Bin Items • Changing the Bin Background Color 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.
Basic Bin Procedures Duplicating Clips and Sequences When you duplicate a clip or sequence, the system creates a separate clip linked to the same media files. You can move, rename, and manipulate this clip without affecting the original clip. 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.
7 Working with Bins When you press and hold the Alt key (Windows) or the Option key (Macintosh) and drag a clip to make a copy, the system does not add the file name extension .Copy.n to the clip or sequence as it does when duplicating. When you copy clips from one bin to another, the custom columns that you created in the first bin are also copied to the second bin. The custom columns appear in the order in which you created them. To copy clips or sequences from one bin to another bin: 1.
Basic Bin Procedures n If you are working with multiple-resolution clips in an Avid Interplay environment, you can delete only media that is specially associated with the clip. For more information, see “Deleting MultiRez Clips and Media from a Bin” on page 673. To delete individual video and audio tracks from a clip, use the Media tool. For more information, see “Deleting Media Files with the Media Tool” on page 212.
7 Working with Bins 3. Select the items you want to delete: t Select clips and their associated media files for deletion. t Select only the media files for deletion if you want to retain the clips for recapturing later. t Select only the clips for deletion if the media file is referenced by another clip. t Select the resolutions you want to delete. The Resolutions to Delete section of the dialog box lists all video resolutions for the clips you selected.
Basic Bin Procedures (Macintosh) 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 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.
7 Working with Bins Changing the Bin Background Color You can customize the background color of the bin. Changes affect only the currently active bin. To change the bin background color: 1. Activate the bin you want to change. In Brief view and Text view, make sure no clips are selected. 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 Opening Bins in the SuperBin To open bins in the SuperBin: 1. Enable the SuperBin. 2. Click the Bins tab in the Project window. 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.
7 Working with Bins Moving Bins into and out of the SuperBin You can move bins currently displayed in their own windows into the SuperBin. You can also move a bin displayed in the SuperBin into its own window. 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.
Working with the SuperBin Copying Clips and Sequences into and out of the SuperBin You can copy a clip or sequence into the SuperBin from another bin window by dragging. You can also copy a clip or sequence from the SuperBin directly to a bin in the Project window. To copy a clip or sequence into the SuperBin: t Press and hold the Alt key (Windows) or the Option key (Macintosh), and then drag a clip or sequence from another open bin window into the bin displayed in the SuperBin.
7 Working with Bins Creating a Storyboard You can use bin features to create and print a storyboard from a bin. To create a storyboard: 1. Make preparations such as synchronizing picture and sound, converting audio timecode, and modifying clip data. 2. Set the bin display to show the media objects you will use for your storyboard. 3. Narrow down the clip selection by deleting, moving, copying, sorting, and sifting clips. 4.
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 188. • 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 189 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 214. 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” on page 220. 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 215. 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 645.
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 223. 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 645.
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 Backing Up Media Files The OMFI MediaFiles folders and the Avid MediaFiles folders on your media drives contain the individual media files created when you captured source material. The OMFI MediaFiles folders contain the OMF media files. The Avid MediaFiles folders contain the MXF media files.
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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 186 and “Using Script View” on page 188.
Customizing the Composer Window and Monitors Viewing Method Description (Continued) 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 Displaying Tracking Information Tracking information consists of various formats used to identify clips, audio and video tracks, individual frames, or footage durations while you work. Your Avid editing application displays this information above the monitors in the Composer window and in the Timeline window. Tracking information is updated continuously to reflect your current position in the footage.
Customizing the Composer Window and Monitors To display tracking information: 1. Load a clip or sequence into the monitor. 2. Click in the information display area in either the first or second row of information above the monitor to open the Tracking Information menu. 3. Select the type of tracking information you want to display.
9 Viewing and Marking Footage Panes in the Tracking Information Menu The Tracking Information menu has three panes. You can select an option from pane 1, pane 2, or pane 3 to be displayed above a monitor. The following table describes the contents of the three panes: Pane Description Pane 1 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.
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 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. For details on playing video to a DV device, see “Playing Back to a DV Device” on page 251.
9 Viewing and Marking Footage 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. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh).
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 251 - “Video Quality Options for Playback” on page 253 - “Setting the Video Quality for Playback” on page 255 - “Options for Controlling Real-Time Effects Playback” on page 450 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 190. 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 Switching Between Loaded Clips When you have loaded multiple clips or multiple sequences into the monitor, you will see only one clip displayed at a time. You can view an alphabetical list of the loaded clips and select an alternate clip for viewing in the Clip Name menu located above the monitor. 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.
9 Viewing and Marking Footage Clearing Clips from Monitors You can use the Clip Name menu located above each monitor to clear clips from a monitor. There are two options for clearing clips: • Remove the displayed clip and leave the monitor black but keep the clip loaded. • Remove all the clip names from the Clip Name menu, and leave only the displayed clip loaded. To clear the monitor or the clip or sequence names from the menu: 1.
Controlling Playback Using Position Bars and Position Indicators You can quickly access frames or move within loaded footage by using the position indicators that appear in the position bars under the monitors (and in the Timeline when you are viewing a sequence). The position bars represent the length of the clip or sequence, and the position indicator marks your current position in the clip or sequence.
9 Viewing and Marking Footage To display markers when scrubbing: t In the Settings list, double-click Timeline and deselect Use Fast Scrub. When the Fast Scrub option is selected in an HD project, some effects are not displayed. Deselect this option to view all effects. n You can create a Timeline setting that has this option deselected and then easily switch between the settings. For information on duplicating settings, see “Duplicating Settings” in the Help.
Controlling Playback Button Primary Default Location Function (Continued) Play Standby button Play tab in Command palette Places play in standby mode to prepare for playback. This is especially useful for long sequences. To play in standby mode: 1. Click the Play Standby button. The button under the Source or Record monitor blinks yellow. 2. Click anywhere to play the sequence. Step Backward button Monitors Moves the footage one frame backward.
9 Viewing and Marking Footage Stepping Forward and Backward by Field You can locate defects on individual fields of a frame with the single-field step feature. n The single-field step feature is not available when you work with progressive formats. By default, your Avid editing application displays the first field of every frame when you step through material.
Controlling Playback The following table describes the default keyboard mappings for basic playback control for a keyboard used in the United States: Keys Function • Left quote or tilde Start and stop playback key (above Tab key) • Tab key • 5 key • Space bar 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—move
9 Viewing and Marking Footage To shuttle through the footage using the J-K-L keys on the keyboard: 1. Do one of the following: t Load a clip or sequence into the Source or Record monitor. t Open a pop-up monitor. t Select a clip in a bin in Frame view. 2. 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 For example, you are shuttling backward with the J key at 2x normal speed. Press and hold Alt and tap the L key once. Play slows to backward at normal speed (1x speed). Hold Alt (Windows) or Option (Macintosh) and tap L once again. Play stops. Continue to hold Alt (Windows) or Option (Macintosh) and tap L once again. Play goes forward at normal speed. Continue to hold Alt (Windows) or Option (Macintosh) and tap L once again. Play goes forward at 2x normal speed.
9 Viewing and Marking Footage To play back to a DV device connected through a 1394 port: 1. If you use 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. t Select Special > Device, and then select Avid DNA or IEEE 1394, depending on how the DV device is connected.
Video Quality Options for Playback Video Quality Options for Playback Your Avid editing application provides a range of video quality options for playback. Depending on your system configuration and the complexity of your sequence, you might need to switch to a lower quality option to avoid missing frames or choppy video during real-time 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 3. Right-click the Video Quality Menu button, and select or deselect HQ RT Decode Scaling. When this option is selected, image quality is better during playback of mixed-format sequences where material requires resizing. For example, this setting improves image quality for SD sequences that contain HD material, or for sequences that mix HD sizes (for example, 720p with 1080p). When this option is deselected, image quality is reduced but playback performance is better. 4.
Marking and Subcataloging Footage To mark IN and OUT points: 1. Load a clip or sequence from a bin into a monitor, or select a clip in the bin. 2. Play or step through the material. Use the J-K-L keys when playing a clip in a bin (Frame view or Script view). For more information on the J-K-L keys, see “Playing Footage with the J-K-L Keys (Three-Button Play)” on page 249. 3. Mark an IN point by doing one of the following: t Click the Mark IN button under the monitor to mark an IN point and stop playback.
9 Viewing and Marking Footage To clear the IN point, do one of the following: t Click the Clear IN Mark button. t Press the Clear IN Mark key. To clear the OUT point, do one of the following: t Click the Clear OUT Mark button. t Press the Clear OUT Mark key. To clear both the IN and OUT points: t Click the Clear Both Marks button. t Press the Clear Both Marks key. To set a new IN point: t Click the Mark IN button or press the Mark IN key when you reach a different frame.
Marking and Subcataloging Footage Creating Subclips When you mark footage with IN and OUT points, either you can save the entire clip along with the new marks, or you can create subclips based on the marks you set to break up longer master clips into smaller segments of selected footage. This procedure is similar to creating a pull reel of the selects or circle takes of your best footage before editing. Subclips do not directly reference the original media.
9 Viewing and Marking Footage Create Subclip icon The Create Subclip icon changes to an icon of a hand pointing at a frame during the drag, and then becomes a Subclip icon when you release the frame in the intended bin. t Click the Make Subclip button in the Edit tab of the Command palette. Your Avid editing application creates the subclip and places it in the active bin. t Press the Alt key (Windows) or the Option key (Macintosh) while you click the Make Subclip button.
Finding Frames, Clips, and Bins Marking Audio Clips You can mark audio and video separately for an edit by using the Audio Mark buttons. This feature is useful for creating an overlap edit for an audio clip. You can map the Audio Mark buttons from the Edit tab of the Command palette. For information on mapping buttons, see “Understanding Button Mapping” in the Help. To mark IN and OUT points on audio tracks: 1. Load a clip or sequence into a monitor. 2.
9 Viewing and Marking Footage The following topics provide information about finding footage: • Using Timecode to Find a Frame • Searching for a Clip or Sequence • Understanding Match Frame • Using Match Frame • Performing a Reverse Match Frame • Selecting Tracks for Matching Frames • Finding a Bin • Locating a Master Clip from a Subclip in a Sequence • Finding a Frame Using Timecode to Find a Frame You can cue a loaded clip or sequence to a specific frame by typing timecode values with t
Finding Frames, Clips, and Bins 4. Enter the timecode for the frame by using the numeric keypad on the right side of the keyboard. If you have performed step 3 on a notebook computer or a keyboard that does not have a dedicated numeric keypad, use the standard keyboard number keys. Master track Type a master timecode to find a frame in the sequence. In this example, the interface displays master timecode.
9 Viewing and Marking Footage To cue a frame using frame offset timecode: 1. Click the monitor that is displaying the clip or sequence that you want to search. 2. (Option) If you are using a notebook computer or a keyboard that does not have a dedicated numeric keypad, press and release the left Control key twice quickly. This allows you to enter timecode using standard keys on the keyboard, such as the number keys and the Enter key (Windows) or Return key (Macintosh). 3.
