Avid® Media Composer® Advanced Guide m a k e m a n a g e m ove | m e d i a ™ Avid ®
Legal Notices Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement.
The following disclaimer is required by the Independent JPEG Group: This software is based in part on the work of the Independent JPEG Group. This Software may contain components licensed under the following conditions: Copyright (c) 1989 The Regents of the University of California. All rights reserved.
The following disclaimer is required by Videomedia, Inc.: “Videomedia, Inc. makes no warranties whatsoever, either express or implied, regarding this product, including warranties with respect to its merchantability or its fitness for any particular purpose.” “This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc.
Pinnacle Studio MovieBoard, Pinnacle Systems, ProEncode, ProServices, ProSessions, Pro Tools, QuietDrive, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, RetroLoop, rS9, rS18, Salesview, Sci-Fi, Scorch, Scorefitter, ScriptSync, SecureProductionEnvironment, Session, Show Center, Sibelius, SIDON, Soft SampleCell, Soft-Clip Limiter, Sound Designer II, SPACE, SPACEShift, SpectraGraph, SpectraMatte, Sputnik, Starplay, SteadyGlide, Streamfactory, Streamgenie, StreamRAID, Strike, Structure, Stu
Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Accessing the Online Library . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Accessing the Goodies Folder . . . . . .
Switching Between Workspaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Deleting a Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Assigning a Workspace Button . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 Working with Bins and Projects in an Avid Unity Environment. . . . . . . . . . . . . . . . . 65 Understanding Avid Unity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using the Hardware Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 External Controllers as Editing Control Surfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Chapter 3 Logging: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Using Avid Log Exchange to Prepare Log Files for Import . . . . . . . . . . . . . . . . . . . . 87 Converting Log Files with Avid Log Exchange (Windows) . . . . . . . . . .
Entering Additional Timecodes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 Entering Ink Numbers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Exporting Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 Chapter 4 Capturing Media: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 Advanced Capture Settings . . . . . . . . . . . . . . . . . . . . . . . .
Saving Calibration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Saving a Custom Default Setting for the Video Input Tool . . . . . . . . . . . . . . . . 155 Adjusting Video Levels for Tapes Without Color Bars . . . . . . . . . . . . . . . . . . . 156 Using Capture Function Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Special Capture Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Setting up Your System for Remote Punch-In. . . . . . . . . . . . . . . . . . . . . . . . . 174 Using Serial Drivers with Remote Play and Capture (Windows Only). . . . . . . 176 Relinking Clips by Key Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Modifying the Pulldown Phase After Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . 180 DV and HDV Scene Extraction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Selecting Media Relatives for an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Selecting Sources Used by an Object . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Selecting Unreferenced Clips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Text View: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 Manipulating Bin Columns . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Changing Restriction Comments. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Searching the Database for Restrictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237 Printing Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 Digital Bars and Tone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 Importing Color Bars and Other Test Patterns . . . . . . . . .
The Avid Media Access (AMA) Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 Selecting the AMA Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 Viewing Installed AMA Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Understanding Linking with AMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 Linking Media with AMA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 8 Managing Media Files: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 Finding a Related Media File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 Relinking Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 Relink Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 Relinking and New Project Formats . . . . . . . . . .
Cutting, Copying, and Pasting Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321 Removing Script Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 Searching Through Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 Using Page and Scene Numbers in the Script Window . . . . . . . . . . . . . . . . . . 322 Conducting a Text Search in the Script Window . . . . . . . . . . . . . . . . . . . . . .
Finding Clips and Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342 Finding Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342 Finding Clips and Bins from the Script Window. . . . . . . . . . . . . . . . . . . . . . . . 342 Editing From the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343 Assembling a Rough Cut From the Script Window . . . . . . . . . .
Sequence and Clip Information Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367 Creating a Summary of Effects and Source Information. . . . . . . . . . . . . . . . . . . . . 368 Chapter 11 Creating and Editing Sequences: Advanced. . . . . . . . . . . . . . . . . . . . . 373 User Preferences for Creating Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374 Phantom Marks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Navigating in the Timeline: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 Using the Full-Screen Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 Displaying Source Material in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 IN to OUT Highlighting in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395 Advanced Timeline Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 14 Working with Audio: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421 Audio Gain Staging and an Audio Editing Workflow . . . . . . . . . . . . . . . . . . . . . . . . 422 Rendering and Unrendering Order for Audio Effects . . . . . . . . . . . . . . . . . . . . 423 Viewing Clip Gain and Automation Gain Values . . . . . . . . . . . . . . . . . . . . . . . 424 Bypassing Existing Volume Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Switching Between MIDI Connections on the USB-to-MIDI Converter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 Troubleshooting MIDI Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 Using the FaderMaster Pro and MCS-3000X. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446 MCS-3000X Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 Using the Snap Mode Feature on the MCS-3000X . . .
Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466 Connecting Voice-Over Recording Hardware . . . . . . . . . . . . . . . . . . . . . . . . . 467 Understanding the Audio Punch-In Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467 Audio Punch-in Tool Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467 Audio Punch-in Tool Scenarios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using AudioSuite Effect Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491 Using AudioSuite Plug-Ins in Stereo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 492 AudioSuite Plug-in Limitations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493 Troubleshooting AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493 Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Pitch Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527 Time Shift AudioSuite Plug-In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 529 Non-Core AudioSuite Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 533 Chapter 16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Creating a Custom Video Profile for Windows Media Export (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 577 Creating a Custom Audio Profile for Windows Media Export (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578 Exporting as Windows Media Using a VC1 Resolution . . . . . . . . . . . . . . . . . . 580 Exporting Tracks As Audio Files . . . . . . . . . . . . . . . . . . . . . . . . . . .
Vertical Blanking Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 605 Vertical Blanking Interval Line Ranges. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 606 Displaying and Preserving Vertical Blanking Information. . . . . . . . . . . . . . . . . 606 Editing a Sequence with Vertical Blanking Information . . . . . . . . . . . . . . . . . . 608 Effects of Preserving Vertical Blanking Information on Compressed Video Quality. . . . . . . . . . . . .
Chapter 19 Using Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633 Using the Settings List . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635 Understanding Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 635 Defining Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 639 Viewing Settings . . . . . . . . . . . . . .
Correction Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 671 Correction Settings: Features Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 672 Correction Settings: AutoCorrect Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 673 Deck Configuration Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 674 Deck Settings . . . . . . . . . . . . . . . . . . . . . . . . . .
Grid Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714 Grid Settings: Coordinates Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714 Grid Settings: Display Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 715 Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 716 Import Settings: Image Tab . . . . . . . . . .
Timeline Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740 Timeline Settings: Display Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 740 Timeline Settings: Edit Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741 Trim Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 741 Trim Settings: Play Loop Tab . . . . . . . .
Compression and Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773 Resolution Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773 Resolution Specifications: HD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 773 Resolution Specifications: JFIF Interlaced . . . . . . . . . . . . . . . . . . . . . . . . . . . 776 Resolution Specifications: JFIF Progressive . . . . . . . . . . . . . . . . . . .
25p Workflow: 25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 805 Offline Workflow: 25-fps Film or HDTV Source, SDTV Downconversion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807 Online Workflow: 25-fps Film or HDTV Source, SDTV Downconversion, Multiformat Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 23 Working with Stereoscopic Material. . . . . . . . . . . . . . . . . . . . . . . . . . . . 833 Acquiring Stereoscopic Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 834 Setting Up Your System For Viewing Stereoscopic Material in Three Dimensions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 834 Displaying Stereoscopic Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Outputting HDV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 860 Long-GOP Splicing for HDV Encoding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 861 Exporting to an HDV Device. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 861 Outputting HDV through Avid Input/Output Hardware . . . . . . . . . . . . . . . . . . . 862 Exporting an HDV Transport Stream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 26 Using the MCS3 Controller . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881 Configuring the MCS3 Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 881 Using the Default Button Mappings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 882 Mapping MCS3 Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 884 Configuring a Shifted Button . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide This guide contains all the advanced task-oriented instructions and conceptual information you need to use the capture, editing, and output features of your Avid editing application, as well as information about file format specifications, and other supplementary information. The Basics Guide for your Avid editing application is a companion to this Advanced Guide. It contains all the basic task-oriented instructions and conceptual information you need to get started using the product.
Symbols and Conventions Avid documentation uses the following symbols and conventions: Symbol or Convention Meaning or Action n A note provides important related information, reminders, recommendations, and strong suggestions. c A caution means that a specific action you take could cause harm to your computer or cause you to lose data. w > A warning describes an action that could cause you physical harm. Follow the guidelines in this document or on the unit itself when handling electrical equipment.
If You Need Help If You Need Help If you are having trouble using your Avid product: 1. Retry the action, carefully following the instructions given for that task in this guide. It is especially important to check each step of your workflow. 2. Check the latest information that might have become available after the documentation was published: - If the latest information for your Avid product is provided as printed release notes, they are shipped with your application and are also available online.
To access the Online Library, do one of the following: t From your Avid editing application, select Help > Online Library t (Windows only) From the Windows desktop, select Start > All Programs > Avid > Avid editing application > Online Library t Browse to the Online Library folder, and then double-click the MainMenu file. The Online Library folder is in the same location as the application itself, for example: (Windows) C:\Program Files\Avid\Avid editing application\Online Library (Macintosh) Macintos
1 Working with the Project Window: Advanced 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.
1 Working with the Project Window: Advanced User Profiles You can establish different profiles for a single user. User profiles allow you to switch between settings without having to log out of your system and log back in under a different user name. User profiles allow you to establish separate settings for different editing functions. User “Jane,” for example, can have separate profiles for “Audio editor,” “Film editor,” or for “Assistant 1,” “Assistant 2,” and so on.
Managing User Profiles n When exporting User Profiles in an Avid Unity™ environment, make sure the workspace containing the user profile has the same drive letter on all systems. n Cross-platform (Macintosh to Windows or Windows to Macintosh) user profiles can not be shared. • Update a user profile with the Update User Profile option, which lets you add user settings, such as the Send To settings options, to an existing Settings list.
1 Working with the Project Window: Advanced To import user settings from another user or user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection menu, and select another user profile. 3. The new user profile name appears in the Project window title bar. To return to the original user profile: 1. Click the Settings tab in the Project window. 2. Click the User Profile Selection menu, and select the default user profile.
Folders and Bins 2. Do one of the following: t (Windows) Press the Delete key, then click OK in the dialog box that appears. t (Macintosh) Drag the folder to the Trash. 3. Empty the Recycle Bin (Windows) or the Trash (Macintosh) to remove the files from the system. 4. Close the windows, and restart your Avid editing application. The deleted user no longer appears in the Select Project dialog box.
1 Working with the Project Window: Advanced - Create a third set of bins for the editing stage, including: A current cut bin for storing each work in progress (sequence) An archive bin for keeping the original version of each cut (sequence) A selects or storyboard bin for screening selected clips or cuts gathered from the source bins A format cuts bin for storing the final cuts with added format elements such as segment breaks, color bars and tone, slate, or countdown • (Option) Create additional folder
Folders and Bins Creating a Folder in a Project To create a folder in a project: 1. Click the Bins tab in the Project window. 2. Click the Fast Menu button, and select New Folder. A new untitled folder appears. 3. Click the untitled folder name in the Bins list and rename it. Managing Bins and Memory System memory usage increases depending on how many bins you have open, the number of sequences in a bin, the number of tools that are open, and the size of a sequence.
1 Working with the Project Window: Advanced Saving Bins Automatically Your Avid editing application automatically saves changes to your work on a regular basis during each session. You can modify the frequency of the automatic backups by using the Bin settings in the Project window Settings list. When you are working with bins, an asterisk (Windows) or a diamond (Macintosh) appears before the bin name in the bin’s title bar.
Using the Info Display to View Memory Information and Access the Hardware Tool Adjusting Automatic Saves To adjust the frequency of automatic saves: 1. In the Project window, click the Settings tab, and then double-click Bin. The Bin Settings dialog box opens. 2. Type a number in the Auto-Save interval text box. 3. Click OK.
1 Working with the Project Window: Advanced To display system memory information: t Click the Info tab in the Project window, and then click the Memory button. The Memory window opens. The following table describes the information your Avid editing application displays in the Memory window: Item Description Objects The total number of memory handles currently used by your Avid editing application.
Usage Information Usage Information The Statistics feature gathers and reports information on system usage. You can use this information to support business functions such as resource management. All statistics are gathered and reported by project. The file that contains this information is formatted so you can use it as input to software programs such as analysis applications, spreadsheets, or report generators. c Do not rely on the Statistics feature for billing or other financial purposes.
1 Working with the Project Window: Advanced The statistics file is formatted as comma-separated ASCII text, so it can be accepted by a variety of software programs. Each line in the file is tagged with indicators for identifying content and data type to assist in programming custom applications. The following illustration shows a sample Statistics file.
Usage Information The values in the first column indicate the content of the line: 01 title1 02 title2 03 Title Only 100 project info 101 Time Project open 102 Capture tool open 104 Capture tool active 105 Captured Media bytes used 106 Rendered Effects bytes used 110 Effects rendering time 111 Title tool open 113 Title tool active 114 Title tool rendering 115 Capture tool capturing 116 Capture tool logging 117 user comments The values in the second column indicate the type o
1 Working with the Project Window: Advanced To import a Statistics file into Microsoft Excel: 1. Start Microsoft Excel. 2. Select File > Open, and navigate to the Statistics file you want to import. (Windows only) Make sure All Files (*.*) is selected in the Files of Type list. 3. Click Open. The Text Import wizard starts. 4. Select Delimited for the Original Data Type, and click Next. 5. Select Comma for Delimiters, and click Next. 6. Select General for Column Data Format. 7. Click Finish.
Customizing the Avid User Interface Displaying Disk Space Statistics To improve system performance, statistics for disk space (captured media and rendered effects) are not calculated and are not displayed in the Usage window unless you issue a Console command. To display disk space statistics in the Usage window: 1. Select Tools > Console. 2. In the command entry text box, type: toggleStatSpace 3. Press Enter (Windows) or Return (Macintosh). 4. Select File > Load Media Database.
1 Working with the Project Window: Advanced Changing Interface Component Colors You can use a color selection grid to change the color of interface components. n The Settings list has several Interface templates with predefined color schemes. For information about using the Interface templates, see “Using Interface Appearance Templates” on page 58. To set the color of an interface component: 1. In the Project window, click the Settings tab, and then double-click Interface.
Customizing the Avid User Interface 5. Do one of the following: t Click Apply to apply the changes you selected. If you click Cancel after you click Apply, interface components retain the colors you applied. t Click OK to close the dialog box and put the new setting into effect. t Click Cancel to close the dialog box. The changes you selected but did not apply do not take effect. Changing Button and Toolbar Styles You can control the shading style and depth of buttons and toolbars.
1 Working with the Project Window: Advanced Control Description Options Shading Style Controls the graphic style used to shade buttons and toolbars.
Customizing the Avid User Interface To use an interface appearance template: t Click to the left of one of the named Interface settings in the Settings list in the Project window. The look of your Avid user interface changes. To return to the default interface: t n Click to the left of the unnamed Interface setting. For information on how to change the appearance of particular components of your Avid user interface, see “Customizing the Avid User Interface” on page 55.
1 Working with the Project Window: Advanced 3. Click the Font menu, and select a font. n Any font installed on the Avid system appears in the list. For information on adding fonts to your system, see the documentation for your operating system. 4. Type another point size for the font in the Size text box. 5. Click OK. The new font and point size appear in the active window. When you close the window, the last font and point size applied are saved with the window.
User-Customized Workspaces In addition, see the following topics for more information on customizing your workspace: • Linking User Settings and Workspaces • Deleting a Workspace Creating a New Workspace Setting To create a new workspace setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Scroll to the bottom of the Settings list, and select Workspace. 3. Select Edit > Duplicate. A new workspace setting appears in the Settings list.
1 Working with the Project Window: Advanced 6. Double-click the custom workspace setting. The Workspace Settings dialog box opens. 7. Select or deselect the following options, depending on your preference for the behavior of the workspace: Option Description Activate Settings Linked by Name This setting allows you to link other settings to the workspace. For more information, see “Linking User Settings and Workspaces” on page 62.
User-Customized Workspaces 4. Give this Timeline View setting the same name you gave the workspace in step 2. For information on naming a Timeline view, see “Managing Customized Timeline Views” in the Help. 5. Double-click another setting, (for example, Audio). Select the new options, (for example, Default Pan), and close the dialog box. 6. Give this setting the same name you gave the workspace in step 2. Linked setting Linked setting Linked workspace 7. Double-click the workspace you just created.
1 Working with the Project Window: Advanced Deleting a Workspace To delete a workspace: 1. Select the workspace you want to delete from the Settings list in the Project window. The workspace is highlighted. Make sure a check mark does not appear next to the workspace you want to delete. You cannot delete an active workspace. 2. Press the Delete key. The selected workspace is removed from the Settings list. Assigning a Workspace Button To assign a workspace button: 1.
Working with Bins and Projects in an Avid Unity Environment 5. Click a workspace button (W1 – W8), and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard setting. The workspace button appears in the new location. The buttons are assigned to the workspaces in the Settings list in the Project window in the order that they appear.
1 Working with the Project Window: Advanced Understanding Avid Unity Avid Unity MediaNetwork and Avid Unity ISIS allow you to share bins and projects across the network. When you place your bins and projects on Avid Unity workspaces (drive volumes), several users can work on the same project at the same time. For example, an editor can create sequences in one bin while an assistant recaptures media in another bin. At the same time, other users can add audio effects or titles to other bins in the project.
Working with Bins and Projects in an Avid Unity Environment Sharing Bins and Projects in Avid Unity If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). Your Avid editing application identifies information from each computer using the shared workspace as follows: • Creates a project folder for each computer that accesses the project.
1 Working with the Project Window: Advanced Opening a Shared Project To open an existing project on the shared volume: 1. Start your Avid editing application. 2. In the Select Project dialog box, navigate to the project on Avid Unity. The Project window opens. For a description of the elements specific to Avid Unity in the Project window, see “Sharing Only Bins in Avid Unity” on page 66 and “Sharing Bins and Projects in Avid Unity” on page 67. 3. Open one of the bins by double-clicking the Bin icon.
Working with Bins and Projects in an Avid Unity Environment If one user has the lock and another user has the same bin open, when the first user closes the bin, the second user must close and reopen the bin to get the lock. You can instruct your Avid editing application to keep a bin locked even after you close it. You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin.
1 Working with the Project Window: Advanced • You cannot move a bin that is locked by another user. • If you modify a locked bin, your Avid editing application does not let you save the bin to the same name, but it allows you to save the bin to another name. However, this causes duplicate bin IDs and might cause system-level conflicts with the contents of the two bins.
Working with Bins and Projects in an Avid Unity Environment • Avoid using Windows Explorer to examine, copy, or manipulate shared bin files or shared project folders or their contents when editors are using those files or folders. If you do, editors attempting to access those shared bins or projects may experience delays accompanied by a progress dialog that says, “Filesystem busy, retrying (MESSAGE),” where MESSAGE is replaced by a specific message identifying the action that is being retried.
1 Working with the Project Window: Advanced Shared Bin Lock Icon Limitation Occasionally, when two editors attempt to open a shared bin at the same time, both editors get the green lock icon. However, only one editor really has the lock, and that editor's machine name appears beside the bin name in both Project windows. Both editors can modify their copies of the bin, but only the editor that holds the lock, as indicated in the Project window, can save that bin.
Working with Bins and Projects in an Avid Unity Environment There are several ways for you to work around this issue. First, adjust the drive filtering settings when switching environments, either by opening the Media Creation Setting and switching the drive filtering settings or by creating multiple Media Creation Settings and switching the active setting whenever you shift environments.
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2 Using Tools The Tools menu in your Avid editing application provides quick access to essential tools that you can use in your projects. In addition to the tools available from the Tools menu, you can also add a controller to your system that you can use as an alternative to your keyboard and mouse for editing footage.
2 Using Tools Deck Controller Window Reference Timecode indicator Logging controls Close button Timecode display Delete Mark IN Delete Mark OUT Timecode display Deck controls Deck Selection menu Tape Name button Eject Mark IN Mark OUT Clear Memory button Go To Memory button Each deck controller includes the following elements: • n 76 The Timecode display provides information about the control status of the tape deck, as follows: - If the deck is properly connected and power is on, the deck contr
The Command Palette • The deck controller allows you to associate a tape name with the controller by clicking the Tape Name button and selecting a tape in the Select Tape dialog box. For more information, see “Selecting a Source Tape” in the Help. • Logging controls allow you to log IN and OUT marks while cueing your tape. For more information on logging, see “Logging Directly into a Bin” on page 108.
2 Using Tools n For information about each button in the Command palette, right-click (Windows) or Ctrl+Shift+click (Macintosh) a button and select What’s This? from the menu. For more information on logging with the Capture tool, see “Logging Directly into a Bin” on page 108. Understanding Button Mapping Mapping user-selectable buttons allows you to reconfigure Tool palettes, toolbars, or the keyboard in various combinations to suit different editing needs.
The Command Palette When you remap buttons or commands, the system immediately saves your new configuration in one of the default settings that you can open from the Project window. You can also save, rename, and recall multiple versions of any of these settings to serve various purposes. For more information on multiple settings, see “Working with Multiple Settings” on page 643.
2 Using Tools The Blank Button The button in the Other tab of the Command palette allows you to replace a defined button with an undefined button. If you do not need a specific button on the Tool palette, you can replace this button with a Blank button. For more information on mapping the Blank button to a new location, see “Mapping User-Selectable Buttons” on page 79. Modifier Keys You can add modifier keys to functions already associated with keys and buttons.
The Command Palette To map menu commands: 1. Open a window that has user-selectable buttons by doing one of the following: t Activate a monitor in the Composer window. t Click a button, and drag the Tool palette to open it. t Open a clip in a pop-up monitor. t Enter Trim mode in the Composer window. t Open the Keyboard palette from the Settings list in the Project window. 2. Select Tools > Command Palette. The Command palette opens. 3. Select Menu to Button Reassignment. 4.
2 Using Tools Using the Avid Calculator The Avid Calculator helps you calculate video and film durations, and convert timecode and film key numbers to different formats. For example, you can: • Convert drop-frame to non-drop-frame timecode values. • Convert timecode durations between 30-fps and 25-fps projects. • Convert a duration in video to the corresponding length in footage and frames for measuring 35mm film. To use the Avid Calculator: 1. Select Tools > Calculator. The Avid Calculator opens.
The Console Window c Do not use the programming features of the Console without guidance from Avid professionals. Contact your Avid Reseller with specific questions. (In North America, you can contact Avid Customer Support.) Displaying System Information in the Console Window To display current system information: 1. Select Tools > Console. The Console window opens. 2. Scroll in the Console window to view your system information and ID.
2 Using Tools Using the Console Window to Access Network Drives Your Avid editing application can access network drives that you have mapped to your Avid editing system. Once your network drives are mapped, typing the appropriate console command displays the mapped drive letter in the appropriate tools in the Avid editing application. n For information about mapping dives to your computer, see your Windows or Macintosh documentation.
Using the Hardware Tool Using the Hardware Tool The Hardware tool provides the following information about the system’s hardware configuration: • n The Drives tab lists each online drive. The shaded portion of the bar graph to the right of each drive shows the amount of storage space currently filled. The number in the bar graph indicates the amount of available drive storage space for each drive.
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3 Logging: Advanced When you import shot log files or log directly into a bin, you provide your Avid editing application with frame-accurate clip information used to capture the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.
3 Logging: Advanced The ALE utility allows you to: • Modify the text in a log file (Windows only). • Convert log files of different formats to ALE files. See “Log Formats Compatible with Avid Log Exchange” on page 95. • Convert an ALE file to either an ATN or FLX file. Any options you set in the ALE utility are saved each time you close the ALE utility. When you are converting an ATN file that contains multiple sections to an ALE file, multiple ALE files are created.
Using Avid Log Exchange to Prepare Log Files for Import 6. Depending on the type of file you are opening, one of the following occurs: - If the file type is recognized by the ALE utility, the file appears in the Avid Log Exchange window. - If the file type is not recognized, the Select File Type dialog box opens. Select the type of file you are converting and click OK. - If the file does not contain the Windows line-ending format, then the Line Endings dialog box opens.
3 Logging: Advanced 8. Select Options > Clean if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips. By default, Clean is selected. When you select Clean, the utility changes the end timecode of a previous event to be less than that of the following event. 9. If you selected Clean, you can also select Options > Relaxed to prevent the deleting of events that come earlier in the transfer. Relaxed is not set by default.
Using Avid Log Exchange to Prepare Log Files for Import 12. Select File > Close. If you made changes in the editor, a message box opens. 13. Click Yes. The converted file is stored in the same folder as the original log file. Using Drag-and-Drop Conversion for Log Files (Windows) Use this shortcut to convert files into an ALE file. n If the log file is a Final Cut Pro, Cinema Tools, or a Tabbed shot log file, you cannot use drag-and-drop conversion.
3 Logging: Advanced - If the file type is an ALE file, the ALE Convert Type dialog box opens. Select a file type for the converted output file and click OK. A message box opens, indicating the conversion was successful. 7. Click OK to close the message box. The converted files have the same file names as the original files, except the file name extension matches the converted file format. For example, the .ale file name extension is added to the new file names for the Avid format.
Using Avid Log Exchange to Prepare Log Files for Import 2. Select the type of file you want to convert from the Input list. If you are not sure of the type of file, select the Automatic option. ALE will determine the type of file based on the file name. For a list of supported file types, see Log Formats Compatible with Avid Log Exchange. 3. Select the type of file you want to create from the Output list. The default output selection is the Avid Log Exchange (.ale) format.
3 Logging: Advanced 11. Click the button for the selected file type. A message box opens. 12. Do one of the following: t Click the This File Only button to convert only the file you selected to the format you selected. t Click the All Files button to convert all files you select in this session to the format you selected. If you click All Files, the message boxes will not open the next time you double-click a file. ALE stores the converted file in the same folder as the original input file.
Using Avid Log Exchange to Prepare Log Files for Import Avid Log Exchange Stores ASC Color Decision List (CDL) Parameters Avid Log Exchange can now store ASC_SOP (American Society of Cinematographers Slope, Offset and Power) and ASC_SAT (American Society of Cinematographers Saturation) parameters. To view the ASC_SOP and ASC_SAT parameters in the Avid editing application: 1. In the editing application, with a bin in Text view, select Bin > Headings. 2. Click to select ASC_SOP and ASC_SAT. 3.