Finding Frames, Clips, and Bins 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.
9 Viewing and Marking Footage 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. Any original IN and OUT points are removed from the source clip.
Finding Frames, Clips, and Bins 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.
9 Viewing and Marking Footage 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.
Finding Frames, Clips, and Bins 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.
9 Viewing and Marking Footage 270
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 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 231.
Creating a New Sequence Creating a New Sequence You can create a new sequence in one of two ways, depending on 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 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. You can change a sequence’s start timecode by selecting the sequence in the bin and then typing a new timecode in the Start column. You can change the default start timecodes for all new sequences by using General settings. For more information on the General settings, see “General Settings” in the Help.
Creating a New Sequence 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). For film projects, the output timecode format tracks and EC (edgecode) track are also displayed.
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 To begin editing: 1. Load the first clip into a monitor. For more information, see “Loading and Clearing Footage” on page 241. 2. (Option) If you have not already marked IN and OUT points for the clip in advance or created a subclip, view and mark the clip as necessary. For more information, see “Marking and Subcataloging Footage” on page 256. 3. Click buttons in the Track Selector panel to select the tracks you want to include in the edit.
10 Creating and Editing Sequences Screen display of the first edit in a sequence Source clip Timeline generated by the edit 278 Splice-in button Sequence The end of the last frame of the first new edit
Creating an Instant Rough Cut 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. For additional information on editing directly from the bin into the Timeline, see “Bin Editing into the Timeline” in the Help.
10 Creating and Editing Sequences Undoing or Redoing Edits You can undo or redo up to 100 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.
Mixing Frame Rates and Field Motion Types The following topics provide more information on mixed rate clips: • How Your Avid Editing Application Handles Mixed Rate Clips • Viewing Mixed Rate Clips in the Timeline • Viewing and Adjusting Motion Adapter Parameters • Modifying the Field Motion Attribute for a Clip • Refreshing Motion Adapters • How Your Avid Editing Application Modifies the Format of a Sequence • Modifying the Format of a Sequence • Considerations When Working with Mixed Rate C
10 Creating and Editing Sequences • You cannot remove a Motion Adapter effect that adjusts the speed of a clip by using the Remove Effect button. If you promote a Motion Adapter effect to a Timewarp effect and then use the Remove Effect button to remove the Timewarp, your Avid editing application re-applies a Motion Adapter effect. • You often do not need to adjust Motion Adapter effects in any way.
Mixing Frame Rates and Field Motion Types Illustration Description (Continued) In the bin, the Field Motion column provides field motion and frame layout information for a clip. Motion Adapter effects use the Field Motion attribute value to determine their Source parameter value. For more information, see “Modifying the Field Motion Attribute for a Clip” on page 289 and “Refreshing Motion Adapters” on page 291.
10 Creating and Editing Sequences Viewing and Adjusting Motion Adapter Parameters You use the Motion Effect Editor to view and adjust parameters for a Motion Adapter effect. If you are not happy with the appearance of a mixed rate clip, you can select a different rendering option from the Type list to change the way your Avid editing application interprets and displays frames. The other Motion Adapter effect parameters are inactive.
Mixing Frame Rates and Field Motion Types To view parameter values for a motion adapter and adjust the render type: 1. Move the position indicator to the mixed rate clip that uses the Motion Adapter effect you want to adjust. 2. Click the Motion Effect button. The Motion Effect Editor opens and displays the current parameter settings for the Motion Adapter effect. You see the current parameter values for the adapter.
10 Creating and Editing Sequences The following illustration shows the Field Motion bin column and the context menu that allows you to change the Field Motion attribute value. Changes you make to the Field Motion attribute apply only to the individual clip or subclip. You can have several subclips derived from the same master clip, and set different Field Motion values on each of them.
Mixing Frame Rates and Field Motion Types 3. Right-click (Windows) or Ctrl+click (Macintosh) the Field Motion item for the clip or subclip, and select one of the following: Option Description Interlaced Use for all video with interlaced field motion. 2:3 Film This option is only available for clips or subclips created in 30 fps projects. Use for a clip or subclip that contains 2:3 pulldown.
10 Creating and Editing Sequences How Your Avid Editing Application Modifies the Format of a Sequence You must modify a sequence if you want to open and play it in a project whose frame rate does not match the sequence frame rate. For step-by-step instructions, see “Modifying the Format of a Sequence” on page 294.
Mixing Frame Rates and Field Motion Types The following table describes how your Avid editing application handles specific types of content when it modifies a sequence. Content Type Description Imported Mattes When you modify a sequence, your Avid editing application handles any imported Matte Key clips (either moving mattes or static, single-frame mattes) in the sequence by mixing down the part of the sequence that contains the matte.
10 Creating and Editing Sequences Console Information Your Avid editing application writes information to the Console when you modify a sequence. This information is a list of items that you might need to check in the modified sequence, for example, titles that you might need to regenerate or effects with tracking data that you might need to retrack. For each item, the list includes the track number, the time code at which the item starts, and a description.
Mixing Frame Rates and Field Motion Types If the sequence you want to modify includes imported mattes, you must use this second method. You can also view or log Console information for the modified sequence. For more information, see “How Your Avid Editing Application Modifies the Format of a Sequence” on page 292. To modify a sequence that does not match the frame rate of the current project: 1. Open the bin that contains the sequence. 2. Double-click the sequence.
10 Creating and Editing Sequences To modify a sequence so that it can open and play in a project with a different frame rate: 1. Select the sequence you want to modify in the bin. 2. Select Clip > Modify. The Modify dialog box opens. 3. Select Set Format from the top list. 4. Select the new format for the sequence from the Format list, and then click OK.
Mixing Frame Rates and Field Motion Types Your Avid editing application creates a new sequence with the format you selected, and a message box informs you of the change. The original sequence is unchanged. The name of the new sequence includes a suffix that indicates its new format, and the new format of the sequence appears in the Format bin column. The following illustration shows an example of a sequence modified from 720p/59.94 to 30i NTSC. The name of the original sequence is my_sequence.
10 Creating and Editing Sequences 5. (Option) Select Tools > Console to view a list of messages about items in the modified sequence that you might need to check. You can also output the Console information to a log file by using the Open Log File and Log Console Output commands on the Console Fast menu, or save the Console text to a file by using the Save Console Text command.
Mixing Frame Rates and Field Motion Types • You should be aware of the following if you are working with mixed rate clips using the Draft Quality, Best Performance, or DNxHD Native video quality options: - If you are field-stepping through material where pulldown is inserted, you do not see an accurate pulldown cadence. This is a limitation of Timewarp and Motion Adapter effects when you are working in draft qualities.
10 Creating and Editing Sequences If you turn on Digital Cut Safe Mode in the Digital Cut tool, your Avid editing application determines whether your SD sequence contains HD clips. Because this combination can sometimes result in dropped frames during the digital cut, you have the option of transcoding the HD clips, continuing with the digital cut without transcoding, or cancelling the digital cut.
Lifting, Extracting, and Copying Material Material is placed in the Clipboard. Lifted Clip X Clip W Black Filler Clip Y Clip Z To lift material: 1. Mark IN and OUT points at the start and end of the material in the sequence that you want to lift. 2. Select the tracks containing the material. The system performs the function on selected tracks only. For more information on track selection, see “Understanding the Track Selector Panel” on page 337. 3.
10 Creating and Editing Sequences Copying Material The Copy to Clipboard function makes a duplicate of selected material in the sequence and leaves the material intact. When you copy material, the sequence remains unaffected. You can then insert the material elsewhere in the sequence or into another sequence. To copy material to the Clipboard: 1. Mark IN and OUT points at the start and end of the material in the sequence that you want to copy. 2. Select the tracks containing the material.
Lifting, Extracting, and Copying Material n Material placed in the Clipboard does not appear as a clip in the bin and is deleted when you close the project. To save a portion of a sequence for future use, mark the section and create a subclip. Restoring from the Clipboard The Clipboard allows you to restore lifted or extracted segments quickly. This is especially useful if you have performed one or more edits since removing the material.
10 Creating and Editing Sequences Playing Back a Sequence You can play a sequence at any time to see the results of your editing. You can view the sequence in the Record monitor or a Client monitor. You can also play back your sequence in a continuous loop by augmenting the Play IN to OUT command with the Alt key (Windows) or Control key (Macintosh). You must set marks in the sequence to determine the range of the playback loop.
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 Fixing Sync Breaks You fix sync breaks by eliminating the overlapping portion of out-of-sync tracks. You can do this in one of several ways, depending on the type of break and the needs of your sequence. For more information, see “Tips for Fixing Sync Breaks” on page 308. 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.
10 Creating and Editing Sequences Tips for Fixing Sync Breaks Working Mode Tips Trim mode • Sync lock any additional tracks that are synced to the track you are trimming. Otherwise, you might restore sync in one track and break it in the others. For more information, see “Understanding Locking and Sync Locking” on page 342. • Do not perform a dual-roller trim—this action does not remove the sync break. • Do not perform the trim on the OUT point (A-side transition) of the out-of-sync segment.
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 “Displaying Clip Colors in the Timeline” on page 315. • Save different custom views that you can call up instantly in various circumstances For more information, see “Managing Customized Timeline Views” on page 319. n There are also a number of on-the-fly procedures for changing your view of the Timeline (such as the Zoom and Focus functions) that are not saved as part of a Timeline view.
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 312. 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 371 and “Viewing Clip Gain and Automation Gain Values” in the Help. Clip Color Displays and controls the color coding assigned to clips.
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 Displaying Clip Colors in the Timeline You can use colors to highlight the following types of clips in the Timeline: • Clips that have offline media If you are working with nested layers, a clip that contains offline media appears colored even if the missing media is nested many layers deep.
11 Using the Timeline To display clip colors in the Timeline: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Select one or more of the following: Option Description Resolution Tracking Colors clips to indicate the availability of particular resolutions in a MultiRez environment. For more information, see “Using Clip Coloring to Show Available Resolutions” on page 664. This option is only available if you are working in a MultiRez environment.
Customizing Timeline Views Option Description (Continued) Mixed Rates Colors clips whose frame rates do not match the sequence frame rate. A different color is available for each frame rate. SD/HD Colors clips that do not match the video definition type of the project format — that is, in an HD project this option colors the SD clips, while in an SD project this colors the HD clips.
11 Using the Timeline To reset the display colors for the Resolution Tracking, Offline, Mixed Rates, and SD/HD options: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Click Default Colors. The Offline, Mixed Rates, and SD/HD color swatches reset to their default colors.
Customizing Timeline Views 2. Select Timeline Local, and then click OK. 3. Click one of the Segment Mode buttons, and select a clip you want to color. 4. Do one of the following: t Select Edit > Set Local Clip Color > color to select a standard color. t Select Edit > Set Local Clip Color > Pick to select a custom color from the Windows Color dialog box. The assigned local color appears in the clip in the Timeline. To remove a local clip color: 1.