3 Logging: Advanced Log Format Requirements File Name Extension Keyscope Conversion required .ksl Log Producer™ Conversion required .llp Log right Import directly .ale OSC/R (Macintosh® only) Conversion required .asc OLE (Windows only) Conversion required .odb Shotlister Import directly .ale Tab Delimited Conversion required .txt Avid Log Specifications You can prepare an Avid log on any Windows or Macintosh computer by using a word processing application or a text editor.
Avid Log Specifications • A is also surrounded by angled brackets, but it is italicized. For example, is the data entry for the Start Title; type the correct timecode, in the format 08:19:10:00 (or 08;19;10;00, for drop-frame timecode). • [Tab] and [Enter] (Windows) or [Return] (Macintosh) keys are surrounded by standard brackets. • A column contains the word “Required” if the Title must be included in the log.
3 Logging: Advanced TAPE [Tab] [Enter] or Required [Return] Name of the videotape reel you are logging. If you omit this Title, the file name becomes the global tape name. You can override this for individual clips. FPS [Tab] <23.98> <24> <25> <29.97> [Enter] or Required [Return] Capture rate is 23.98 fps (23.978 fps) for NTSC, 24 fps for NTSC or PAL, 25 fps for PAL, or 29.97 fps for NTSC.
Avid Log Specifications Start [Tab] Required Title for video timecode of sync point — the timecode IN for clip. From address track of video. End [Tab] Required Title for timecode OUT for clip. From address track of video. Audio [Tab] Title for the audio resolution (sample rate). If omitted, the global entry for AUDIO_FORMAT applies. Auxiliary Ink [Tab] Title for a second ink number used for the clip. Auxiliary TC1 [Tab] Title for auxiliary timecode.
3 Logging: Advanced Perf [Tab] Title for the film-edge perforations format used for 3-perf projects. Pullin [Tab] Title for the telecine pulldown of the first frame of the clip (pulldown phase). Pullin can have the values A, B, C, or D. Pullout [Tab] Title for the telecine pulldown of the last frame of the clip (pulldown phase). Pullout can have the values A, B, C, or D. Reel # [Tab] Title for the source reel number. Scene [Tab] Title for the scene number of the clip.
Avid Log Specifications Data Entries The data entries come after the Custom column Titles. The following table shows the format for entering data. Enter a line of data in this format for every clip. Be sure to start the data section for each clip with the word Data [Enter] (Windows) or Data [Return] (Macintosh). DATA Titles: The word Data marks the start of the data for each clip. Data [Enter] or Required [Return] Enter the word Data to mark the start of the logged clip entries.
3 Logging: Advanced [Tab] Under Camroll Title. Identify the camera roll, using letters and numbers. [Tab] Under Duration Title. Enter the length of the video clip, Start to End. <23.98> <24> <25> <29.97> [Tab] Under FPS Title. Enter the video capture rate for this clip only. If omitted, the global entry applies. Use 23.98 fps (23.978 fps) for NTSC, 24 fps for NTSC or PAL, 25 fps for PAL, or 29.97 fps for NTSC. [Tab] Under Film TC Title.
Avid Log Specifications [Tab] Under Scene Title. Identify the scene, using letters and numbers. [Tab] Under Shoot Date Title. Identify the date the footage was shot, in numbers or in letters and numbers. [Tab] Under Sound TC Title. Identify the sound timecode at the sync point. Syncs with the Start timecode. [Tab] Under Soundroll Title. Identify the sound roll, using letters and numbers. [Tab] Under TC 24 Title.
3 Logging: Advanced Heading [Enter] Windows FIELD_DELIM [Tab] TABS [Enter] VIDEO_FORMAT [Tab] NTSC [Enter] AUDIO_FORMAT [Tab] 44kHz [Enter] TAPE [Tab] 001 [Enter] FPS [Tab] 29.
Creating an Avid Log Creating an Avid Log You can use any word processing application or text editor to create Avid logs. However, you must save the file as a text document (ASCII format). When logging manually, you should do the following: • Identify the source tape for each shot. • Document each clip’s name, start timecode, and end timecode. • In the case of NTSC transfer tapes for film projects, you must supply pulldown information in the Pullin column of the bin before you can capture.
3 Logging: Advanced Double-Checking Log Files When importing shot logs for video, your Avid editing application compares the video duration to the video out minus the video in. When importing film shot logs, the system compares the key number out minus the key number in. If the system detects a discrepancy, it reports the error to the Console and does not bring the clip into the bin.
Transferring Bins from MediaLog 3. Open the project folder in which you want to store the MediaLog bins. This folder is usually located in the Avid Projects folder. For information about the location of the Avid Projects folder, see “Using the Avid Projects and Avid Users Folders” in the Help. 4. Double-click the My Computer icon and double-click the storage device or disk icon. 5. Ctrl+click the bins in the storage device or disk window, and select Edit > Copy. 6.
3 Logging: Advanced Logging Directly into a Bin You can log clips directly into a bin by using the Capture tool in one of two ways described in this section: • Log directly into a bin with an Avid-controlled deck for semiautomated data entry. • Log manually during or after viewing of footage offline with a non-Avid-controlled deck or other source.
Logging Directly into a Bin Naming Tapes When entering tape names in the Capture tool, consider the following: n • Tape names must be alphanumeric characters (A to Z, 0 to 9). They can include uppercase and lowercase characters. The maximum length of a name is 32 characters. • It is possible to have a single tape listed as several different tapes if you alter the case of the letters. For example, if you type a single name as TAPE, Tape, and tape on three different occasions, all three names appear.
3 Logging: Advanced To log clips directly into a bin from an Avid-controlled deck: 1. Make sure the deck is properly connected and turned on. 2. Open the bin where you want to store the clips. 3. Select Tools > Capture. The Capture tool opens. Playback from the deck is displayed in the Client monitor.
Logging Directly into a Bin 6. Insert your tape into the deck. The Select Tape dialog box opens. You can select the option “Show other project’s tapes” to display the tape names and associated project names for all bins that have been opened in the current session. New tape name List of tapes Show Tapes option Because the media file database does not open when you start your Avid editing application, tape names of all online media files do not appear automatically.
3 Logging: Advanced 8. Set either an IN point or an OUT point for the clip you want to log using one of the following methods: t If you want to keep the deck running while you log: Start the deck. At the point where you want to start the clip, click a Mark IN button (you can use either the Mark IN button in the upper left of the Capture tool or the Mark IN button in the lower right) or press the F4 key. The deck continues to play.
Logging Directly into a Bin t If you want to log using timecode: Type a timecode for the clip’s IN point, OUT point, or duration in the timecode text boxes next to the corresponding icon.Then enter the mark by pressing the Go to IN button or the Go to OUT button, which scans the tape forward to the mark, or by pressing Enter (Windows) or Return (Macintosh). To log the clip into the bin, click the Log Clip button in the upper left of the Capture tool.
3 Logging: Advanced 4. When you reach the point where you want to end the clip, click the Mark OUT button in the upper left of the Capture tool or press the F4 key again. The Mark OUT button changes to the Log Clip button, and the deck pauses. 5. Type a clip name and comment in the corresponding text boxes in the Capture tool. 6. Click the Log Clip button or press the F4 key. Your Avid editing application logs the clip in a bin, and the deck starts playing again.
Logging Directly into a Bin To log clips directly into a bin from a non-Avid-controlled deck: 1. If there is a deck connected to the system, eject the tape from the deck. 2. Double-click Deck Preferences in the Settings list of the Project window. The Deck Preferences dialog box opens. 3. For NTSC projects, click the “When no tape in deck log as” menu, and select Non-Drop-Frame or Drop-Frame. 4. Click OK to close the dialog box. 5. Open the bin where you want to store the clips. 6. Select Tools > Capture.
3 Logging: Advanced 9. Click Yes to open the Select Tape dialog box. 10. Double-click the name of the tape in the dialog box, or click New and enter the name of the tape. 11. Click OK. 12. Select the tracks you want to log, using the Channel Selection buttons in the Capture tool. 13. Type the start timecode in the Mark IN text box. 14. (Option) Enter a clip name and comment in the corresponding text boxes. 15. Type the end timecode in the Mark OUT text box.
Understanding the Pulldown Phase Set Pulldown Phase option You set this relationship by selecting the pulldown phase (sometimes called the pulldown frame or pullin frame), which is the video frame at which the master clip starts. The pulldown phase is designated A, B, X, C, or D. Film labs and transfer houses typically use the A frame to start the transfer.
3 Logging: Advanced The following illustration shows the relationship between film frames and video frames. Four film frames A B C D n Five NTSC video frames (ten fields) A1 odd A2 even B1 odd B2 even B3 odd C1 even C2 odd D1 even D2 odd D3 even A B X C D This setting is not available in matchback projects. However, you can modify the pulldown phase after you log it. See “Entering Pulldown Information” on page 121.
Setting the Pulldown Phase Setting the Pulldown Phase To set the pulldown phase: 1. Determine the correct pulldown phase for 00:00:00:00 in one of the following ways: t If you are capturing film-to-tape transfers, check the transfer log. t If you are capturing tapes that have been downconverted from 1080p/24, check what pulldown frame was set for 00:00:00:00 on the deck that performed the conversion. t If you still cannot determine the pulldown phase, see “Determining the Pulldown Phase” on page 122.
3 Logging: Advanced • All film and video reference numbers must be in ascending order. • You can continue to log additional film data into the Labroll, Camroll, Soundroll, Scene, and Take columns, or into your own custom columns, as necessary. You can include the information in these columns on the cut lists you create for your edited sequence. Displaying Film Columns To display film columns in the bin: 1.
Film-Related Log Information 3. You can also track custom information for the job by creating a custom Title. To create a new Title, type a name that describes the information in the Titles bar at the top of the bin. For more information on customizing bin views, see “Customizing Bin Views in Text View” on page 199. Entering Pulldown Information To accurately capture NTSC transfer tapes in 24p projects, you need to enter pulldown information into the bin.
3 Logging: Advanced Start timecode Pullin column (information required for NTSC If you do not have a transfer log, or if the transfer log is incorrect, you need to add the information manually. If you log clips by using the Capture tool, the Avid system uses the A frame as the default pulldown phase. You might need to edit this value. n For 24p projects, you can set a default pulldown phase in the Film and 24p Settings dialog box. See “Setting the Pulldown Phase” on page 119 (24p projects only).
Film-Related Log Information provide a pulldown frame indicator displayed at the far right of the burn-in key numbers, depending on the equipment available. Ideally, the A-frame pulldown coincides with timecode ending in 0 and 5 (:00, :05, :10, and so on). If the footage has not been keypunched, you can determine pulldown according to clapsticks or any other distinctive frame at the beginning of the clip. Determining the pulldown is easier if the frames depict motion.
3 Logging: Advanced 4. If there are three keypunched fields, or fields without motion, the pulldown is either B or D. Step through the fields again and note where the timecode changes: - If the timecode changes from the second to the third field, the fields came from a B frame. - If the timecode changes from the first to the second field, the fields came from a D frame. 5.
Film-Related Log Information To modify the pulldown phase for multiple clips that have the same pulldown-to-timecode relationship: 1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to modify. 2. Select Clip > Modify Pulldown Phase. The Modify Pulldown Phase dialog box opens. 3. Click the menu, and select the correct pulldown phase for timecodes ending in 0 or 5. 4. Click OK. The pulldown phase for each selected clip is changed, based on the pulldown phase you selected for 00:00:00:00.
3 Logging: Advanced Entering Key Numbers To add key numbers: t Highlight the KN Start column, then type the key number for the sync point at the start of the clip by using one of the following formats: - Keykode™ Format: Type a two-character manufacturer and film-type code, a six-digit prefix for identifying the film roll, a four-digit footage count, a two-digit frame offset, and then press Enter (Windows) or Return (Macintosh).
Film-Related Log Information To enter additional timecodes: 1. In one of the Aux TC columns (that is, Aux TC1 through Aux TC5), type an auxiliary timecode that syncs with the video timecode logged in the Start column. You can enter up to five auxiliary timecodes. Supported timecodes depend on your project: 30-fps for NTSC (drop-frame or non-drop-frame) and 25-fps for PAL. Use one of the following formats: t Enter a two-digit format for hours, minutes, seconds, and frames.
3 Logging: Advanced Entering Ink Numbers To enter ink numbers: 1. Double-click Film and 24p in the Settings list of the Project window. The Film and 24p Settings dialog box opens. 2. Make sure the correct options are selected for ink number format and ink number display, and click OK. You can log different ink number formats in the same project as long as you change the ink number setting to the appropriate format before you log each type.
Film-Related Log Information 6. Click Options. The Export Settings dialog box opens. 7. Click the Export As menu, and select one of the following: t Select Avid Log Exchange to export the selected bin as a shot log file that complies with ALE specifications. For information about Avid Log Exchange, see “Using Avid Log Exchange to Prepare Log Files for Import” on page 87. t Select Tab Delimited to export the selected bin as a tab-delimited ASCII text file.
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4 Capturing Media: Advanced Capturing is the process of creating digital media from videotape or audio input. When you capture, you convert source material from videotape into master clips that contain reference information. You also create associated media files that contain the digital audio and video.
4 Capturing Media: Advanced Advanced Capture Settings Capture settings include options for capturing, batch capturing, auto capturing, capturing to multiple media files, DV or HDV scene extraction, and setting key commands. For basic capture settings, see “Selecting Settings for Capture” in the Help. This section includes information about advanced capture settings. For reference information about all settings in the Capture Settings dialog box, see “Capture Settings” on page 660.