11 Using the Timeline To name a Timeline view or to change a view’s name: t Click the View Menu button, and select Save As. View menu View Menu button The View Name dialog box opens. To replace a Timeline view: 1. Type a name for the view, and click OK. 2. Press and hold the Alt key (Windows) or Option key (Macintosh) while you click the View Menu button to display the list of saved view names, each appended with the Replace command. 3. From the list, select a view name that you want to replace.
Navigating in the Timeline The following illustration shows the Timeline window. Track Selector panel Step Out Step In Position indicator Segment Mode buttons Resize box Scale bar Timeline scroll bar/position bar Video Quality Menu button Toggle Source/Record in Timeline button Focus button Timeline Fast Menu button Understanding the Timeline Position Indicator and Scroll Bar The position indicator in the Timeline marks your place in the sequence.
11 Using the Timeline 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 322. An advantage of the position bar is that when you focus on only a portion of the sequence, both the Timeline and Record monitor’s position bars show a highlighted region around the position indicator.
Navigating in the Timeline Setting the Scroll Option for the Timeline You can have the Timeline scroll over the position indicator while you play a sequence. n For the Timeline to scroll, you might need to display more detail in the Timeline to expand the sequence. Click the scale box and drag it to the right to expand the Timeline. All effect icons are hidden as you scroll. To set the scroll option: 1. Double-click Timeline in the Settings list of the Project window.
11 Using the Timeline • You can use the Focus button to quickly change your view of the Timeline so that you focus on a few seconds of material on either side of the position indicator. The Focus button centers the position indicator and scales the Timeline so each second of time in the sequence is represented by 90 pixels in the display. The Focus button is located in the Timeline bottom toolbar next to the Timeline Fast Menu button.
Using Segment Mode Controlling Movement in the Timeline While working in the Timeline window, you can use modifier keys to control the movement of both the position indicator and any segments that you move in Segment mode. The motion mode indicator in the Timeline toolbar displays a specific icon, depending on the keys you press to facilitate your movement within the Timeline.
11 Using the Timeline Guidelines for Editing in Segment Mode General Guidelines • Transition effects on either side of a moved selection are deleted. Transition effects inside the selection are preserved. • You can track the audio while moving segments by pressing the Caps Lock key to enable audio scrub. For more information, see “Using Audio Scrub” on page 366.
Using Segment Mode 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. Once you enter Segment mode by using either of these methods, you can continue to select or deselect additional segments. The selected segment or group of segments becomes highlighted, and remains in its original position during the move until you select its new position.
11 Using the Timeline Selecting Multiple Segments Instead of lassoing segments in the Timeline to edit, you can select multiple segments on enabled tracks quickly by using the multiple segment selection buttons in the Edit tab of the Command palette. This allows you to select segments to the left or right of the position indicator, or to select all segments within In and Out marks.
Using Segment Mode Four-Frame Display in Segment Mode When you begin to drag the segments, the interface changes to the Segment mode four-frame display: n • The Source and Record monitors change to a four-frame monitor display. The two outer frames are updated while you drag the segment forward or backward in the Timeline, indicating the frames you pass as you drag the segment.
11 Using the Timeline 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. When you release the segment into its new position, the actual lift (Overwrite) or extract (Splice-in) occurs. Until then, the segment position is preserved in the Timeline, allowing you to maintain your perspective of the sequence while selecting the new edit point.
Using Segment Mode To move a segment and keep sync: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens. 2. Select the Segment Drag Sync Locks option in the Edit tab. 3. Click OK. 4. In the Track Selector panel, click the Sync Lock button for the video and audio tracks that you want to keep in sync. 5. Click the Extract/Splice-in button. 6. Click an audio or video segment, and drag it to the new location.
11 Using the Timeline n For information on maintaining sync in the sequence when using Extract/Splice-in, see “Maintaining Sync in Segment Mode” on page 330. • Use Lift/Overwrite mode to replace existing material at the new position, while leaving blank space in the previous position. The total duration of the sequence is unaffected and the material in the sequence remains in sync.
Using Segment Mode Before overwrite, with video and audio clips selected and the pointer over the video clip V2 V1 A1 A2 Clip A (selected clip) Clip B Clip C Clip W (selected clip) Clip Y Clip Z After overwrite, with video clip moved to a different track and audio clip moved on same track V2 V1 A1 A2 Clip A Clip W Blank filler Blank filler (selected clip) Clip B Clip C (selected clip) Clip Z You can also drag clips from the Source monitor or from a bin and drop them in the Timeline, moving the
11 Using the Timeline To perform a segment edit: 1. Click the Extract/Splice-in button or the Lift/Overwrite button in the Timeline toolbar. 2. Click the segment you want to move (Shift+click to select multiple segments), and drag it to its new position. Use the four-frame monitor display, the offset counter, and the segment image in the Timeline to carefully determine the new position. You can also snap to the head or tail of the new edit point (see “Controlling Movement in the Timeline” on page 325).
Using Segment Mode To delete segments quickly: 1. Click one of the Segment Mode buttons: - Extract/Splice-in (yellow) deletes the segments and closes the remaining gaps. The total duration of the sequence is shortened, and any synchronized tracks lose sync. - Lift/Overwrite (red) deletes the segments but leaves blank space or silence in their place. The total duration of the sequence remains the same, and sync is maintained. 2. Select one or multiple segments. 3. Press the Delete key.
11 Using the Timeline 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. In this case, it does not matter which Segment Mode button you click. 2. Click the segment to highlight it. 3. Press Ctrl+C (Windows) or Command+C (Macintosh) to copy, or Ctrl+X (Windows) or Command+X (Macintosh) to cut. 4.
Working with Multiple Tracks Understanding the Track Selector Panel The Track Selector panel provides numerous controls for working effectively with multiple tracks. With this one resource you can select, delete, monitor, enlarge, reduce, sync lock, patch, and move any video or audio track. The Track Selector panel also provides a quick display of track information. You can see which tracks are available, active, patched, monitored, or locked on the source and record sides at any time.
11 Using the Timeline The following guidelines are helpful for understanding your options for editing: n • You can edit selected tracks on the source side directly into the sequence, assuming you have selected parallel tracks on the record side. • You cannot edit deselected tracks on the source side into the sequence, regardless of record track selections. • You cannot edit deselected tracks on the record side into the sequence, regardless of source track selections.
Working with Multiple Tracks When you edit with multiple tracks, you can activate the monitoring of a lower track to monitor only the video on that track and below. This feature is especially useful when you have multiple layers of video effects and need to isolate lower tracks for viewing. You can also monitor a solo track. n If you monitor a video track that is lower than the topmost track, return monitoring to the topmost track to view, export, mix down, or record all the tracks together.
11 Using the Timeline 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. • You can view any individual layer of a composited effect.
Working with Multiple Tracks To select a track for solo monitoring: t Ctrl+click (Windows) or Command+click (Macintosh) the Track Monitor button for the selected track. The Track Monitor button changes to green with a black Monitor icon (video track) or black Speaker icon (audio track) to indicate solo monitoring. Video track selected for solo monitoring Audio track selected for solo monitoring To deselect solo monitoring: t Click the Track Monitor button again.
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 343.
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 309.
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 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 t Use the numeric keypad at the right side of the keyboard, as follows: - To move the transition a specific number of frames, type a plus sign (+) or minus sign (–) and the number of frames (from 1 to 99) you want to move forward or backward. Then, press Enter. If the number of frames is larger than 99, type an f after the number to indicate frame count. For example, to enter 200 frames, type 200f and press Enter.
Using Basic Trim Procedures 2. Click the Play Loop button. The system enters a playback loop. This loop begins at a preroll point before the transition and ends at a postroll point, pausing briefly before beginning playback again. 3. Set and alter the length of the preroll, postroll, and transition effect duration by clicking the appropriate timing text box and typing a new value.
12 Working in Trim Mode To trim on-the-fly: 1. Click either the outgoing (A-side) or incoming (B-side) monitor to play in real time during the trim. 2. Select one or more transitions for single-roller or dual-roller trimming. 3. Use the J-K-L keys to step (jog), play, or shuttle through the footage at varying speeds: t Press and hold the K key while pressing the J or L key to step slowly backward or forward through the footage.
Using Basic Trim Procedures Trimming During a Playback Loop An alternative method for trimming is to view the transition continuously in a playback loop and use the keyboard to adjust the transition in 1-frame or 10-frame (8-frame for 24p) increments until you achieve the trim you want. You can perform this procedure in any of the Trim modes, using single-roller or dual-roller trims. To trim during a playback loop: 1. Click the Trim Mode button to enter Trim mode, and select transitions for trimming. 2.
12 Working in Trim Mode 362
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 537.
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 Digital audio scrub enables you to sample selected frames of incoming or outgoing audio as you move through the footage, without a change in pitch or speed. The following are unique characteristics of digital scrub: - The frames of audio you hear are always at your point of destination.
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 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) Setting Up the Audio Output with HDMI (Avid Nitris DX and Avid Mojo DX Only) Avid supports two ways to configure your audio output, either 2-channel stereo speaker setup or 6 channel surround sound setup. To achieve the 6-channel surround sound setup, connect your audio output through an High-Definition Multimedia Interface (HDMI) connection. HDMI is an uncompressed, all-digital signal carrying both video and audio.
13 Working with Audio 5. Depending on your setup, select Use as Output to Tape Deck or Use as Desktop Surround Monitors. When you select Use as Output to Tape Deck, LFE and Center are swapped from the recommended track order. n If your HDMI device cannot play six channels of audio or if the 5.1 option in the Direct Out tab is not selected, the option to Use as Desktop Stereo Monitors does not appear. 6. Click the Mix Mode Selection Menu button to select Direct Out. 7.
Using the Audio Mixer Tool Using the Audio Mixer Tool The Audio Mixer tool has three modes that allow you to perform the following tasks: Mode Task Description Clip Gain and Pan Allows you to adjust the overall volume and pan values for a clip, in a bin or in the Timeline. For more information, see “Using Clip Gain and Pan Mode” on page 387. Automation Gain and Pan Allows you to adjust and record volume and pan changes within a clip in the Timeline.
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 393. For specific information on Live Mix mode, see “Using Live Mix Mode” on page 401.
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 364. 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 393 and “Deleting Automation Gain or Automation Pan Keyframes in the Timeline” on page 395.
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 The following illustration shows the layout of the Digi 002 and identifies the controls discussed in this section.
13 Working with Audio The following illustration shows the layout of the Command|8 and identifies the controls discussed in this section. Console/channel view section (contains a pan knob for each track) Transport and Navigational controls Fader Section Mix button 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.
Using Live Mix Mode Using Live Mix Mode Without an External Controller You can use Live Mix mode without an external controller but you cannot change the volume or pan sliders in real time. To use the controls in the Audio Mixer tool: t Move the volume sliders or change the pan settings, and then play the audio. When you play the audio, the system uses your new settings without saving any automation gain information.