Advanced Capture Settings To set the preroll method: 1. Double-click Capture in the Settings list of the Project window. The Capture Settings dialog box opens. 2. Click the General tab. 3. Click the Preroll Method menu, and select a method from the options described in “Preroll Methods” on page 133. 4. Click OK to close the dialog box and apply the options. Preroll Methods Preroll Method Description Best Available Your Avid editing application first checks the tape for timecode to use for preroll.
4 Capturing Media: Advanced Preroll Method Description Best Available Control Your Avid editing application uses the control track to determine the preroll point. Track • If there is not enough control track for preroll, the system adjusts the specified preroll time to accommodate the amount of valid control track available. • If the adjusted preroll time is too short to sync lock at the IN point, the system does not capture the shot and displays an error message.
Advanced Capture Settings To capture video or audio to multiple OMF media files: 1. Verify that OMF is selected in the Media Type tab of the Media Creation dialog box. 2. Double-click Capture in the Settings list of the Project window. 3. Click the OMF Media Files tab. 4. In the OMF Media Files tab, select the option “Capture to multiple files.” For information about other options, see “Capture Settings: OMF Media Files Tab” on page 663. 5. Click OK to close the dialog box and apply the options. 6.
4 Capturing Media: Advanced Settings for Film and 24p Projects The following settings are important when you are capturing video transferred from film or capturing 24p video. You should specify these settings for film or 24p projects immediately after you create a new project and before capturing. For information about other film settings, see “Film and 24P Settings” on page 709.
Advanced Capture Settings Option Description Video Pulldown Cadence Allows you to specify how the application handles pulldown frames: • Video rate, no pulldown: Select this option when capturing 24-fps footage that was transferred MOS (roughly translated as “without sound”) to 30 fps by speeding up the film, and the audio was brought into the Avid system separately at 100 percent of the actual speed.
4 Capturing Media: Advanced Option Description Audio Transfer Rate When you create a 24p PAL film project, you define the audio transfer rate in the New Project dialog box. (It is not needed for a 25p PAL project because there is no film speedup during the transfer.) You need to keep the audio transfer rate constant for the project. However, if there is a specific element that you need to capture at a different rate, you can use the Film and 24p Settings dialog box to change the rate.
Advanced Capture Settings 2. Click one of the tabs that includes a Resolutions menu, and note the exact spelling of each resolution you want to disable. 3. Open a text file by doing one of the following: n t (Windows) Click the Start menu, and then select All Programs > Accessories > Notepad. t (Macintosh) Click Go > Applications, and double-click TextEdit. This file must be a plain text file. On a Windows system, use Notepad; do not use Wordpad.
4 Capturing Media: Advanced The text of the resolution has to exactly match the text in the Media Creation dialog box. If you want to disable DV 25, for example, you need to type DV 25 411 with DV in capital letters. Do not disable all resolutions supported by the editing application. You need to keep one resolution available. 5. (Windows) Name and save the file: a. Select File > Save As. b. Type DisabledRes in the File Name text box. c. Navigate to Program Files > Avid > Avid editing application.
Understanding Drop-Frame and Non-Drop-Frame Timecode Understanding Drop-Frame and Non-Drop-Frame Timecode Timecode is an electronic indexing method that denotes hours, minutes, seconds, and frames that have elapsed on a videotape. For example, a timecode of 01:03:30:10 denotes a frame that is marked at 1 hour, 3 minutes, 30 seconds, and 10 frames. NTSC video (the video format used mainly in the United States) uses one of two formats: drop-frame timecode and non-drop-frame timecode.
4 Capturing Media: Advanced You set the default timecode format for logging clips in the Deck Preferences dialog box. See “Deck Preferences Settings” on page 676. You set the default starting timecode in the General Settings dialog box. See “General Settings” on page 712. In both cases, you can select drop or non-drop. Preparing for Audio Input: Advanced Before capturing, you need to prepare the audio for input.
Preparing for Audio Input: Advanced Using the Passthrough Mix Tool The Passthrough Mix tool allows you to select the mix and adjust the volume and pan values of the source audio that you monitor. You can adjust the mix, volume, and pan values of multiple monitored channels, controlling either individual channels manually or several channels simultaneously by ganging them together. n The Passthrough Mix tool adjusts monitored audio only and has no effect on the recorded audio signal.
4 Capturing Media: Advanced To adjust audio in the Passthrough Mix tool: 1. Double-click Audio Project in the Settings list. The Audio Project Settings dialog box opens. 2. Click the Input tab. 3. Click the Passthrough Mix Tool button. The Passthrough Mix tool opens. 4. Switch the Input Mix Mode button to select a type of input: t Select Stereo Mix to mix audio channels to a stereo pair. Use the Stereo Mix Tracks menu to specify which stereo pair to use.
Preparing for Audio Input: Advanced t Click the Volume Level slider, and drag the slider to a new position. t Click the Volume Level display, and type a value. t Alt+click the Volume Level slider to reset the value to 0 dB. Adjusting Pan Values in the Passthrough Mix Tool To adjust the pan values in the audio panel of the Passthrough Mix tool: t Click the Pan Value display to reveal the pop-up slider, and then drag the slider to a new position.
4 Capturing Media: Advanced 4. Click OK. 5. Change the calibration of the audio hardware, as described in “Calibrating Audio Input Channels for Avid Adrenaline” on page 146 and “Calibrating Audio Output Channels for Avid Adrenaline” on page 147. Calibrating Audio Input Channels for Avid Adrenaline To calibrate input channels for the Avid Adrenaline : 1. Select the desired audio hardware calibration setting, as described in “Changing Audio Hardware Calibration Settings for Avid Adrenaline” on page 145. 2.
Preparing for Audio Input: Advanced 6. Adjust the channel 1 input level by inserting a screwdriver into the Channel 1 trim pot (labeled Gain) on the Avid Adrenaline and turning it until the Audio tool’s on-screen meter reaches 0 VU. The input channel is now calibrated. 7. Repeat this procedure for each input channel. To return to the default Audio tool display: t Click the PH (Peak Hold) menu, and select Calibrate.
4 Capturing Media: Advanced The Audio Hardware Calibration window allows you to change your audio hardware calibration. The calibration settings are stored in the Avid Nitris DX or Avid Mojo DX, and moved with the hardware if it is moved to another computer. If you delete the project, user or site settings or reinstall the Avid application software, the settings are saved in the hardware.
Preparing for Audio Input: Advanced 7. To change the digital level of the meter’s display of 0 VU, click Set Reference Level. Opens the Set Reference Level dialog box. 8. Enter the new reference level in dB. This should be set to match the 0 VU standard in your workflow. n Avid recommends a -20 dBfs value. 9. Select the interface you want to calibrate: Analog XLR input, Analog RCA input, Analog TRS input, Monitor output, or Analog output.
4 Capturing Media: Advanced 11. Use the Up and Down buttons to adjust the calibration in 0.5dB increments. Depending on what you selected in the HW Calibration menu, enter the corresponding Output or Input. From HW Calibration menu Use for all Outputs Use for all Inputs -14 dBFS -6.00 +6.00 -18 dBFS -2.00 +2.00 -20 dBFS 0.00 0.00 12. Repeat this procedure for each channel.
Preparing for Audio Input: Advanced 8. For whichever channels you want to calibrate, switch the Audio Tool channels to input by clicking each In/Out toggle buttons to change the output (O) to input (I). The In/Out toggle buttons in the Audio Tool switch from O to I and highlight in green. The meters levels re-display. 9. Set the tone generator output to the reference level set in the Audio Hardware Calibration window.
4 Capturing Media: Advanced 5. If you need to adjust the tone level or tone frequency, click the Set button. The Set Calibration Tone dialog box opens. n You can also access the Set Calibration Tone dialog box from the menu in the Audio Tool window. 6. Enter the new tone levels in dB and the new tone frequency in Hz. 7. Use the Up and Down buttons to adjust the calibration in 0.5dB increments. Suggested professional settings: - Monitor output: +4 dBu - Analog output: +4 dBu 8. Click OK. 9.
Preparing for Video Input: Advanced 5. In the Console command line, type: DumpMaxPeaks 6. Press Enter (Windows) or Return (Macintosh). A list of peak values appears in the Console window. Preparing for Video Input: Advanced Before capturing, you need to prepare the video for input. The advanced video input features include limitations when using a consumer deck, video input settings, and saving video settings.
4 Capturing Media: Advanced If you select SignalLock > Consumer in the Video Input tool, a wider bandwidth (more closely tracking time-base) improves the range of syncing capability. In this mode, the video input levels are set by automatic gain control. Not all of the Video Input tool’s adjustment sliders will operate, and the video might be slightly softened, but the syncing in most cases is more reliable and more stable. The overall image quality is not as high as with normal operation.
Preparing for Video Input: Advanced Whenever you batch capture or select a tape name during capturing, the system recalls the saved settings as follows: • The system looks for a Tape setting with the same name as the tape. If the setting exists, the system recalls it. • If no matching Tape setting exists, the system looks for a setting labeled “Default” and loads that setting. For information on customizing this default setting, see “Saving a Custom Default Setting for the Video Input Tool” on page 155.
4 Capturing Media: Advanced 3. Click the Settings menu in the Video Input tool, and select Save As. The View Name dialog box opens. 4. Type Default, and click OK. (You must use this spelling and initial capitalization.) Adjusting Video Levels for Tapes Without Color Bars Color bars are the best way to set the video levels consistently. However, if you have a tape or series of tapes with no color bars, you might need to adjust levels by using the internal Waveform and Vectorscope monitors.
Using Capture Function Keys Press To F1 Mark the beginning of the subclip while capturing. F2 Mark the end of the subclip while capturing. on-the-fly can cause incorrect pulldown and stuttering playback. Do not use c Capturing the F1 or F2 keys for capturing 24-fps film that has been transferred to NTSC video unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 119. F3, Add a locator to the current frame while capturing.
4 Capturing Media: Advanced n The Start Capture function is not included in the key menus. F4 always starts capture. You can map an additional function to F4 to use after capture starts; End Locator Entry is the default. 3. Click OK. Special Capture Procedures This section describes several optional procedures you can use during the capture process. Logging Errors to the Console Window The Console window is useful for logging errors that occur during the capture process.
Special Capture Procedures Considerations for Creating Subclips While Capturing Subclips are marked sections of a longer master clip you can view and edit like any other object in a bin. This section describes two methods for creating subclips while capturing: by creating subclips on-the-fly and by creating timed subclips. The maximum number of subclips you can generate while capturing a clip is 100. n For information about creating subclips after capturing, see “Creating Subclips” in the Help.
4 Capturing Media: Advanced 5. (Option) Press the F2 key repeatedly as you search for the end point of the subclip. The system accepts the last occurrence as the end point. You can also press the F1 key at any time before pressing F2 again to remove the previous subclip marks and to start a new subclip IN point. The subclip appears in the target bin when you stop capturing. When capture is complete, a number appears between the subclip indicators to show the number of subclips created.
Special Capture Procedures n If your Avid editing system is an asset manager client in an OMF workgroup, and you are capturing with shared volume segmentation (“chunking”) enabled, see your Avid Unity documentation for details on the capture procedure. If your Avid editing system is an asset manager client in an MXF/AAF workgroup, you cannot create locators while capturing media using the Capture tool.
4 Capturing Media: Advanced 2. Do one of the following: t Put a tape in the deck t Click the Source Tape Display button. The Select Tape dialog box opens. 3. Press Ctrl+N (Windows) or Command+N (Macintosh). A new tape name text box opens. 4. Type the new tape name. 5. Press Enter (Windows) or Return (Macintosh) to register the tape name. 6. Press Enter (Windows) or Return (Macintosh) or click OK to close the Select Tape dialog box.
Understanding DV Capture Offset Mapping the Record Button You can map the Record button from the Play tab in the Command palette to a key on the keyboard. This allows you to start capturing by pressing a key. n The Record button works for either the Capture tool or the Audio Punch-In tool, depending on which tool is active. For more information on mapping buttons, see “Understanding Button Mapping” on page 78.
4 Capturing Media: Advanced DV data Transcoder Analog data Avid application RS-422 controller Analog deck RS-422 Controlling a DV Device Configuration The DV capture offset can also be used in a configuration where the DV stream is captured over a FireWire cable, but the timecode of the master clip is not received through an RS-422 controller. When you adjust the DV capture offset in this configuration, results could vary, depending on the number of devices involved. See the following illustration.
Understanding DV Capture Offset Tape IN point Tape frames Master clip frames Capture with No Offset To adjust for this device behavior, set the DV capture offset to –6 frames. The result should be a frame-accurate capture. However, the results are dependent on device behavior. If the device behavior for sending streams across a FireWire cable is inconsistent, frame-accurate results on capture will also be inconsistent. See the following illustration.
4 Capturing Media: Advanced 4. Click OK. The delay is reflected in the DV Capture Offset box in the Capture tool. 5. Capture your material. See “Capturing by Setting Both Marks” and “Capturing On-the-Fly” in the Help. 6. Repeat this process until you achieve the appropriate offset. Delaying Audio Sometimes the source from which you are capturing provides an audio signal that is one or more frames ahead of the video.
Live Capture with External Timecode If you are capturing 24p film however, the pulldown phase needs to be accounted for. This allows for 24p capture to have the same behavior as a video rate. What you select in the Set Pulldown Phase of Timecode (A, B, X, C, or D) in the Film and 24p Settings dialog box determines what type of pulldown the system uses during the 24p capture. n Only non-drop-frame timecode is supported with the Pulldown Phase of Timecode option.
4 Capturing Media: Advanced 6. Click the TC Source menu, and select LTC Input. The menu contains two other choices: - Internal: Uses internal system timecode. - Auto Detect: Detects LTC input by default. If the LTC input is deactivated, the Capture tool automatically switches to internal timecode. If the LTC input is reactivated, the Capture tool switches back to LTC input. LTC is only available with some Avid input/output hardware devices.
Capturing to the Timeline 4. (Option) Patch tracks you are capturing (source tracks) to the tracks in your sequence (record tracks). See “Patching When Capturing to the Timeline” on page 169. 5. Mark an IN point in the sequence or move the position indicator to where you want the edit to take place. 6. Mark the source material you want to capture by using the Capture tool logging controls. For a description of the controls, see “Logging with Avid-Controlled Decks” on page 109. 7.
4 Capturing Media: Advanced n You can also patch tracks in the Timeline in the same way you patch tracks when editing from the Source monitor. See “Patching Tracks” in the Help. Only tracks that are enabled in the Timeline are available for patching. Other tracks appear dimmed in the menu. To patch tracks when capturing to the Timeline: 1. In the Capture tool, click and hold the Track Selector button for the track (video or audio) you want to patch. 2.
Capturing Video Without Pulldown into a 24p NTSC Project Capturing Video Without Pulldown into a 24p NTSC Project Film-to-tape transfers that were made without using pulldown can be captured directly into a 24p project. This feature is useful when special effects are generated on a frame-to-frame basis to tape, and need to be integrated into a 24p project. Before capturing the footage, click the Film to Video Transfer menu in the Film and 24p Setting dialog box, and select Video Rate.
4 Capturing Media: Advanced n If a message appears stating that the Avid Serial Driver is not installed for Remote Play and Capture, make sure the correct serial driver is installed on your system. If you are running Avid Media Browse™ and using the Remote Play and Capture option, you need to run the Avid editor with the Microsoft driver. If you are running the Avid editor (without Avid Media Browse), the Avid serial driver should be installed.
Remote Play, Capture, and Punch-In 3. Close the Communication (Serial) Ports tool. The system saves the setting as a Site setting, effective for all projects. 4. Double-click Remote Play and Capture in the Settings list of the Project window. The Remote Play and Capture Settings dialog box opens. 5. Select Mode > Remote Capture. 6. Select Device Code > device. 7. Specify the time (measured in frames) it takes the deck to start playing from a cued position in the Runup area. 8.
4 Capturing Media: Advanced 4. Select Special > Remote Play and Capture when you are ready to use the system for playing. A check mark appears next to the command to indicate that the system is ready. A yellow outline appears around the Play button in the Source/Record monitor to indicate that Remote Play and Capture is active. The Remote Play and Capture command behaves like a Local/Remote switch on a playback device, with VTR in Local mode by default when you start the system. 5.
Remote Play, Capture, and Punch-In 4. Double-click Remote Play and Capture in the Settings list of the Project window. The Remote Play and Capture Settings dialog box opens. 5. Select Mode > Remote Punch-In. 6. Click the Device Code menu, and select the appropriate device. 7. (Option) Specify other settings as described in “Remote Play and Capture Settings” on page 733. 8. Click OK. 9. Select Clip > Remote Play and Capture when you are ready to use the system for capturing.
4 Capturing Media: Advanced Input Channels buttons 11. Select the tracks you want to record to by clicking the Input Channels buttons. 12. Load a sequence in the Source monitor. 13. Using the controls on the external controller, set an IN point in the Timeline. If you set the IN point at the first frame of the sequence, you must add filler to the start of the sequence equal to the amount of preroll. This allows the system to sync lock the Avid editing application to the external controller.
Relinking Clips by Key Number To install or change the system’s serial driver: 1. Quit your Avid editing application. 2. Right-click the My Computer icon, and then choose Manage. The Computer Management window opens. 3. Click Device Manager in the left pane. 4. Expand the Ports (COM & LPT) by clicking the plus sign (+) in the right pane. 5. Double-click the Communications Port you are using. The Communications Port Properties dialog box opens. 6. Click the Driver tab. 7. Click the Update Driver button.
4 Capturing Media: Advanced Relinking by key number eliminates the need for the telecine transfer facility to match the timecode and pulldown of the second transfer to the timecode of the first transfer. n c For more information about relinking, see “Relinking Media Files” on page 293. Duplicate your sequence before relinking. If you relink to the original sequence, you will lose your links to the original media. To relink clips by key number: 1.
Relinking Clips by Key Number 8. Select Clip > Relink. The Relink dialog box opens. 9. Select Relink > Key Number [KN Start] - picture only. 10. Select the “Relink all non-master clips to selected online items” option. 11. (Option) If you did not batch capture the original clips, select the “Allow relinking to offline items” option. 12. In most cases, select the “Relink only to media from the current project” option.
4 Capturing Media: Advanced To relink a sequence to the original clips: 1. Duplicate the sequence. 2. Create a new bin and move the sequence to the bin. 3. Locate the original clips. Look for a bin with the original clips, or use the Media tool to locate the original clips. For information on the Media tool, see “Using the Media Tool” in the Help. 4. Copy the clips to the bin that contains the duplicated sequence. 5. Select the sequence and the original clips. 6. Relink the clips by key number.
Modifying the Pulldown Phase After Capturing b. Think of these frames as frames B and X of a four-frame series. No movement A B X D Incorrect sequence A B C D Correct sequence Step backward (either one frame from the B frame or two frames from the X frame) to locate the correct A frame. Note the last digit of its timecode. Timecode for all A frames in the clip will start either with this digit or this digit plus 5.
4 Capturing Media: Advanced 5. Make sure the clip is still selected. Press Ctrl+Shift and choose Unlink from the Clip menu. The clip information is unlinked and you can modify the clip information. 6. Type the correct letter for the pulldown phase in the Pullin column. If necessary, type a new timecode and key number. For multiple clips, you can use the Modify command or the Modify Pulldown Phase command. See “Modifying the Pulldown Phase Before Capturing” on page 124. 7.
DV and HDV Scene Extraction Consider the following: • You can perform DV Scene Extraction on any existing clip or subclip in a bin that has TOD information breaks. • DVCPRO format does not provide TOD metadata; you cannot use DV or HDV Scene Extraction with DVCPRO format. • DV or HDV Scene Extraction does not work on non-DV or audio-only clips. Setting Up DV and HDV Scene Extraction Before Capturing To set up DV and HDV scene extraction before capturing: 1.
4 Capturing Media: Advanced To set up DV scene extraction after capturing: 1. Open a bin. 2. Click the clip for which you want to create subclips or locator marks. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple clips. 3. Select Bin > DV Scene Extraction. The Capture Settings dialog box opens. 4. Click the DV Options tab. 5. Select DV Scene Extraction. 6.
Using the Panasonic VariCam Using the Panasonic VariCam The following procedure applies when capturing from tape via the Panasonic AJ-HD1200A camera. The Panasonic VariCam® is a camera that allows the recording of frame rates between 1fps and 60fps.
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5 Importing Files: Advanced When you import files, the system 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.
5 Importing Files: Advanced Importing Single-Layer Photoshop Graphics A single-layer graphic is a graphic file that was created on a single layer or a layered graphic that was flattened in Photoshop. Avid editing applications import this kind of graphic as a matte key or master clip, depending on the format of the Photoshop file. • If the graphic uses a transparent background or an alpha channel, the Avid editing application creates a matte key.
Photoshop Graphics Import You can also preserve layer effects and the original structure of the file by importing the file in two stages: n You can import multilayered graphics created in Photoshop v6.0 or later. Example of Multilayered Photoshop Graphics Import A typical multilayered Photoshop graphic might consist of a collage of still images over a background image, with a layer of text.
5 Importing Files: Advanced The following illustration shows the layers as they appear in a bin. During the import, your Avid editing application creates a sequence with each layer on a separate video track; this makes it easy to edit all layers into the final sequence. This sequence preserves the names and order of the layers as created in the original Photoshop file, as shown in the following illustration. You can then edit the tracks to build up to the full collage.
Photoshop Graphics Import Support for Multilayered Photoshop Graphics Import You should be aware of the following requirements for multilayered graphics import and details of how your Avid editing application handles the import: • Graphics must be RGB 8 or 16 bits, or grayscale. • Layer order and layer names are preserved during import. • Hidden layers are imported as matte keys. • Opacity is converted to Foreground level in the Matte Key effect.
5 Importing Files: Advanced Special Layer Option Supported Notes Type Layer Yes — Solid Layer Yes Solid layers are imported as a graphic with a full-screen opaque alpha channel. Gradient Layer Yes Gradient transparency is preserved. Pattern Layer Yes — Adjustment Layer No Adjustment layers include Levels, Curves, Color Balance, Brightness/Contrast, Hue/Saturation, Channel Mixer, Gradient Map, Invert, Threshold, and Posterize.
Importing Editcam Files 4. In the message box, do one of the following: t Click Sequence of Layers if you want to preserve all layers. If the number of layers exceeds the number of tracks supported, your Avid editing application creates a sequence that contains the number of tracks supported. Additional layers are imported into the bin, but not as tracks in a sequence. This selection applies to all files you selected for import.
5 Importing Files: Advanced 3. Select File > Import. A dialog box opens. 4. Click the Files of Type menu (Windows) or the Show menu (Macintosh), select CamCutter, and then select the CamCutter bin by doing the following: a. From the desktop, select the FieldPak by selecting the FieldPak drive letter (Windows) or FieldPak volume name (Macintosh). b. Open the bin folder on the FieldPak. c. Select the CamCutter bins or select the .spl files to be imported. The Outakes.
Importing Sequences from Pro Tools through Interplay (Windows Only) • The FieldPak has limited performance and is used only to record and play back clips. If multiple streams of video are required to perform advanced effects, it is possible that the data cannot be supplied fast enough for proper operation. If this situation occurs, you can do one of the following: - Render the effects; see “Rendering Effects” in the Help.
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6 Working with Bins: Advanced Your Avid editing application provides powerful database tools for organizing and managing your captured material. You can view bins in four different display views. You can rename, sort, sift, duplicate, and delete clips and sequences. You can also print single-clip frames or whole bins.
6 Working with Bins: Advanced Organize scene bins according to the following basic workflow: 1. Create one bin for each scene by using the procedures described in “Creating a New Bin” in the Help. 2. Gather clips according to scene using one of the following optional procedures: - Copy clips for each scene from the capture bins into the appropriate scene bin, using procedures described in “Copying Clips and Sequences” in the Help.
Advanced Bin Procedures Text tab Bin View menu Bin Fast Menu button If you import a log file from your telecine transfer, most of this information is placed in the bin when you import the log. If you do not have a film log, you can enter this information manually by highlighting the field in the bin and typing the information. For more information on bin column headings, see “Bin Column Headings” on page 230.
6 Working with Bins: Advanced Saving a Custom Bin View Any time you add, hide, or delete a column, the bin view name changes to an italic name with the file name extension .n to indicate that it no longer matches the original view. If you select a new bin view setting while the current setting is untitled or italic, the system discards the current setting. n If you do not save the view after adding or deleting headings, it is discarded. To save a bin view: 1. Open a bin and click the Text tab. 2.
Advanced Bin Procedures To add a Color column to a bin: 1. With a bin in Text view, select Bin > Headings. The Bin Column Selection dialog box opens. 2. Click (Windows) or click (Macintosh) Color in the list. 3. Click OK. The Color column appears in the bin. By default, a new column appears as the last column in the bin. To move the Color column, select the Color column heading and drag it to the left. To assign a color to a clip, subclip, sequence, or effect clip in a bin: 1.
6 Working with Bins: Advanced To sift clips or sequences: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. Criterion menu Text to Find text box Column or Range to Search menu 2. Click the Criterion menu, and select one of the sifting options. 3. Click the first Text to Find text box, and type the text that you want to use as a sift criterion. When sifting by color, type the exact name of the color (using uppercase and lowercase letters) in the text box. 4.
Advanced Bin Procedures To view the sifted bin: t Select Bin > Show Sifted. The word “sifted” appears in parentheses after the bin name when you view the bin in its sifted state. Sequence and Clip Information Summary You can generate a report to display information about the contents of a sequence or a clip. For example, you can generate a list of the types of effects in your sequence or where a particular effect is located. You can also create a clip summary or a source summary.
6 Working with Bins: Advanced n If a plug-in is not loaded on your system when the summary is generated, the information displays “unavailable effect,” followed by the plug-in ID. The vendor and version number are not directly accessible.
Advanced Bin Procedures 3. Right-click the monitor and select Get Sequence Info. The Sequence Info dialog box opens. 4. Select Generate Summary Info. 5. Choose from the following options: t If you selected specific tracks, click Enabled Tracks Only. t If you set IN and OUT points, click Use Marks. t If you want to run a report on the entire sequence regardless of tracks or marks, do not select either of these options.
6 Working with Bins: Advanced To choose the Info options (type of summary): 1. Once you have determined the track information, choose the type of report you want from the Summary Info Options section. Depending on the summaries you want information for, you can select one or more of those summaries below. Summary Option Suboption Description Create Effect Summary This displays the types of effects and how many were found in your sequence, the breakdown by effect type, and an effect plug-in summary.