13 Working with Audio The following table describes the Audio Mixer tool Fast menu options in Live Mix mode: Command Description Set Live Mix to Default Sets the active tracks to 0 dB and does not modify any existing automation gain keyframes. Set Live Mix to Automation Sets the Live Mix mode settings to match the gain and pan settings where each track crosses the Position bar in the Timeline.
Isolating Clip Portions for Audio Adjustment The following illustration shows a sequence in the Timeline with Automation Gain applied. The following illustration shows the result after choosing Set Live Mix to Automation In/Out from the Audio Mixer Fast menu. The portion of the Timeline between the IN and OUT on Track A1 is changed to 0 dB and the same portion of Track A2 is changed by -45 dB to match the Live Mix settings.
13 Working with Audio To isolate clip portions for adjustment: 1. Find the start of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker. 2. Select the appropriate track in the Track Selector panel. 3. Click the Add Edit button. This places an edit where the position indicator is parked. 4. Find the end of the area where you want to change the pan or level, leaving your position indicator on that frame as a marker. 5. Select the appropriate track.
Fading and Dipping Audio To apply a fade or crossfade: 1. Move the position indicator to a transition. 2. Click the Quick Transition button (which appears by default in the second row of buttons below the Record monitor or in the Timeline top toolbar). 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.
13 Working with Audio 6. If you selected Custom Start, type the number of frames before the transition to begin the effect in the “Start n frames before cut” text box. Otherwise, leave the default value in the text box. 7. (Option) Click the Target Drive menu, and select a media drive other than the default. 8.
Audio Sample Rate Conversion 4. Adjust the track to the volume level you want, as described in the section “Using Clip Gain and Pan Mode” on page 387. 5. Apply a dissolve to both Add Edit points, using the techniques described in “Fading Audio” on page 408. 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 To change the sample rate for a sequence or an audio clip: 1. Select one or more sequences or audio clips in the bin. 2. Select Clip > Change Sample Rate. The Change Sample Rate dialog box opens. 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.
Mixing Down Audio Tracks 4. Select Special > Audio Mixdown. The Audio Mixdown dialog box opens. The top area of the dialog box displays the source audio tracks and the start and end timecodes for the section of audio you have selected to mix down. 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.
13 Working with Audio 414
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 471. 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 448.
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 423. The left side of the Effect Palette displays a list of effect categories.
Displaying and Adjusting the Effect Palette 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 422. 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 435. 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 435. 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 438. 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 450.
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 OpenGL processing can occur in two ways: • Using the OpenGL capabilities of the graphics card that is installed on your system This method allows effects to display in real time, but image quality is limited. • Using a software implementation of the OpenGL application programming interface (API) This method allows effects to display at the highest possible quality, but not in real time.
14 Working with Effects 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. Processor speed, system memory, and disk speed all affect 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 real-time streams: 1. In the Project window, click the Settings tab. The Settings list appears. 2.
14 Working with Effects n n On systems with an Avid input/output hardware device attached and selected for playback, real-time effects are always enabled. For information on playing real-time effects through a Host 1394 connection, see “Playing Back to a DV Device” on page 251. Some older versions of Avid editing applications used the blue-dot mode feature to turn real-time effects off and on in software-only configurations. The blue-dot mode feature has been replaced with the Realtime Encoding feature.
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 3. Hold down the Shift key and select Clip > Render In/Out. For more information, see “Rendering Effects Between IN and OUT Points” on page 458. 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.
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 468. 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 464 or in “Using the ExpertRender Command After a Real-Time Playback Attempt” on page 466. 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 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 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. For more information, see “Selecting a Background for Titles” on page 478. • The title or graphic in the foreground that you create. • The safe title and safe action area guidelines.
Using the Selection and Text Tools • The toolbar at the bottom of the screen. The use of these tools is described throughout this chapter and in “Creating and Editing Titles” in the Help. 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 475. For detailed reference information on all the tools in the toolbar, see “Toolbar Reference for the Title Tool” in the Help.
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 480. 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 Formatting Text The text formatting tools control the appearance of text. You can click a text object with the Selection tool to format all the text within it, or you can use the Text tool to select a string of text within a text object to format individual characters or words. The following illustration shows the text formatting controls in the Title Tool toolbar.
Formatting Text Selecting a Font The Font Selection button displays the name of the current font for a text selection and allows you to change the font. When you first open the Title tool, the font listed is the preferred system font. Font Selection button To display all the fonts currently installed on the system: t Click the Font Selection button. To change the font: t Click the Font Selection button, and select a font.
15 Working with Titles To change the point size, do one of the following: t Click the Point Size button, and select a standard point size from the menu. t Double-click in the text box, type a point size between 5 and 999, and then press Enter (Windows) or Return (Macintosh). t Click in the text box, and use the Up Arrow and Down Arrow keys to change the value incrementally. Making Text Bold or Italic The Bold button and the Italic button are located under the Point Size text box.
Formatting Text Justifying Text Text justification controls the alignment of text in an existing text object and also when you type text in a new text object. The text justification buttons appear below the Font Selection button in the Title Tool toolbar. Text justification buttons To justify the text, do one of the following: t Click the left text justification button to align text with the left side of the text object. t Click the center button to center the text.
15 Working with Titles Kerning Text You use the Kerning button to select predefined kerning options or the Kerning text box to specify your own custom kerning value. Positive numbers increase the spacing; negative numbers decrease the spacing. You can also use the arrow keys to make incremental adjustments. For information on how kerning affects text, see “Understanding Kerning” on page 485. n For individual characters or selected groups of characters, you can use only the arrow keys to adjust kerning.
Formatting Text To adjust kerning with predefined sizes: 1. Select the text. 2. (Option) Click the Kerning button, and select Pair Kerning to eliminate excessive space between some character pairs. n Pair kerning works only on fonts that support kerning tables (for example, Palatino). 3.
15 Working with Titles Creating Graphic Objects You use the drawing tools to create graphic objects such as squares, rectangles, circles, ovals, and lines. Drawing tools This section explains how to use the drawing tools to create graphic objects. After creating graphic objects, you can modify or manipulate them in a variety of ways. For more information, see “Modifying and Manipulating Title Objects” on page 489.
Modifying and Manipulating Title Objects To draw a line: 1. Click the Line tool (slanted line) in the toolbar. The pointer becomes a crosshair pointer. 2. Click in the Title tool, and drag to create a line. n Pressing the Shift key while you drag constrains the Line tool to create a horizontal or vertical line. Modifying and Manipulating Title Objects Once you have created one or more text or graphics objects in a title, you can modify or manipulate them in a variety of ways.
15 Working with Titles Adding Shadows to Title Objects You can add a drop shadow or depth shadow to any text or graphic object. A drop shadow is offset from the object itself, as though cast by a light source. A depth shadow extends from the edges of the object, as though the object were three-dimensional.You can place the shadow anywhere within the title without restriction. The following illustration shows an example of drop and depth shadows.
Saving Titles Saving Titles After creating a new title, there are three basic ways to save your work: • Save the title and exit the Title tool. • Save the title and continue creating additional titles. • Save a title style that you can apply to additional titles you create. You can also reopen a previously saved title in the Title tool and make further changes, as described in this section.
15 Working with Titles 4. Select or deselect Fast Save, depending on your needs. For more information, see “Using the Fast Save Option” on page 493. 5. Click Save. The Title tool closes, and the application loads the new title into the Source monitor. A 2-minute Title Effect clip that corresponds to the new title appears in the bin. Saving Multiple Titles in a Session To save multiple titles: 1. Select File > Save Title. The Save Title dialog box opens. 2.
Saving Titles To save a title, using a keyboard shortcut: 1. Press Shift+Ctrl+S (Windows) or Shift+Command+S (Macintosh). The Save Title dialog box opens. 2. Type a name for the title. 3. Select a bin, a drive, and a resolution from the menus. 4. Click Save. Using the Fast Save Option You can use the Fast Save option to work more quickly when creating and saving multiple titles in a Title tool session. Fast Save skips the steps that create anti-aliased images from title objects.
15 Working with Titles Revising a Title in a Bin If you want to revise a title that has not been edited into a sequence, you can reopen the title in the Title tool directly from the bin. n For information on revising a title that has been edited into a sequence, see “Revising a Title in a Sequence” in the Help. To revise a title in a bin: 1. Press the Ctrl key, and double-click the Title Effect icon in the bin. The title opens in the Title tool.
Editing with Titles Editing with Titles Once you have created a title and saved it to a bin (using either the Title tool or Marquee) it appears as a Title Effect clip. You can edit a Title Effect clip into a sequence in much the same way that you edit with any other clip type. This section provides basic information about the appearance of Title Effect clips in bins and about how to edit titles into a sequence. You can adjust a title that has been edited into a sequence in several ways.
15 Working with Titles n By default, the bin display does not show rendered effects. To view rendered effects in the bin, select Bin > Set Bin Display, then select Rendered Effects and “Show reference clips” in the dialog box. Bin — Text view Title Effect clip Rendered effect (precompute) For more information, see “Managing Effect Media Files” in the Help.
Editing a Title into a Sequence 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. For more information, see “Splicing or Overwriting a Title into a Sequence” on page 498.
15 Working with Titles Splicing or Overwriting a Title into a Sequence To splice or overwrite a title into a sequence: 1. Load the sequence into the Record monitor. n Titles must be placed on a track above the video that forms the background. If an upper track already exists with an open region for the title, you can go to step 3. 2. (Option) Select Clip > New Video Track. The application adds the next video track for the sequence to the Timeline.
Editing a Title into a Sequence 7. Make sure all other Record Track buttons are deselected in the Track Selector panel. 8. Click either the Extract/Splice-in button or the Lift/Overwrite button to edit the title into the sequence. The Title Effect segment appears in the top video track. Dragging a Marked Title into a Sequence To mark a portion of a title clip and then drag the marked clip directly into the Timeline: 1. Load the sequence into the Record monitor.
15 Working with Titles 7. Click the Title Effect Clip icon in the bin, and drag it to the Timeline. As you drag the Title effect in the Timeline, a white outline of the title clip indicates location in the sequence. 8. Release the mouse button when you have the title positioned where you want it. The Title effect appears in place in the sequence.
Editing a Title into a Sequence 5. Click the Title Effect Clip icon in the bin, and drag it to the Timeline. As you drag the Title effect in the Timeline, a white outline of the title clip indicates location in the sequence. 6. Release the mouse button when you have the title positioned where you want it. The Title effect appears in place in the sequence.
15 Working with Titles Removing a Title To remove a title segment: 1. Move the position indicator to the segment containing the Title effect. 2. Use the Track Selector panel to select the track containing the Title effect and to deselect all other tracks. 3. Click the Mark Clip button under the monitor. IN and OUT points appear surrounding the Title effect. 4. In the Timeline bottom toolbar, click the Extract/Splice-in button or the Lift/Overwrite button to remove the segment.