Advanced Bin Procedures Summary Option Suboption Description Skip Non-Selected Clips in Group Clips Select this option if you do not want any non-selected clips inside of a group clip to appear in the report. Show Globally Unique Identifier (UID) Select this option if you want to display the unique identifiers (Mob IDs) associated with the clips and sources in your sequence. To display the summary in a text file: 1. In the Summary Output Options area, select Output File. 2.
6 Working with Bins: Advanced Before custom sift For example, type 01:08:32:00 in the Text to Find text box in the Custom Sift dialog box, click the Column or Range to Search menu, and select Start to End Range. After custom sift The clips that encompass the timecode number 01:08:32:00 Some column pairs explicitly define a range, for example, Start and End or Mark IN and Mark OUT. Other columns define the beginning of a range, and the end of the range is determined by the Duration column.
Advanced Bin Procedures When specifying a timecode or keycode number, you do not need to enter colons or semicolons, and you can omit the leading zero. For example, you can type 3172000 as a timecode number. Keycodes contain letters, numbers, and a dash before the feet and frames; for example, KJ23 6892-0345+13. When sifting on a keycode number, you have to enter only the numbers after the dash (the actual counter portion). Any information before the dash is ignored.
6 Working with Bins: Advanced Sifting Timecodes or Keycode Ranges To sift for a timecode or keycode number within a specific range: 1. Select Bin > Custom Sift. The Custom Sift dialog box opens. 2. Type the timecode (or keycode) number for the range in which you want to sift. 3. Type the timecode number for the range in which you want to sift. 4. Click the Column or Range to Search menu, and select a range; for example, Start to End Range or Mark In to Out Range.
Advanced Bin Procedures To unlock previously locked items: 1. Select the items in the bin. 2. Select Clip > Unlock Bin Selection. You can use the clip-locking feature along with archiving software to automatically archive all locked media files. For more information on archiving locked files, see your archiving software’s documentation.
6 Working with Bins: Advanced Selecting Media Relatives for an Object When you identify media relatives of a selected clip or sequence, your Avid editing application highlights all other clips linked to the selected clip, such as subclips or other sequences. You can also use the Media tool to look at the captured video and audio data files stored on your media drives. For more information on the Media tool, see “Using the Media Tool” in the Help. To identify media relatives: 1.
Advanced Bin Procedures Highlighted media relatives Selecting Sources Used by an Object Use the Select Sources command to identify all the sources used by a particular object. For example, if you select a sequence as the object, use the Select Sources command to identify every master clip, subclip, tape, and media file that is a source for that sequence. To identify sources for a clip or sequence: 1. Select one or more objects in a bin. 2. Select Bin > Select Sources.
6 Working with Bins: Advanced 3. Select Bin > Select Unreferenced Clips. A message box warns you that unreferenced clips will be highlighted in open bins only (items in closed bins are not shown). 4. Click OK. All unreferenced clips are highlighted in the open bins. The Select Unreferenced Clips command is effectively the reverse of the Select Media Relatives command. Text View: Advanced Text view provides the most complete view of clip information.
Text View: Advanced To delete a column: 1. Click the column heading in a bin. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The column disappears from the view, and surrounding columns close to fill the space. Duplicating Bin Columns You can duplicate existing columns containing timecode information into other compatible columns that you target in a dialog box.
6 Working with Bins: Advanced To add a new custom column: 1. Click an empty area to the right of the current headings in the headings box. 2. Move any existing column to the right or left to create an empty area. 3. Type the column heading you want, and press Enter (Windows) or Return (Macintosh). Column headings must contain a maximum of 14 characters, including spaces. This places the pointer in the data box, beside the first clip in the bin. 4.
Text View: Advanced To add a metadata column: 1. With a bin in Text view, select Bin > Headings. The Bin Column Selection dialog box opens. 2. Scroll to the bottom of the list and select the metadata headings you want to add to the bin. Manufacturer generated metadata column headings. 3. Click OK. Only the metadata headings selected appear in the bin. n When using AMA and metadata column headings, Avid recommends that you do not create custom bin views. Use the default preset bin views.
6 Working with Bins: Advanced The naming and counting scheme consists of a prefix (8 character maximum), separated by a dash (-), and followed by 6 characters that count as total frames. For example, FXS32v01-000001 identifies the first frame of a series of frames that belong to an FX shot for Scene 32 version 1. As the FX shot progresses during the creative process, the version number increases.
Text View: Advanced Moving Within Column Cells You can use the keyboard shortcuts described in the following table to move from cell to cell in bin columns: Shortcut Description Tab Moves the pointer to the parallel cell in the next column. You can continue to press the Tab key to scroll through the cells to the right until the cell in the last column is highlighted. The next time you press the Tab key, the cell in the first column is highlighted.
6 Working with Bins: Advanced The following conditions apply to modifying clip information: • When you modify a clip’s information, related objects are automatically updated to reflect the new data. For example, if you change the name of a clip, the updated name appears in the sequences that use the clip. • You cannot modify some data after capture because changes would prevent you from playing back and editing the material successfully.
Text View: Advanced Modifiable Bin Heading Restrictions Color No restrictions. Color Framing Must be according to tape specifications. See “Tracking Color Frame Shifts” on page 405. Comments No restrictions. Auxiliary timecodes, 1–5 No restrictions. Journalist No restrictions. Production No restrictions. KN (Key Number) Start Only for 24p projects, 25p projects, and matchback projects. Altering the starting key number also alters the KN End to maintain the duration.
6 Working with Bins: Advanced Modifying Data Directly c Modifying tape names and timecodes affects any key numbers entered for the selected clips. To modify the clip data directly in a bin: 1. Click the Text tab in the bin to enter Text view. 2. Click the cell that you want to modify. Select only one item at a time. In the following example, the timecode data is highlighted. 3. Click the cell again to enter text.
Text View: Advanced Type of Modification Options Description Set Timecode Drop/ Non-drop Drop, Non-drop Changes the timecode format between drop-frame and non-drop-frame. Setting must match the timecode format of the tape. Set Timecode By Field Start or End Changes either the start or end timecode. Only start timecodes are altered after capture. Hour, Minutes, Seconds, Frames Allows you to enter custom timecode. Start or End Changes either the start or end timecode.
6 Working with Bins: Advanced Type of Modification Options Description Set Disk Label Set label Allows you to change the name assigned to an XDCAM disk. For more information, see “Importing XDCAM Media” on page 270. Set Format Compatible formats Allows you to change the format of a sequence. The choice of formats is limited to the compatible frame rate of the current sequence. This option is useful if you are working with downconverted HD material in an offline/online workflow.
Text View: Advanced 5. Select an option or type information into the text boxes (timecode values, for example) when they appear. 6. Click OK. The modification takes effect. Copying Information Between Columns To copy column information to another column: 1. Select the column that you want to copy. 2. Select Edit > Duplicate. The Select dialog box opens, prompting you to target a column for the data. 3. Select the target column for the data, and click OK.
6 Working with Bins: Advanced - 16mm, 20 perf - 65mm, 15 perf (used in IMAX® films) - 65mm, 10 perf - 65mm, 8 perf - 65mm, 5 perf - VistaVision® Tracking 3-Perf Counts You can track 3-perf counts in film projects. The perf value is an extension of the key number, and appears in the KN Start, Ink Number, and Aux Ink Number bin columns. A sample key number might be as follows: KJ 12 1234-3456-10.3 The “.3” at the end of the key number represents the perf value.
Text View: Advanced Edgecode Type Edgecode Format Sample Edgecode Key Number XX NNNNNN NNNN+NN (Film type Film ID Feet on film+Frame in foot) KL 43 5146-0152+00 Edgecode (4 count) NNN-NNNN+NN (Identifier-Feet on film+Frame in foot) 103-9025+03 Edgecode (5 count) NNN-NNNNN+NN (Identifier-Feet on film+Frame in foot) 203-09025+03 Frames NNNNN 45678 Sorting Clips in Text View Sorting clips arranges them in either numerical or alphabetical order, based on the data in the column you select as the
6 Working with Bins: Advanced To perform a multilevel sort using the information in the bins: 1. With a bin in Text view, arrange the columns in the bin to establish the primary column. The column that appears farthest to the left in the bin has higher sort priority. 2. Select the columns you want to contribute to the sort criterion. 3. Select Bin > Sort. The objects in the bin are sorted. To sort clips by color: 1. Click the Color column heading in the bin. 2. Select Bin > Sort.
Text View: Advanced Timecode Frame Count 24 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 00 25 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25P 00 01 02 03 04 05 06 07 08 09 10 11 13 14 15 16 17 18 19 20 21 22 23 24 00 30 00 01 03 04 05 06 08 09 10 11 13 14 15 16 18 19 20 21 23 24 25 26 28 29 00 30NP 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 Adding Timecode Columns to a Bin or the Media Tool To add timecode
6 Working with Bins: Advanced Bin Column Headings You can select individual or multiple headings to be displayed or hidden in a bin. For information on how to select column headings, see “Manipulating Bin Columns” in the Help. Your Avid editing application provides the ability to track multiple film gauges within a bin and within a sequence.
Text View: Advanced Bin Column Heading Description AuxInk Film Film gauge for the auxiliary ink number. Ctrl+click the cell, and then select the gauge. See “Selecting a Film Gauge” on page 225. Auxiliary Ink Auxiliary ink format settings allow you to display an additional type of ink number. This lets you track additional types of film information for different film gauges. Used for 24p projects, 25p projects, and matchback projects only. Auxiliary Ink is the starting frame for the clip.
6 Working with Bins: Advanced Bin Column Heading Description Format The format of a clip or sequence as determined by the project type, such as 30i NTSC or 1080i/59.94.This is especially useful if you have both SD and HD clips in the same bin. Frame Displays the same frame that is displayed when you select Frame view for the bin. See “Using Frame View” in the Help. n 232 It can take longer for the screen to display frames than text.
Text View: Advanced Bin Column Heading Description Mark IN Timecode for the IN point, if you set one for the clip. Mark OUT Timecode for the OUT point, if you set one for the clip. Master Dur Length of the final master sequence, expressed in feet and frames. You cannot modify this number. Master Edge Type of edgecode used in the final master sequence. Ctrl+click the cell, and then select the type of edgecode. See “Selecting an Edgecode Type” on page 226.
6 Working with Bins: Advanced 234 Bin Column Heading Description Soundroll Sound roll this clip came from. Start Timecode of the clip’s head frame. TC 24 24-fps timecode. TC 25 25-fps timecode, no pulldown. TC 25PD 25-fps timecode with PAL pulldown. TC 30 30-fps timecode with 2:3 pulldown. TC 30NP 30-fps timecode with no pulldown (frames 00 through 29). Take Take number of the scene. Tape Source tape name. TapeID Tape ID number. Tracks All tracks used by this media object.
Restricted Material Restricted Material Broadcast facilities sometimes need to manage digital rights by restricting the use of footage. You can mark restrictions on clips in Avid Interplay Assist. When you bring marked footage into your Avid editing application, you can see the restriction marker on the clip icons in the bin, and you are warned about the restriction before you display or output that footage.
6 Working with Bins: Advanced The same warning appears when you try to do any of the following: • Perform a digital cut • Send the sequence to playback • Export If you are sending more than one clip to export, the message box lists all the clip names that contain restricted material.
Restricted Material Viewing Restriction Comments You can view the reason particular material is restricted. To view Restriction comments, do one of the following: t Click the View Restrictions button in the warning message box when it opens. t Select Tools > Restrictions. The Restriction window opens. It displays the name of each restricted clip, its head frame, and a description. The description contains the comments associated with the restriction that you entered in Avid Interplay Assist.
6 Working with Bins: Advanced The following table lists the Avid Interplay restriction attribute name, its description, and the values you can enter for it when specifying an extended search. Attribute Name Description Values DRM Digital Rights Management, the cover title for the • use of restrictions. • Has DRM Does not have DRM Printing Bins You can print entire bins or individual frames. To print entire bins: 1. Make sure your printer is correctly set up.
Digital Bars and Tone 4. Select the Print options. 5. Click OK (Windows) or Print (Macintosh). The system prints the frame currently displayed in the active monitor. Digital Bars and Tone If you expect to output your final sequence as a digital cut that requires calibration before playback (a digital cut that will be broadcast, for example), in most cases you will need a clip of color bars.
6 Working with Bins: Advanced To import a test pattern from a file: 1. Open an existing bin, or create a new one for the test pattern. 2. Select the destination bin. 3. Select File > Import. The Select Files to Import dialog box opens. 4. Do one of the following: - (Windows) Click the Files of Type menu, and select Graphic Files. - (Macintosh) Click the Show menu, and select Graphic Documents. 5.
Leaders 10. If you must have I and Q blocks correct in a sequence, do one of the following: t Record SMPTE bars from a signal generator. t Use the Video Output tool to generate SMPTE bars, and record them to tape using the controls on the deck. Then, capture them back into the system from the tape. 11. Load the new color bars clip into the Source monitor, and create a subclip of appropriate length for use in sequences (1 minute is a common standard). 12.
6 Working with Bins: Advanced 5. (Option) Mark a sync frame in the subclip as follows: a. Load the clip into the Source monitor. b. Find an appropriate sync point, and add a locator. For more information, see “Using Locators” on page 352. c. (Option) Double-click the locator in the Source monitor to add a sync point notation that appears on the monitor. Once the leader is prepared, you can splice the leader during editing onto the tracks that you want to keep in sync.