16 Color Correction Your Avid editing application includes a comprehensive set of tools for correcting and adjusting colors.
16 Color Correction You make most color corrections by entering Color Correction mode and adjusting controls in the Color Correction tool. Each control affects a specific aspect of the color in an image (for example, saturation) so these controls are like parameter controls for effects in the 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.
Reasons for Making Color Corrections Reasons for Making Color Corrections Before you can make good color corrections, you need to have an idea of what color problems are present in your video material or a sense of why you want to alter existing color values. 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.
16 Color Correction Entering and Leaving Color Correction Mode To enter Color Correction mode, do one of the following: t Select Toolset > Color Correction. For more information on toolsets, see “Using Toolsets” on page 76. t Click the Color Correction Mode button. 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.
Color Correction Mode Basics In most respects, the monitors in Color Correction mode work like other monitors in your editing application. For example, operations such as activating monitors, showing and hiding the video, displaying timecode information, and using the position bar are the same. For general information on using the monitors in your application, start with “Viewing and Marking Footage” on page 229.
16 Color Correction The Client Monitor in Color Correction Mode If you have a Client monitor connected to your Avid editing application, you can see your corrections in the Client monitor. In most Avid editing applications, the dual split display also appears in the Client monitor when you have Dual Split selected for the current monitor. It is a good idea to use a Client monitor to view your color correction work because a Client monitor displays video colors more accurately than your computer screen.
Making Basic Automatic Color Corrections Correcting Color Automatically Using the Color Correction Effect You can use the Color Correction effect in the Effect Palette to apply up to three automatic color corrections at one time simply by applying the effect to selected segments just like any other Avid effect.
16 Color Correction 2. Click the AutoCorrect tab. 3. Click the First Correction menu and select HSL Auto Contrast. 4. Click the Second Correction menu and select HSL Auto Balance. 5. Make sure that the Third Correction menu is set to Nothing. To correct a single segment with the Color Correction effect: 1. In Source/Record mode, Effect mode, or Color Correction mode, click the Effect tab in the Project window. 2. In the Effect Palette, click the Image category. 3.
Making a Basic Color Match Correction Automatic Color Correction Buttons in the Hue Offsets Tab The following table describes the automatic color correction buttons available in the Hue Offsets tab of the Color Correction tool. Button Icon Description Auto Balance Balances the colors in the image (eliminating any color cast for most images). Adjusts all three ChromaWheel controls. Auto Black Makes the darkest areas of the image as dark as possible. Adjusts the Setup slider control.
16 Color Correction To make a Color Match correction with NaturalMatch on adjacent shots: 1. Enter Color Correction mode, for example, by selecting Tools > Color Correction. 2. In the Timeline, make sure that the Record Track button for the video track on which you want to make corrections is the topmost selected track. 3. In the Timeline or in the Composer window, navigate to the segment you want to correct.
Safe Color Basics n You can also use the Safe Color Limiter effect to limit all or part of your sequence to the safe color range that you specify. For more advanced information on safe color features and on the Safe Color Limiter, see “Safe Colors” in the Help. 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 To set a safe color value range for one of the value types (Composite, Luminance, or RGB Gamut): 1. Click the Units button for the value type you want to set in the Safe Color Settings dialog box, and select a unit of measurement for your values. 2. Type low and high values in the text boxes for the value type. For example, you might enter values supplied by a broadcaster or encoder.
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 381. • 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 523.
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 523. 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 516. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” on page 517. 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).
17 Exporting Frames, Clips, or Sequences 524
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 529. • For HD projects, determine if you need to crossconvert or downconvert your sequence, as described in “Preparing for Converting HD Formats” on page 534. • Set audio output levels and other output options, as described in “Preparing for Audio Output” on page 537. • Mix down multiple audio tracks, if necessary, as described in “Mixing Down Audio Tracks” on page 412.
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 526. 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 To set options for downconverting a sequence: 1. Select Tools > Video Output Tool. 2. Click the Options tab. 3. Click the Crossconvert menu, and select OFF. 4. Click the Downconvert menu, and select the format that you want to output. 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.
18 Generating Output Crossconversion and Downconversion Formats The following table lists the available crossconversion and downconversion formats for each HD format. Not all formats are available for all Avid editing configurations. n Raster Type selection does not affect the conversion options for HD projects, with the exceptions noted in the table. HD Sequence Format Crossconverted HD Format Downconverted SD Format 720p/59.94 1080i/59.94 30i NTSC 720p/23.976 1080i/59.
Preparing for Audio Output Considerations for Crossconversion and Downconversion You should be aware of the following when crossconverting or downconverting HD formats: • You can select an HD crossconvert format for output or an SD downconvert format for output, but you cannot output both at the same time. • Avid recommends using crossconverted sequences for preview or reference only. When using digital cut to output the HD master sequence to tape, use the native frame rate of the sequence.
18 Generating Output To change the parameters for the calibration tone: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the PH (Peak Hold) menu, and select Set Calibration Tone. The Set Calibration Tone dialog box opens. 3. Type new values for the tone level and frequency text boxes, and click OK. To play back the tone: t Click the PH (Peak Hold) menu, and select Play Calibration Tone. To check the adjusted tone level in the meters: t Switch the In/Out toggle buttons to O for Output.
Preparing for Audio Output To calibrate global output levels: 1. Double-click Audio Project in the Settings list in the Project window. The Audio Project Settings dialog box opens. 2. Click the Output tab. Output Gain slider (master attenuator) 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.
18 Generating 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. Watch the levels in the meters, and adjust the master attenuator to the level that you want. n To adjust levels for individual tracks, use the Audio Mixer tool. See “Using the Audio Mixer Tool” on page 381. 7. Close the Audio tool. 8.
Preparing for Audio Output 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). By default, Direct Out maps all audio tracks in numerical sequence to existing output channels.
18 Generating Output Enabling 16-Channel Audio Output Depending on your Avid input/output hardware, you can output up to 16 channels of simultaneous output. You use the Output tab of the Audio Project Settings dialog box to enable 16-channel output. To enable 16 channels of audio output: 1. Double-click Audio Project Settings in the Settings tab of the Project window. 2. Click the Output tab. 3. Click the Mix Mode Selection menu button, and select Direct Out. 4. Click the “Allow 16 channel output” button.
Preparing Record Tapes In this example you can switch the project to 96 kHz, but if the SDI outputs are enabled, the system will convert all audio output to 48 kHz. c This affects all audio outputs, not just the SDI outputs. That means AES/EBU output will be converted and any Analog output will also be converted. This could result in a quality loss for the Analog signal. The way to prevent the automatic conversion is to turn off the SDI output.
18 Generating Output Recording Bars and Tone You can record a portion of bars and tone onto the tape before recording a digital cut. There are two methods of recording bars and tone to tape: • If your recording must be frame accurate, consider adding a segment of digital bars and tone to the front of your sequence, or prepare it as a separate sequence you can record by using the Digital Cut tool. For more information, see “Importing Color Bars and Other Test Patterns” in the Help.
Using ExpertRender to Prepare Effects for a Digital Cut To enable assemble editing: 1. Double-click Deck Preferences in the Settings list in the Project window. The Deck Preferences dialog box opens. 2. Select the “Allow assemble edit & crash record for digital cut” option. 3. Click OK. 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.
18 Generating Output 3. Open the ExpertRender dialog box by doing one of the following: t Select Clip > ExpertRender In/Out. t Right-click in the Timeline, and select ExpertRender In/Out. 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.
Using the Digital Cut Tool n n Sync for output comes from black burst or tri-level sync input to the Avid input/output hardware or from internal timing. For more information, see “Selecting the Sync Source for Output” on page 527. 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.
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 548 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 546. 2. Load a sequence into the Record monitor.
Using the Digital Cut Tool 7. (Option) Select Stop on Dropped Frames. When you select this option, if the system detects a dropped frame during output, the digital cut stops. You can fix the frame with ExpertRender and then continue. For more information, see “Using ExpertRender to Prepare Effects for a Digital Cut” on page 545. 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.
18 Generating Output 556
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 c Do not include mixed rate clips in sequences that you intend to finish on an Avid DS system. Motion adapters do not conform in current versions of Avid DS, and you cannot play or adjust mixed rate material. 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.
Preparations for Conforming HD Online SD Offline 720p/23.976 23.976p NTSC 720p/25 25p PAL 720p/50 25p PAL 720p/59.94 30i NTSC 1080p/23.976 23.976p NTSC or 24p NTSC 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 (Continued) 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 appropr
Conforming Workflow You can also transfer files to Pro Tools through Interplay. For more information, see “Using Pro Tools and Interplay” in Avid Interplay Best Practices. 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 573.
19 Conforming and Transferring Projects Step 1: Transfer Files There are several different methods for transferring project files and media files, depending on the requirements of your project. 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 If you want to transfer audio media to a digital audio workstation, such as a Pro Tools, system, see “Transferring Audio Files” on page 572 or “Using Pro Tools and Interplay” in Avid Interplay Best Practices. 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.
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 Here are two tips for making batch importing easier: • Placing a “graphics” folder inside the project folder of your offline project makes the batch import process easier because the path will be the same, or at least faster to find. • 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.
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 For information on importing into and exporting from the audio-editing application, see the documentation for the audio-editing application. n DigiTranslator v2.0 is required on the Pro Tools system for import and export of OMF and AAF files.
19 Conforming and Transferring Projects Transferring a Project Using Shared Storage If you are using your Avid editing system in an Avid Unity environment, you can use Avid Interplay to share media files, projects, and bins between systems. For more information, see your Avid Unity and Avid Interplay documentation. You can also share bins and projects in an Avid Unity environment that does not use Avid Interplay.
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 (Continued) 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.
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 580.
19 Conforming and Transferring Projects Method Requirements Restrictions (Continued) 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.
19 Conforming and Transferring Projects 582
20 Working with Avid Interplay from an Avid Editing System Avid Interplay is an asset management system that provides a central database of assets (such as master clips, subclips, sequences, and graphics) that you use during your production process. If you are working on an Avid editing system, you can think these assets as remote assets.
20 Working with Avid Interplay from an Avid Editing System The project folder and its subfolders also contain project settings that primarily govern media acquisition — for example, frame rates, formats, and target workspaces. For more information about creating and managing Interplay projects, see Avid Interplay Best Practices. From an Avid editing application you can use the Interplay Window to browse and open folders in the Interplay database.
Connecting to the Avid Interplay Database There are some differences between working from Interplay folders and working from bins. For instance, you cannot edit a sequence in an Interplay folder. To edit a sequence, you copy it to a bin, edit it, and then you copy the modified sequence to the Interplay database for sharing.