7 File Based Media Avid supports P2, XDCAM™, XDCAM EX and GF™CAM file based media. You can link, import, or export clips and sequences from one of these third-party volumes to and from the Avid editing system. You can manipulate and edit this media as you would any other clip or sequence. You obtain this media from a third-party device (a camera or reader), from a CD or DVD, or from a virtual volume (a server connected to your system).
7 File Based Media The following topics provide more information on working with XDCAM media: • Sony XDCAM EX Media • XDCAM and XDCAM EX Formats and Resolutions • Working with XDCAM HD Media • Connecting the XDCAM or XDCAM EX Device • Ejecting an XDCAM EX Card • Deleting Clips • Working with Spanned Clips • The Avid Media Access (AMA) Workflow • Understanding Linking with AMA • Workflow for Editing XDCAM and XDCAM EX Clips with AMA • Import and Export Workflow for File-Based Media •
Sony XDCAM EX Media Sony's XDCAM EX cameras and readers and JVC’s cameras and readers running in XDCAM EX mode, use an SxS card to store recorded media. The XDCAM EX devices can record media in high-resolution XDCAM HD formats.
7 File Based Media XDCAM and XDCAM EX Formats and Resolutions The following table lists the formats and resolutions available when you work with XDCAM media: Format/Resolution Number of Audio Channels (maximum) XDCAM HD (1080i/59.94, 1080i/50, 1080p/23.976): 4 XDCAM HD 17.5 Mbits XDCAM HD 25 Mbits XDCAM HD 35 Mbits HDV 1080i (25 Mbits CBR) 4 4 4 4 XDCAM HD 50 Mbits (1080i/59.94, 1080i/50, 1080p/25, 1080p/29, 720p/59, 720p/50) 8 XDCAM EX 25Mbits, 35Mbits (1080i/59.94, 1080i/50, 1080p/23.
Sony XDCAM EX Media You can play XDCAM HD media to a Client monitor or output a digital cut as Best Performance (yellow/yellow) or Draft Quality (yellow/green). However, if you are working with Adrenaline hardware, to play or output as Full Quality (green/green), you must transcode the XDCAM HD media to a DNxHD resolution or another compatible resolution. If you are using Nitris DX or Mojo DX, you can play out the back of HD-SDI.
7 File Based Media This command removes the actual XDCAM EX device from your system, not just the card. However, when you follow these procedures, it prevents any unmount messages from the Avid editing application to occur. To eject an XDCAM EX card from its device: 1. With an XDCAM EX card inserted in the XDCAM EX device and your Avid editing application running, click the Safely Remove Hardware icon located at the bottom right-hand corner of the taskbar. 2. Select Safely Remove XDCAM EX device name.
Panasonic P2 Media • Sharing P2 Clips and Sequences • Working with Spanned Clips • The Avid Media Access (AMA) Workflow • Workflow for Editing P2 Clips with AMA • Import and Export Workflow for File-Based Media • Workflow for Editing with P2 Media • Changing P2 Cards in the Card Reader • Importing P2 Clips and Media • Dragging P2 Master Clips from the Media Tool to a Bin • Exporting Your Clip or Sequence to a P2 Card • Sharing P2 Clips and Sequences Panasonic P2 Formats Avid editing a
7 File Based Media P2 Files and Folders Panasonic P2 video and audio media is recorded in MXF format, one of the two media file formats you can use in Avid editing applications. Each P2 card stores MXF files in two folders: • (Windows) drive:\Contents\Audio (Macintosh) Macintosh HD/Contents/Audio • (Windows) drive:\Contents\Video (Macintosh) Macintosh HD/Contents/Video The following illustration shows examples of the MXF audio and video files contained in the Audio and Video folders.
Panasonic P2 Media To install Panasonic P2 drivers: t n Follow the instructions included with your P2 equipment. You can download the most up to date driver from the Panasonic website, www.panasonic.com. Preparing to Mount P2 Cards as Drives You can mount P2 cards as drives on your desktop and use the files without importing them or capturing them through the Capture tool. To your Avid editing application, these mounted cards function as individual media drives.
7 File Based Media 3. Connect the card reader to a USB port. 4. Insert a P2 card into each slot. Each P2 card is displayed as a single lettered drive on the Windows desktop. 5. Open the Windows Explorer, right-click a drive letter, and select Autoplay from the menu. 6. In the Autoplay dialog box, select “Take no action” and then “Always do the selected action.” 7. Repeat the last two steps for each drive letter associated with the reader.
Panasonic P2 Media n The P2 name changes back to “No Name” when you reformat the card in the camera. 6. Start your Avid editing application and open a project. 7. Insert the P2 cards. The P2 cards automatically display on the desktop. To unmount a P2 drive: 1. Select File > Unmount. The list displays all drives currently available. 2. Select the P2 drive you want to unmount. 3. Ctrl+click (Windows) or Shift+click (Macintosh) to select additional drives. 4. Select Unmount.
7 File Based Media Changing P2 Cards in the Card Reader You can change (“hot-swap”) cards while you are working in your Avid editing application. To change one or more cards in the P2 card reader: 1. Remove the old card or cards and insert the new ones. 2. Select File > Mount All. Sharing P2 Clips and Sequences If you are working in an Avid Unity workgroup environment, you can share sequences that contain P2 clips in an Avid Unity workspace.
Panasonic P2 Media The following illustration shows how clips can span multiple cards. Card 1 Card 2 Clip 1 Card 3 Clip 2 Card 4 Clip 3 Card 5 Clip 4 When you are working with spanned clips, consider the following: • If you remove a card that contains a spanned clip, for example Card 2 in the above example, and you try to play Clip 1, it plays until it reaches the portion of the clip that resides on Card 2. The Media Offline slide appears until you reach the media on Card 3.
7 File Based Media Ikegami GFCAM Media The GFCAM HDS-V10 is a tapeless camera/recorder that uses flash memory instead of video tapes as a recording medium. GFCAM devices record MPEG-2 Long GOP/I-Frame media onto a GFPAK™, a removable high-speed storage medium. You can edit directly from GFPAKs, without having to capture. You can link to a GFPAK attached to your system or copy a GFPAK to the root of a drive. GFCAM is only available through the AMA method.
Ikegami GFCAM Media GFCAM Formats and Resolutions The following table lists the formats and resolutions available when you work with GFCAM media: Format/Resolution Number of Audio Channels (maximum) MPEG-2 HD LongGOP 50 Mbits (1080i/59.94, 1080i/50, 1080p/23.98 pulldowna, 1080p/29.97b, 1080p/25c, 720p/59, 720p/50, 720p/25c, 720p/23.98 pulldowna) 4 MPEG 30 MPEG 40 MPEG 50 4 MPEG-2 HD I-Frame 100 Mbits 4 a. 1080p/23.98 pulldown and 720p/23.98 pulldown record at 59.
7 File Based Media The GFCAM audio file directory stores MXF files regulated by SMPTE 382 (MXF mapping AES3 and BWF into the MXF GC). Each file has an AES channel that consists of two audio channels. For example, the system creates two MXF files from two AES channels (four audio channels). If an audio clip needs to split, the system creates multiple audio files for that clip. Connecting the GFPAK Device You connect the GFPAK directly through an industry-standard USB 2.0 port on your computer.
The Avid Media Access (AMA) Workflow The Avid Media Access (AMA) Workflow Avid Media Access (AMA) is a plug-in architecture that allows you to link directly to clips from a third-party volume (for example, a P2, XDCAM or GFCAM device) into a bin without storing the media directly on your system. AMA allows you to be more productive by browsing and editing directly from the device or volume.
7 File Based Media • Using Virtual Volumes • Virtual Volumes and AMA Bins • Workflow for Editing XDCAM and XDCAM EX Clips with AMA • Workflow for Editing P2 Clips with AMA Selecting the AMA Settings You can set options in the AMA Settings dialog box to turn AMA on or off (on by default), to automatically mount your volumes, and to customize your bin. To set up AMA: 1. In the Project window, click the Settings tab. 2. Double-click AMA. The AMA Settings dialog box appears. 3.
The Avid Media Access (AMA) Workflow 5. If you want the system to automatically scan drives (volumes) every time, select “Always mount volume, do not check for modifications.” This option is off by default. n If you restart the application, the system automatically rescans the drives regardless of the options you’ve selected. 6. To customize your bin, click the Bins tab. By default, the system links your clips into a new bin using the project name as the bin name.
7 File Based Media you then remove the card, the clips point to the media on the card and the clips appear offline. The card being the most recent source. Once the card is reinserted, the clips in the bins appear online. Linking Media with AMA You can link your media using AMA. This allows you to access the high-resolution media onto the Avid editing system quickly. n For optimum viewing and playing, Avid recommends a single clip length should not exceed more than 12 hours.
The Avid Media Access (AMA) Workflow 3. Select Bin Selection options. Option Description Single Bin Based On Selected Folder Places all imported clips into one default bin. n Single Bin Named Allows you to create a new bin and type in a new bin name. Places all imported clips into that bin. Bin(s) Based on Current AMA Setting Places the clips in the bin(s) you set up in the AMA Settings Bins tab. Bin(s) Based on Subfolders Places the clips in bin(s) based on their subfolders.
7 File Based Media To unmount a virtual volume: 1. Choose File > Unmount. The Unmount dialog box opens. 2. Select the virtual volume you want to remove. 3. Click OK. The virtual volume is removed from your system and clips linked to this virtual volume appear offline. When you restart the application, the system scans the system for virtual volumes and the clips appear online.
The Avid Media Access (AMA) Workflow A typical workflow is as follows: 1. Install the appropriate Sony XDCAM drivers. n There are no drivers necessary for XDCAM EX. 2. Insert the XDCAM disk or XDCAM EX card. The system links the XDCAM clips into a bin. The media itself remains on the disk. The clips point directly to the high-resolution media on the disk. Using AMA eliminates the step to import low-resolution proxy media to your local storage.
7 File Based Media A typical workflow is as follows: 1. Install the appropriate Panasonic P2 drivers. 2. Mount one or more P2 cards (up to five). The system imports the P2 clips automatically into a bin. n If you use multiple P2 cards and you remove one of the cards, your media displays offline. 3. Use the master clips to edit and output a sequence. 4. (Option) Rename the clips to help with organizing your material. 5. Consolidate or transcode your sequence or clips.
The Avid Media Access (AMA) Workflow 4. Consolidate or transcode your sequence or clips. n n n When you transcode a sequence, the system automatically defaults to convert both audio and video. You cannot transcode video only with GFCAM. For information on consolidating your sequence, see “Consolidating Media” in the Help. For information on transcoding your sequence, see “Using the Transcode Command” in the Help. 5. Disconnect the GFPAK.
7 File Based Media To delete files from cards/volumes: 1. Quit your Avid editing application. 2. On the desktop, navigate to the drive. 3. Select the files you want to delete and press the Delete key. To delete files on a local drive when working in the Avid editing application: 1. In a bin, select the clips you want to delete. 2. (Option) Right-click (Windows) or Ctrl+Shift+click (Macintosh) and select Unlock Bin Selection. 3. Press the Delete key. The Delete dialog box opens. 4.
Import and Export Workflow for File-Based Media The following topics provide information on importing and exporting: • Setting XDCAM Import Options • Importing XDCAM Media • Importing XDCAM EX Media • Automatically Importing Proxy Media from an XDCAM Device • Importing Proxy Media from an XDCAM Disc • Copying XDCAM Proxy Media to a Local Drive or a Server • Manually Importing XDCAM Media from the XDCAM Disc • Importing Essence Marks as Locators in XDCAM Media • Editing XDCAM Proxy Media •
7 File Based Media You can use these settings to override the selections made in the Select Files to Import dialog box or to set default behavior for importing XDCAM media. For more information, see Import Settings: XDCAM Tab.For more information on Import Settings, see “Import Settings: XDCAM Tab” in the Help. You can also view this information by clicking the dialog box and pressing the F1 key. Importing XDCAM Media XDCAM and XDCAM HD devices store media as MXF OP1a interleaved files.
Import and Export Workflow for File-Based Media • You can copy the proxy media files to a separate location (for example, to a folder copied on an FTP site), transfer them to a local drive or removable disc (for example, a CD-ROM), and import the proxy media without directly accessing the XDCAM device. See “Copying XDCAM Proxy Media to a Local Drive or a Server” on page 276. • You can import proxy media, high-resolution media, or both using the Import function.
7 File Based Media “Avid AAF.” This option creates an AAF composition file, and concurrently creates an OPAtom MXF media file. In the Avid AAF export options, choose a valid Avid MediaFiles folder. The AAF composition file links to the media once you import. To import an XDCAM EX clip using Avid AAF: 1. With an XDCAM EX camera or reader attached to your system, insert an XDCAM EX card. 2. Launch the Sony XDCAM EX Clip Browser.
Import and Export Workflow for File-Based Media To import an XDCAM EX clip using MXF for NLEs: 1. With an XDCAM EX camera or reader attached to your system, insert an XDCAM EX card. 2. Launch the Sony XDCAM EX Clip Browser. n The XDCAM EX Clip Browser application should have come with your Sony camera or reader. For information about the Sony XDCAM EX Clip Browser, see Sony’s documentation. 3. From within the Clip Browser window, select the clips you want to export. 4.
7 File Based Media To import proxy media from an XDCAM device: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Automatically Import Proxies when is inserted. 4. Click OK. 5. Open the bin in which you want to store the imported files. If you do not select a bin, or if you have more than one bin open, a dialog box opens and directs you to select from a list of open bins or to create a new bin. 6. Insert a disc into your XDCAM device.