20 Working with Avid Interplay from an Avid Editing System If you have the correct Interplay settings and Avid Unity connection, you can log in and open the Interplay Window as described in “Logging in to Interplay and Opening the Interplay Window” on page 588. Configuring Interplay Settings You need to specify three Interplay settings before you can view or use remote assets: • Interplay Server: Use this setting to specify the computer name of the Interplay Server.
Connecting to the Avid Interplay Database 5. In the Settings list, double-click Interplay User. The Interplay User Settings dialog box opens. 6. 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. 7. Select “Automatic Login at Project Selection” if you want to log in to the Interplay database automatically every time you open a project.
20 Working with Avid Interplay from an Avid Editing System 10. Double-click Interplay Folder. The Interplay Folder Settings dialog box opens. 11. Click the Set button, and a directory tree is displayed for the Interplay database that you logged in to. 12. Select a folder to use as the default Interplay Root Folder for your project. The Interplay Folder setting defines where assets are checked into the Interplay database when you use menu commands.
Connecting to the Avid Interplay Database To log in and 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 Avid Interplay from an Avid Editing System Editing with Remote Assets When you edit with remote assets in a workgroup environment, you need to keep in mind that other users might share the clips and sequences in your project. When you first set up your project, you can load the assets you want to work with to the Source monitor, mark In and Out points, and add them to your sequence in the Timeline where you can create your effects and edit your footage.
Editing with Remote Assets 4. Navigate to the project containing the master clips and sequences (assets) you want to use, and click the folder that contains the assets. The Interplay Window displays the Avid assets in the selected folder. 5. Click the assets you want to check out, and drag them to your bin. The bin displays the clips and sequences.
20 Working with Avid Interplay from an Avid Editing System If you check out an asset and modify it (for example, you edit a sequence), and then check out the asset again without checking in the modified version, the following warning is displayed: This message could also appear if another user has checked in a modified version of the asset after you checked it out.
Editing with Remote Assets To check Avid assets out of the Interplay database using Interplay Access: 1. Start the Avid editing application, and either create a new project or open a bin in an existing project. 2. Log on to the Interplay database, as described in “Connecting to the Avid Interplay Database” on page 585. 3. Open Interplay Access and browse or search for the assets you want. 4. Select the assets you want to use and drag them to a bin.
20 Working with Avid Interplay from an Avid Editing System n • Automatically check in assets by closing a bin. Automatic checkin is a setting enabled in the Editor Database Settings in the Interplay Administrator that lets you check in assets when closing a bin, a project, or the application. Automatic checkin is optimized to work more quickly than the menu commands. If a bin contains any new or modified items, it is processed exactly as when you use menu commands described above.
Editing with Remote Assets To add Avid assets from your bin to the Interplay database using drag and drop: 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 585. 3. Select Tools > Interplay Window. The Interplay Window opens. 4.
20 Working with Avid Interplay from an Avid Editing System Automatically Checking In Avid Assets You can automatically check in media assets by setting the appropriate option in the Avid Interplay Administrator.
Editing with Remote Assets To update remote assets: 1. Open the bin that contains the local copies of your remote assets. 2. To update all items in a bin, select the bin and do one of the following: t Select Bin > Update Bin from Interplay. t Click the Bin fast menu, and select Update Bin from Interplay. 3. To update selected items in a bin, select the items, right-click, and select Update from Interplay. The latest versions of the items are checked out to the bin.
20 Working with Avid Interplay from an Avid Editing System The Interplay Window displays the Avid assets in the Interplay folder. 5. Select the clip or sequence you want to view 6. Do one of the following: t Drag the clip or sequence from the Interplay Window into the Source monitor. t Double-click the clip or sequence in the Interplay Window. The Source monitor displays the remote asset.
Editing with Remote Assets Editing with In-Progress Clips The following procedure outlines the basic steps for editing using an in-progress clip when you use the Interplay Window to access the Interplay database. 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.
20 Working with Avid Interplay from an Avid Editing System Limitations When Working With In-Progress Clips During the Frame Chase capture process the final length of the clip is unknown until the capture is complete and the clip information is updated. Because of this, there are some limitations when you work with in-progress clips.
Managing Remote Assets with the Interplay Window • Variable-bit-rate media — The only variable-bit-rate (variable-frame-size) media supported for Frame Chase editing is low-res long-GOP MPEG-2 media captured by the Avid Interplay low-res encoder. Only media captured by supported ingest devices is supported for Frame Chase editing. • Using the Capture tool — Frame Chase editing is not available on an Avid editing system that is using the Capture tool to capture media.
20 Working with Avid Interplay from an Avid Editing System You can load clips and sequences from the Interplay Window, which keeps track of your assets in tabbed windows. You also use the tool to search projects and folders. When you start a search, a Media Search tab displays in the Research panel. The Media Search tab allows you to search the database for all media files that fit the search parameters you specify. For more information on searching, see “Finding Remote Assets” on page 620.
Managing Remote Assets with the 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.
20 Working with Avid Interplay from an Avid Editing System You can see the restriction markers on the clip icons in the Interplay Window and in your bin. The Avid editing application warns you about the restriction when you display the restricted material in the monitor, perform a digital cut, send it to playback, or export it. You can choose to continue the operation, and you can view the reason for the restriction in the Restrictions tool.
Managing Remote Assets with the Interplay Window c Because a duplicated clip points to the same media as the original clip, be careful when deleting duplicated clips that you do not unintentionally delete media. If you have delete access control within your workgroup, you can delete Avid assets in the Interplay Window and in bins. You can also delete copies of the assets (links). Users without delete access cannot delete assets or perform any tasks that require delete privileges.
20 Working with Avid Interplay from an Avid Editing System To delete clips or sequences from a folder or bin: 1. Select the clips and sequences that you want to delete. 2. Press the Delete key. The Delete dialog box opens, showing information about the selected items. 3. Select the items for deletion. 4. (Option) Delete the associated media files for master clips and effect clips.
Managing Remote Assets with the Interplay Window To remove a shortcut to an Interplay folder or a catalog: t Right-click the folder in the Media Directory panel, and select Delete Shortcut. The shortcut is removed.
20 Working with Avid Interplay from an Avid Editing System 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 Type column sorts alphabetically based on the type of media object (audio clip, master clip, sequence, subclip). • Move columns to rearrange their order.
Managing Remote Assets with the Interplay Window 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 Avid Interplay from an Avid Editing System 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 646. 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 with the Interplay Window 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 Avid Interplay from an Avid Editing System 5. Select a value. The value appears in the cell. 6. Select values for additional assets.
M a n a g i n g R e m o t e A s s e t s w i t h t h e I n t e r p l a y W i n d o w 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.
20 Working with Avid Interplay from an Avid Editing System Media Object Description (Continued) Groups (For MultiCamera editing) Clips containing two or more grouped clips, strung together sequentially according to common timecodes Renaming Clips in the Interplay Window You can rename a clip in a folder directly by modifying the information displayed in the Research panel. 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.
Managing Remote Assets with the Interplay Window To refresh just the Research panel: t Click the Refresh button. Refresh button To update a search result tab: t Execute the search again. Navigating to a Folder that Contains a Selected Asset You can use a command to navigate (go to) to a folder that contains a selected asset. To navigate to a folder that contains a selected asset: 1. Right-click an asset in the Research panel (any tab) and select Open Enclosing Folder.
20 Working with Avid Interplay from an Avid Editing System For example, someone else who accessed a clip in Interplay Access after you loaded the same clip in the Research panel might have changed the name of the clip on the server; when you then try to rename that clip, the Property Merge dialog box opens. The change could have been made in any Interplay application, including Assist, Instinct, Interplay Access, or the Interplay Window.
Managing Remote Assets with the Interplay Window Using Custom Layouts for the Interplay Window Any time you modify a column, the Interplay Window maintains the custom layout for the individual folder during your current work session. When you quit your session, the customized layout is lost unless you save it. You can apply saved layouts to any display in the Interplay Window. The Avid editing application uses the last saved layout to display assets in the Interplay Window.
20 Working with Avid Interplay from an Avid Editing System 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. To delete a layout: 1. Click the Layout menu, and select the layout you want to delete from the menu list. 2. Click the Layout menu, and select Delete Current Layout. A confirmation box opens. 3. Click Yes.
Managing Remote Assets with the Interplay Window To close a tab in the Interplay Window: t On the tab you want to close, click the Close button. Selecting Font Options from the Context Menu You can change the default fonts and font sizes in the Research panel and the Directory panel from a context menu. Font changes are saved as user settings and do not affect other systems. To change the font from the Research Panel context menu: 1. Right-click and select Set Research Panel font.
20 Working with Avid Interplay from an Avid Editing System 2. Select a font and a size, and then click OK. The font in the panel changes. 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.
Finding Remote Assets Overview of Finding Remote Assets The most common method of finding remote assets is to perform a search based on attributes. The Interplay Window searches for the attributes associated with Avid assets. Each attribute can define statistical information (such as the date) or descriptive information (such as clip name). The search function allows you to search by a date, a word, or a few characters.
20 Working with Avid Interplay from an Avid Editing System 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.
Finding Remote Assets Search Attributes for the Interplay Window The following table describes the search attributes available in the Media Search tab in the Interplay Window.
20 Working with Avid Interplay from an Avid Editing System 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 To capture media to an Interplay folder: 1. Select Tools > Interplay Window. The Interplay Window opens. 2. Navigate to the Interplay folder to which you want to capture media, and click the folder. The Interplay Window displays the Avid assets in the Interplay folder. 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.
20 Working with Avid Interplay from an Avid Editing System Connecting to Avid Unity and Mounting Workspaces If you need to manually connect to your Avid Unity shared storage system and mount workspaces, use one of the following procedures: • 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.
Connecting to Avid Unity and Mounting Workspaces 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. 5. 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. 6.
20 Working with Avid Interplay from an Avid Editing System n You must be connected to an Avid Unity ISIS System Director before you can mount workspaces. For more information, see the Avid Unity ISIS Client Manager Help. 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. t (Windows) Click the Client Manager icon in the Windows taskbar.
Connecting to Avid Unity and Mounting Workspaces 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. 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.
20 Working with Avid Interplay from an Avid Editing System Mount/Unmount button Mounted drive (Green circle) Auto Mount On/Off button Workspaces list 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.
Connecting to Avid Unity and Mounting Workspaces Mounting Workspaces on an Avid Unity ISIS System (Version 2.x 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. n You must be connected to an Avid Unity ISIS System Director before you can mount workspaces. For more information, see the Avid Unity ISIS Client Manager Help. To connect to the Avid Unity ISIS network: 1.
20 Working with Avid Interplay from an Avid Editing System 3. Do one of the following: 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. By default, the Username and Password text boxes are inactive when you select this option.
Dos and Don’ts for Editors Working with Avid Interplay 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 Ctrl+click.
20 Working with Avid Interplay from an Avid Editing System The main purpose of the Interplay server is to provide a central database of all the Avid and non-Avid assets that you use during your production process. This database is used as the central “share point” for material in use in your facility. It is also used by media managers as the primary tool for deletion of material from shared storage. If you do not log in to Interplay and check in your work, Interplay has no way of tracking your work.