Import and Export Workflow for File-Based Media 9. Click Import. When your application finishes importing the files, the clips appear in the selected bin. Your Avid editing application imports XDCAM media at the native resolution of the media on the XDCAM disc. Your application ignores other resolution settings — for example, in the Select Files to Import dialog box. 10. (Option) Repeat this procedure for each XDCAM disc that holds media you want to import.
7 File Based Media Copying XDCAM Proxy Media to a Local Drive or a Server You might want to import proxy media when the XDCAM device is not available. For example, if you want an editor to start editing the XDCAM footage while the actual XDCAM disc is at another location, you can transfer the proxy media files to an FTP server. The files then can be downloaded from the server, and an editor can import the proxy media and begin editing.
Import and Export Workflow for File-Based Media You can import files by doing one of the following: • Using the Import function • Using the drag and drop method of importing files For more information, see “Importing Files” and “Using the Drag-and-Drop Method to Import Files” in the Help) n Your Avid editing application imports XDCAM media at the native resolution of the media on the XDCAM disc. Your application ignores other resolution settings — for example, in the Select Files to Import dialog box.
7 File Based Media To import Essence Marks as locators: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Import Essence Marks as locators. 4. Click OK. Editing XDCAM Proxy Media When you import the proxy media files to a bin, new master clips are created that you can edit in the Timeline just like any other clip.
Import and Export Workflow for File-Based Media To set the playback options for XDCAM media: 1. Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Video Quality menu button, and select Draft Quality (yellow/green) or Best Performance (yellow/yellow). Some effects, such as IllusionFX and FluidMotion effects, do not play back in real time when you have Draft Quality selected. For these effects, you must also select the Progressive Source button in the Effect Editor before rendering. 2.
7 File Based Media To batch import high-resolution XDCAM media: 1. Double-click Import in the Settings list. The Import Settings dialog box opens. 2. Click the XDCAM tab. 3. Select Batch Import High-resolution Video. 4. Click the Handle Length text box and type the number of additional frames you want to import at the heads and tails of the new master clips. This provides enough overlap for trimming and adding transition effects. The default is 30 frames. 5. Click OK. 6.
Import and Export Workflow for File-Based Media 10. Click the All Clips button. The Batch Import dialog box opens. Single/Dual Drives button Video Drive and Audio Drive menus Your Avid editing application imports XDCAM media using the native resolution of the XDCAM files. 11. Click the Video Drive and Audio Drive menus, and select a destination drive or drives for all the media files. You can separate video and audio onto different drives. 12. Click Import. The high-resolution files are imported.
7 File Based Media As you edit your sequence, you can move between the proxy media and the high-resolution media by relinking your clips with the corresponding media files. When you relink proxy media to the high-resolution media, select one of the following Relink Method options: n • Highest Quality • Most Compressed Do not select Specific Resolution as the Relink Method. This allows the audio tracks to relink to the appropriate audio files.
Import and Export Workflow for File-Based Media To export to an XDCAM device: 1. Connect your XDCAM device. 2. Select the appropriate mode on your XDCAM device that corresponds to the video format that you will be exporting. For example, set your XDCAM device to 1080i 59.94 if you want to export a clip or sequence at XDCAM-35 1080I/59.94. 3. Select the sequence or clips to export. 4. With an XDCAM device connected to your system, select Output > Export to Device > XDCAM.
7 File Based Media 7. Select an XDCAM disk from the Target XDCAM Disk list. If the target XDCAM disk you are exporting to already has other clips on it, you are only allowed to export a clip with the same number of audio tracks. For example, if the target XDCAM disk has a clip with 4 tracks of audio, you cannot export a new XDCAM clip with 2 tracks. You either have to reformat the disk and wipe it clean or add two dummy tracks to your 2-track sequence before you export. 8.
Import and Export Workflow for File-Based Media 4. Do one of the following: - Import the master clips directly from the P2 card. - Drag the master clips from the Media tool to a bin. 5. Use the master clips to edit and output a sequence. A typical workflow is as follows: 1. Import the P2 clips from a P2 card or any device where the P2 contents are stored by selecting File > Import P2 > Clips to Bin. The P2 master clip information loads into a bin.
7 File Based Media To import P2 clips directly from a P2 card or a copy of a P2 card on any accessible drive: 1. Open the bin into which you want to import the master clips and make sure it is the active window. 2. Select File > Import P2 > Clips to Bin. The Browse for Folder dialog box opens. 3. Navigate to the P2 files: t Navigate to the P2 card t Navigate to the folder where multiple P2 cards reside. The system can import P2 files from multiple cards as long as each card has a Contents folder.
Import and Export Workflow for File-Based Media 4. Click OK. A progress box appears as the clips import. When the import is complete, the clips appear in the active bin. You can play and edit the clips; the media resides on the P2 card. If you leave the application and then restart it, you see the clips in the bin, but the media is offline. You need to import the clips again to continue working with them. To import media from a P2 card: 1.
7 File Based Media On Macintosh systems, drives are identified individually as NO NAME, NO NAME 1, and so on.
Import and Export Workflow for File-Based Media 3. Select the following options: a. In the Media Drives list, select one or more P2 drives. b. Click the Current Project button. c. Select Master Clips, deselect Precompute Clips, and deselect Media Files. 4. Click OK. The Media tool displays the clips contained on the drives you selected. 5. (Option) If you do not see any media clips, update the mounted drives and media database again by selecting File > Mount All and File > Refresh Media Directories.
7 File Based Media n If you are connected to more than one P2 device, make sure only one is turned on. If more than one device is turned on, you cannot control which device you export to. To export a a clip or a sequence to a P2 card: 1. Make sure your system is connected to a writable P2 device. 2. Select the clip or the sequence in the bin. 3. Select Output > Export to Device > P2. The P2 Export Settings dialog box opens. 4. Select options as described in “P2 Export Settings” on page 708.
8 Managing Media Files: Advanced When you capture footage, the system creates digital media files for the video and audio tracks on the media drives attached to your system. Bin tools allow you to organize the clips that reference the media files. In addition, your Avid editing application provides tools and features for directly managing media files for storage and playback efficiency, for backup, and for transfer between systems.
8 Managing Media Files: Advanced Related media files Related media file 292
Relinking Media Files (Windows only) If more than one file is related to the clip, a message box asks if you want to see the next file. If you click OK, you need to bring the Explorer window forward by pressing and holding the Alt key while pressing the Tab key until you select the OMFI MediaFiles folder or the Avid MediaFiles folder. Relinking Media Files Sometimes, after you consolidate or move material between systems, the clips or sequences lose their links to the original media files.
8 Managing Media Files: Advanced 3. Select options as described in “Relink Options” on page 295. You can display Help for the dialog box by pressing F1 (Windows) or the Help key (Macintosh). 4. Click OK. The system searches the selected media drives, and relinks clips and sequences if possible. The system disregards audio sample rate when matching media files.
Relinking Media Files Relink Options The following table describes the options for the Relink dialog box.
8 Managing Media Files: Advanced Option Description Relink method: • Highest Quality: Relinks to the highest quality clip; for online work. • Most Compressed: Relinks to the most compressed clip; for offline work. • Specific Resolution: Relinks to clips of a specific resolution. See “Relinking by Resolution” on page 297.
Relinking Media Files For example, you are editing a sequence in an NTSC 24p sequence. You then change the project format to 1080p/24, see “Understanding Options for Changing the Project Format” on page 850, and modify the sequence. See “Understanding Options for Modifying the Sequence Format” on page 852. A new sequence is created with the master clips appearing offline.
8 Managing Media Files: Advanced 5. Select a project format from the Format menu. 6. Select a resolution from the Resolution menu. The default resolution is determined by the current Media Creation setting for Capture. See “Media Creation Settings” on page 728. If you select a different resolution in the Relink dialog box, the Media Creation setting does not change. 7.
Relinking Media Files 7. (Option) Select “Match case when comparing tape names.” 8. Click OK. The subclips or sequences are linked to the selected clips or subclips. Relinking Consolidated Clips If the appropriate media exists online, you can reconnect consolidated clips, subclips, or sequences to the new or old media files.
8 Managing Media Files: Advanced Relinking Moved Projects If you move projects between systems with similar media existing at each site but captured separately, your clips and sequences display the message “Media Offline.” You can use the Unlink and Relink commands to reconnect the files at either site.
Videotapes for Archiving and Restoring Media Files Videotapes for Archiving and Restoring Media Files You can archive to videotape the source media associated with sequences, master clips, subclips, and group clips. Archiving the source media to videotape is similar to recording a digital cut, except that you can reedit the sequence after you restore it. n The archive to videotape process is not available with progressive media projects.
8 Managing Media Files: Advanced Archiving Media Files Before archiving your media files to videotape, you must stripe the record tapes (record black and timecode for approximately 15 seconds after the bars and tone on the tape). For information about preparing record tapes, see “Preparing Record Tapes” in the Help. To archive a video project’s media files: 1. Set up the Digital Cut tool as follows: a. Select Output > Digital Cut. The Digital Cut tool opens. b.
Videotapes for Archiving and Restoring Media Files 6. Select Clip > Archive to Videotape. The Archive to Videotape dialog box opens. 7. Select the appropriate options. “Archive to Videotape Options” on page 304 describes the options listed in the Archive to Videotape dialog box. You can display Help for the dialog box by pressing F1 (Windows) or the Help key (Macintosh).
8 Managing Media Files: Advanced The Archive Length area displays the calculated length of time required for archiving the media files. The archiving process might require more time than indicated because individual clips are not divided between tapes. 9. Under the “Enter the quantity of tapes available for the archive” area, do one of the following: t Type the number of blank videotapes needed for the archive next to the length of time of your blank tapes.
Videotapes for Archiving and Restoring Media Files Option Description For Subclips and Sequences: Use handles Select this option, and in the Handle Length text box type the number of additional frames you want to archive at the heads and tails of the new master clips. This option provides enough overlap for trimming and adding transition effects. Archive entire master clips Select this option if you want to archive entire master clips.
8 Managing Media Files: Advanced 5. Select the archived sequences, original sequences, and original clips. If you select only the archived sequences, the media is restored during the restore process, but the new media is not relinked to your original clips. 6. (Option) To relink the new media to the original clips, select the original clips and repeat the restore process. Repeating the restore process relinks only the selected items to the new media files. 7. Select Clip > Restore from Videotape.
Videotapes for Archiving and Restoring Media Files Preparing for Online In preparing to move your sequence from an offline system to an online system, it’s useful to run an effect summary and a source summary report. The Effect Summary displays a list of all effects, including a separate list of plug-ins used. The Source Summary is a list of all the tapes you need for recapture and a list of import paths for all imported graphics.
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9 Script-Based Editing The lined script is traditionally used as a tool for managing scene and take information during postproduction on a dramatic feature film or television production. The script-based editing feature in your Avid editing application allows you to adapt the lined script to the digital realm for use in any type of production, from drama to documentary to spot advertising.
9 Script-Based Editing 33/1 33A/1 33A/2 33B/133B/2 33B/3 33C/1 33C/2 Lined Script Symbols Each vertical line drawn through the scene represents a single take from the moment the director says “Action” to the moment the director says “Cut.” Each scene might require several camera angles and positions, with one or more takes, all of which are lined and identified alphanumerically.
Lined Script Basics Master shot The line labeled 33/1 is the master shot that usually covers all the action in a wide shot. The first number in the label indicates the scene number as written on the script (scene 33). The number following the slash indicates that this is the first take captured on film for the master shot. A second take of the master shot, for example, would be labeled 33/2.
9 Script-Based Editing Toolbar Slates Takes tabs Takes Off-screen indicator Color indicator Script mark In addition to the standard lining conventions, script integration includes the following enhancements: Slates Takes are organized into slates that display a representative frame and clip name for the take that is currently selected. Takes The Takes tabs and lines extending from the bottom of each slate indicate the number of takes for that scene. Click a Takes tab to select the take.
Lined Script Basics Script Integration Workflow The basic workflow for script integration is as follows: To create a script integration workflow: 1. The continuity person or an assistant creates the lined script in hardcopy form on the set during shooting. 2. Source footage from the shoot is prepared and captured by using methods described in “Creating a New Project” in the Help. 3.
9 Script-Based Editing Narration track is synced to the script. All possible B-roll shots are ready to be loaded and cued. Color indicates preferred shots. Music cuts are linked to appropriate sections of the script. Script Window Basics This section describes basic procedures for creating and manipulating Script windows, including importing script text; navigating through the script; displaying clip information; opening, closing, and saving windows; and adjusting margins.
Script Window Basics Script Settings Options Before you open a script in the Script window, you can select default preferences using the Script Settings dialog box. After the Script window is open, any changes you make in the Script Settings dialog box are ignored by the Script window. You must close the Script window and then reopen it for the new settings to take effect. However, the Script menu provides several commands that allow you to override the Script settings.
9 Script-Based Editing 4. Locate the file and double-click it, or select the file and click Open. - A script bin appears in the Bins list in the Project window. - The script, with its original layout, appears in the Script window. 5. Change the name of the script bin by clicking the title in the Bins list in the Project window, and typing a new name. Selecting Text Encoding for Scripts You can specify the text encoding of the script.
Script Window Basics Option Description PC (Latin-1) Select this option when the script was created on a