Dos and Don’ts for Editors Working with Avid Interplay Similarly, you should not use the File > Open Bin command. This is because the “borrowed” bin will be checked in again to Interplay from inside your project, creating multiple versions of the bin inside the Interplay database. If you “borrow” material using the File > Open Bin method, there is a strong risk of material being incorrectly deleted from within Interplay.
20 Working with Avid Interplay from an Avid Editing System • Regularly clean up the contents of your bins: anything that you don’t need can be deleted. It’s a good idea to delete unwanted media before you check in a bin. If you choose to leave material in your bin without checking it in to Interplay, the material will go to the UIAA folder and sit there until deleted, taking up space on your Unity shared storage system. • Use reservations to protect material against accidental deletion.
Dos and Don’ts for Editors Working with Avid Interplay Sample Checklist for Editors The following checklist is an example of tasks in a typical workflow. You can adapt these tasks to your own workflow. Checklist for Editors Working with Interplay Before you launch the editing application: Make sure you are correctly connected to the Unity shared-storage system. Before you start editing: Create a project in the proper location, using the proper naming convention.
20 Working with Avid Interplay from an Avid Editing System 638
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 No new master clips are created by this batch capturing process. As new media files are created, the Media Indexer adds them to its database, and the original master clip is associated with additional media files. Media files in multiple resolutions are indicated by black dots in the appropriate bin columns. The following illustration shows a clip originally captured at 15:1s and batch captured at 1:1 (uncompressed).
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 669. 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 The following illustration shows a clip captured in 1:1 and transcoded to 15:1s. The application associates each clip with both resolutions because they share a source ID and a timecode span. 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.
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 You specify these settings in the Dynamic Relink Settings dialog box, which is available in the Settings list of the Project window. For complete information on the options in this dialog box, see “Using the Dynamic Relink Settings Dialog Box” on page 654.
21 Using MultiRez and Dynamic Relink 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.
Considerations When Working with Dynamic Relink 4. If you need to create effects that require you to view the high-resolution media, use the Override Working Settings with Target Settings command to dynamically relink clips to media that matches the target settings. 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.
21 Using MultiRez and Dynamic Relink cannot output, consolidate, or transcode media using MP2 compressed audio. Instead, you should use dynamic relink to link the low-resolution media to the high-resolution source media. • 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.
Using the Dynamic Relink Settings Dialog Box 2. Select Enable Dynamic Relink. When you select this option, your Avid editing application performs a dynamic relink whenever clips are loaded into the source monitor or the Timeline, and displays options for working with dynamic relink. Applying Working Settings The Working Settings tab lets you specify the rules that determine the resolution you use when editing.
21 Using MultiRez and Dynamic Relink Examples of Working Settings for Dynamic Relink The working settings in the following illustration specify that the application should use the specific video resolution of 15:1s MXF, and if it cannot find this resolution for a particular clip, it should display a “Media Offline” slide. Specific parameters are also set for audio: 44.1 kHz and 16-bit.
Using the Dynamic Relink Settings Dialog Box Similarly, for audio, the application should use media with a sample rate less than or equal to 44.1 kHz/16 bit, and if no match is found, use the closest media that is available.
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. For information on available settings, see “Dynamic Relink Settings” in the Help. 5.
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 You need to dynamically relink to the target settings when: • 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, you lose the rendered effects. You can create effects in either mode, but render them only when they are linked to target settings as the last step before output.
Relinking in Frame Chase Editing Dynamic relink performs the following actions when working with mixed frame rate clips: • Clips with the same frame rate as the project relink to source media based on the settings in the Dynamic Relink settings dialog box. • Clips with a frame rate that differs from the project frame rate, but which have source media available in the target resolution, relink to the appropriate source clips.
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. - Color changes (to blue or red by default): The clip does not match the working or target settings.
21 Using MultiRez and Dynamic Relink The following illustration shows a sequence of clips that are linked to working settings. The MultiRez button is blue, indicating that there are clips in the Timeline that do not match the working resolution. 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 by default.
Displaying Whether Media Is Available for Dynamic Relinking If you selected Relink to Offline, the clips that do not match the working resolution are colored red by default, and the Media Offline slide is displayed in the monitors. In the following example, the application is warning you that the DV 25 clips are not in the working resolution and the media is offline. n The “Relink to Offline” option does not delete the existing media.
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 by default 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 672 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, which is the default color 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 678
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Numerics 10-bit effects processing 450 10-bit Playback command (Video Quality menu) 450 1394 capturing through 144, 146 connecting devices 106 1394 button playback to DV device with 251 selecting DV device with 146 selecting output device with 526 setting video quality with 255 16:9 display for 24p and 25p editing 233 option 233 16:9 format 94 16:9 Video command (Composer window context menu) 233 16-channel audio enabling 542 24p and 25p projects creating 54 30i NTSC proje
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Align Selected to Grid command (Bin menu) 186 Align to Grid command (Bin menu) 186 Alignment title text 485 Alpha channel title creation with 477 Annotate feature 137 Anti-aliased elements in title 477 Application display updating 614 Applications command (Macintosh Go menu) 51 Applying Effect Palette Color Correction effect 509 effect templates 439 effects from Effect Palette 426 target settings for dynamic relink 657 working settings for dynamic relink 655 Archiving with
ABCDEFGHIJKLMNOPQRSTUVWXYZ Project settings, overview 120 requirements for film transfers 114 resyncing subclips 260 sample plot 371 sample rate conversion during capture 121 sample rate, changing for a clip or sequence 411 sample rate, conversion overview 411 sample rate, selecting 121 scrub, defined 366 scrub, performing smooth 368 scrub, selecting tracks for 367 scrub, solo tracks 370 settings, adjusting 120 settings, Default Pan options 391 settings, Digital Scrub options 369 solo feature, in Trim mode
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Auto-configure command (Deck Selection menu in Capture tool) 110 Auto-configure command (Deck Selection menu in Digital Cut tool) 549 Automatic color correction See Color correction Automatic opening of projects 64 Automation Gain and Pan 393 adjusting gain with sliders 393 Audio Mixer Fast menu commands 399 Audio Mixer tool sliders 397 controls in Audio Mixer tool, described 396 deleting keyframes in 395 enabling and adding keyframes in 393 keyboard shortcuts 400 moving k
ABCDEFGHIJKLMNOPQRSTUVWXYZ AVX (Avid Visual Extensions) defined 421 B Background color changing in bins 196 selecting 478 Backing up automatically to Avid Attic folder 71 media files 227 Backtiming edits 346 Bars and tone recording to tape 544 Batch Capture command (Clip menu) 153, 164, 641 Batch capturing See also Autocapturing See also Capturing See also Recapturing from logged clips 151 multiple resolutions 641 options 153 preparing for 151 procedure 153 unattended 151 Batch Import command (Clip menu) 1
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Blue indicator bars in timecode track of Timeline 448 Blue-only feature 530 Bold button (Title tool) 484 Bold command (Object menu) 484 Bold text in titles 484 Brief view in bins 184 Browse button (Select Project dialog box) 62 Browsing for projects 62 B-side (incoming frames) in trims 354, 359 Buffer size audio, adjusting 380 Buttons See listings by button name BY Gain slider adjusting for video input 130 adjusting for video output 530 Bypassing pan settings 391 C Calibr
ABCDEFGHIJKLMNOPQRSTUVWXYZ Changing background color in bins 196 frame identifying a clip 186 frame sizes in bins 186 resolution by transcoding 221 Channel selection buttons (Capture tool) 112 Check Decks command (Deck Selection menu in Capture tool) 110 Check Decks command (Deck Selection menu in Digital Cut tool) 549 Check In All Open Bins To Interplay command (Bin menu) 593 Check In Bin To Interplay command (Bin menu) 593 Check lists capture preparations 134 preparing hardware before capturing 94 Checkin
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ playing in Script view 188 playing using buttons 246 rearranging in bin Frame view 186 rearranging in bin Script view 188 renaming in Interplay Window 614 searching for 265 selecting 190 switching between 243 Timeline display colors 315 tracking duration 235 Close Bin command (File menu) 83 Close command (File menu) exiting Title tool with 491 Close Project command (File menu) 64, 80 Closed captioning and Vertical Blanking Interval 529 Closing bins 83 Project window 80 pro
ABCDEFGHIJKLMNOPQRSTUVWXYZ Consolidate/Transcode dialog box options 223 Consolidating media files described 214 master clips 215 options 223 options for 220 procedure 217 sequences 215 subclips 215 Consumer-grade video deck capturing from 130 Context menus 45 Control track breaks capturing across 151 Controller settings 402 Controller Settings dialog box 402 Controlling effects playback quality 453 real-time effects preview 450 Converting audio sample rates 411 Copy to Clipboard button 302 Copying clips and
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ templates for 102 Decompose command (Clip menu) 159 Decomposing described 157 Expert Decompose feature 157 including or excluding material 162 mixed-rate sequences 157 selecting target formats 162 sequences 157 Default Pan options (Audio settings) 391 Default Setup command (Timeline Fast menu) 319 Delete command (Edit menu) removing items from bins with 192 removing media files with 212 Delete Current Layout command (Interplay Window Layout menu) 617 Delete dialog box 192
ABCDEFGHIJKLMNOPQRSTUVWXYZ estimated render time 456 sync breaks 305 tracking information 234 Dissolve effects audio 408 creating with Quick Transition button 429 Skip Existing Transition Effects option 408, 429 Dissolve Icons command (Timeline Fast menu) 312 DNA/1394 button playback to DV device with 251 selecting DV device with 146 selecting output device with 526 setting video quality with 255 DNxHD Native command (Video Quality menu) 253 Dock Macintosh, using 45 Down Arrow key navigating with 45 Downcon
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ title text 481 titles into sequence 497 titles, overview 495 Editor Database Settings 596 Edits backtiming 346 copying to Clipboard 302 Extract 301 Extract/Splice-in (Segment mode) 331 Insert 281 Lift 300 Lift/Overwrite (Segment mode) 331 Overwrite 282 Replace 283 reviewing 358 rough cut 279 single-mark 284 Splice-in 281 undoing or redoing 280 EDL (edit decision list) and fast-saved titles 493 Effect Editor command (Tools menu) 439 Effect mode entering 435 overview 436 Eff
ABCDEFGHIJKLMNOPQRSTUVWXYZ Emptying Trash 86 Enable Clip Coloring command (MultiRez menu in Timeline) 664 Enable Track buttons (Digital Cut tool) 546 Enabling SuperBin 196 End key 248 Energy plot display (Timeline) 371 Enlarge Frame command (Edit menu) 186 Enlarge Track command (Edit menu) 314 Enlarging frames in the bin 186 tracks in the Timeline 314 Entering Effect mode 435 Segment mode 327 Source/Record mode 271 Trim mode 351 Error messages Video Underrun 450 Exit command (File menu) 65 Exiting Trim mode
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Fast Save option for titles 493 Field Motion bin column 289 Field Motion clip attribute overriding 289 Field motion types mixing and matching 284 Field-stepping mixed rate clips in draft qualities 298 File management 201 File names for Avid Projects folder 67 for Avid Users folder 67 Files batch import 179 exporting using drag-and-drop method 521 exporting, procedure for 517 exporting, reasons for 515 guidelines for moving 559 importing 170 importing, guidelines 167 import
ABCDEFGHIJKLMNOPQRSTUVWXYZ Frame Chase capture settings 149 capture, aborting 150 capture, overview 148 capture, requirements and guidelines 150 capture, update interval 149 clip duration 148 editing workflow 599 editing, limitations 600 editing, overview 598 sending sequences to playback 598 unavailable resolutions 150 Frame Chase editing 661 limitations 600 Frame offset 262 Frame rates mixing and matching 284 Frame view (bin display) arranging 186 described 186 in the Media tool 209 Frame-accurate recordi
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Headings command (Bin menu) 185 Hide Video command (Composer window context menu) 232 Hiding bin columns 185 column headings (Interplay Window) 608 Home key 248 House sync for output 527 Hue slider adjusting for video input 130 adjusting for video output 530 I IEEE 1394 command (Device submenu of Special menu) 251, 255, 526 IEEE-1394 capturing through 144, 146 connecting devices 106 Import command (File menu) 91, 170 Import Options section (Batch Import dialog box) 179 Im
ABCDEFGHIJKLMNOPQRSTUVWXYZ opening 588 permissions 604 Research panel 601 searching 621 sorting columns 608 workgroup projects 583 Interplay window Property Merge dialog box 615 Interplay Window command (Tools menu) 588, 590, 593, 597, 624 Interrupting Render On-the-Fly 446 Intraframe effects brief description 416 Italic button (Title tool) 484 Italic command (Object menu) 484 Italic text in titles 484 J J-K-L keys audio scrub with 368 changing representative frame in bin 186 playing and shuttling footage
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ entering 402 example 406 external controllers 402 switching to other Audio Mixer modes 405 Load Filler command (Clip Name menu) 275 Load Media Database command (File menu) 224 Loading filler 275 footage 242 media databases 224 Loading clips 614 Local colors assigning in the Timeline 318 displaying in Timeline 315 Locators finding text of 265 limitations with mixed-rate clips 298 Lock icon (Track Selector panel) 342 Lock Tracks command (Clip menu) 343 Locking and unlocking
ABCDEFGHIJKLMNOPQRSTUVWXYZ Media Creation command (Tools menu) 98, 100, 170, 176 Media Creation dialog box setting file format for import 170 Media databases loading 224 refreshing directories 225 Media Directory panel creating shortcuts 606 described 601 removing shortcuts 606 Media drives See also Drives selecting 98 speed limitations with real-time effects preview 448 targeting 117 Media drives, unmounting 208 Media files backing up 227 consolidating, described 214 consolidating, options for 220 consolid
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Motion Adapter effect adjusting 288 field-stepping in draft qualities 298 promoting to Timewarp 288 Motion Adapter effects defined 285 refreshing in sequences 291 Motion effects brief description 416 Motion mode indicator (Timeline) 325 Mount All command (File menu) 208 Mounting workspaces 626 ISIS v1.5 and earlier 627 ISIS v2.
ABCDEFGHIJKLMNOPQRSTUVWXYZ NTSC (National Television System Committee) video capturing audio from 114 frame size and safe title/action guidelines 477 logging and capturing 135 luminance values 533 waveform values 130 NTSC Has Setup option (General Settings dialog box) 529 NTSC-EIAJ format video output calibration 529 waveform values 130 O Offline editing SD formats for HD masters 558 OMF file format 98 preparing to export a sequence as 516 transcoding to MXF 221 OMFI MediaFiles folder backing up 227 transf
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ PAL (Phase Alternating Line) video frame size and safe title/action guidelines 477 logging and capturing 135 luminance values 533 waveform values 130 Pan adjusting in Audio Mixer tool 399 adjusting in audio tracks 388 adjustment, bypassing 391 centering 392 default settings 391 modifying values 387 automation 393 Partially online clips consolidating and deleting original media 676 restoring from an archive 677 viewing source in Timeline 675 Pasting See Copying Patching tra
ABCDEFGHIJKLMNOPQRSTUVWXYZ custom for capturing 119 custom for digital cut 550 in Trim mode playback loop 358 Preserving clipboard contents 302 Preset buttons in Video Input tool 129 Preset buttons (Video tools) 530 Prestriped tapes 543 Preview command (Object menu) 477 Preview Digital Cut button (Digital Cut tool) 549 Previewing a digital cut 549 anti-aliased titles 477 video effects, real-time 447 Processing effects in real time 447 Progressive clips mixing with interlaced 284 Project command (Tools menu)
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ in an Avid Unity environment 450 limiting to improve playback 450 Rearranging clips in bin Frame view 186 clips in bin Script view 188 Recapturing See also Autocapturing See also Batch capturing See also Capturing master clips and subclips 155 mixed-rate sequences 155 overview 155 sequences 155 using Decompose 157, 159 without Decompose 164 Record Deck Time option (Digital Cut tool) 550 Record monitor described 231 resizing 232 Recording assemble-edit 544 automation gain i
ABCDEFGHIJKLMNOPQRSTUVWXYZ Removing audio IN and OUT points 261 bins with SuperBin enabled 199 deck configuration elements 106 titles from a sequence 502 Renaming bins 82 clips in Interplay Window 614 Render at Position command (Clip menu) 456, 457, 461 Render Effect button 456 Render In/Out command (Clip menu) 458, 461 Render On-the-Fly described 446 interrupting 446 using 446 Render On-the-Fly command (Special menu) 446 Rendered effects viewing in bins 495 Rendering after real-time playback attempt 466 cl
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Revising titles in a bin 494 Rewind button 246 moving between audio keyframes with 400 Right Arrow key moving through footage with 248 navigating with 45 Right-click menus 45 Rollers See Trim mode Rolling titles See also Crawling titles See also Titles duration 497 playback limitations 501 setting marks in 497 trimming 501 Rough cuts creating 279 RY Gain slider adjusting for video input 130 adjusting for video output 530 S Safe Color Settings button 513 Safe Color Setting
ABCDEFGHIJKLMNOPQRSTUVWXYZ performing 621 remote assets attributes 623 saving 624 Text attribute 623 Time attribute 623 Types attribute 623 Segment Drag Sync Locks option (Timeline settings) 330 Segment effects defined 416 deleting 433 fading 429 Segment Mode editing guidelines 326 deleting segments 334 extracting/splicing in 331 four-frame display, described 329 four-frame display, suppressing 330 lifting/overwriting in 331 marking segments 335 Segment Drag Sync Locks option 330 using 325 workflow 325 Segm
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ playback loop in 304 playing 304 playing using buttons 246 preparing for export 516 promoting and demoting effects 424 recapturing 155 recapturing without Decompose 164 refreshing Motion Adapter effects 291 removing titles from 502 renaming 274 replacing titles in 502 reviewing 304 rough cut 279 searching for 265 searching remote assets 623 selecting 190 setting up 273 title editing in 497 transcoding 221 Serial digital input calibrating 128 Serial digital output calibrati
ABCDEFGHIJKLMNOPQRSTUVWXYZ Single-layer effects defined 416 Single-mark editing 284 Single-Mark Editing option (Composer settings) 284 Site settings moving between systems 574 Size of effect source media 434 Skip Existing Transition Effects option 408, 429 Small Trim mode described 347 switching with Big Trim mode 353 Smooth audio scrub compared to digital audio scrub 366 performing 368 SMPTE bars 530 SMPTE timecode formats for entering 262 Snapping to transitions in Timeline 325 Solo track monitoring in Ti
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Subclips See also Clips See also Master clips audio sync for 24p and 25p 260 consolidating 215 copying 191 creating 259 deleting 192 duplicating 191 handles 259 locating a master clip from 268 moving 191 recapturing 155 searching remote assets 623 selecting 190 Submaster effect alternative to ExpertRender 462 minimizing rendering with 455 Subsequences creating 260 Substituting title fonts 569 SuperBin closing 197 copying clips and sequences in and out of 199 deleting bins
ABCDEFGHIJKLMNOPQRSTUVWXYZ Three-button play (J-K-L keys) 249 Timecode changing 274 finding frames with 262 formats for entering SMPTE standard 262 time-of-day, capturing with 144 Timecode track (Timeline) real-time playback information 448 Timeline adding new tracks to 344 adjusting volume in 393 assigning local colors to 318 automation gain keyframes in 395 clip coloring for MultiRez 664 controlling movement in 325 copying and pasting in 336 creating views 319 customizing 309, 312 cutting in 336 deleting
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ brief description 416 color of background 478 creating color background for 477 dragging into Timeline 499, 500 editing into a sequence 497 editing, overview 495 effect clips, described 495 fading 502 fast saving 493 fast-saved, and EDLs 493 italic text in 484 kerning of text in 486 overview of creation 473 previewing 477 removing from a sequence 502 replacing in a sequence 502 revising in bin 494 saving 491 saving multiple 492 saving with keyboard shortcut 492 saving, ove
ABCDEFGHIJKLMNOPQRSTUVWXYZ Skip Existing Transition Effects option 408, 429 Transitions selecting additional for trimming 356 selecting for trimming 356 Trash emptying 86 moving bins from 85, 85 viewing contents of 85 Tri-level command (Sync Lock menu in Video Output tool) 527 Tri-level sync for output 527 HD formats 527 Trim settings, basic information 350 Trim A-side button 354 Trim B-side button 354 Trim Left 1 Frame button 442 Trim Left 10 Frames button 442 Trim mode basic trimming procedure 357 Big, de
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ User files restoring from backup 70 User profiles items created by system 67 Users folder See Avid Users folder V Variable-speed play 249 VBI (Vertical Blanking Interval) preserving information 529 Vectorscope monitor using 130 VHS decks capturing from 130 Video background, updating in Title tool 478 display buffer, prefilling 450 display card and effects processing 450 display settings, selecting 239 hiding in monitors 232 input, adjusting chrominance settings for 130 in
ABCDEFGHIJKLMNOPQRSTUVWXYZ Wide-screen format (16:9) 94 Windows Composer 231 Interplay 588 Project 79 Windows taskbar 44 Work environment (Toolset) 76 Workflows conforming and transferring projects 563 editing a sequence 38 editing overview 33 MultiRez and Dynamic Relink 652 outputting a sequence 40 preparing to edit 36 Segment mode 325 starting a project 34 Workgroup environment working with Avid Interplay 203 working with media files 202 Workgroup settings 586 Workgroups configuring Interplay Server setti
Index 714 ABCDEFGHIJKLMNOPQRSTUVWXYZ
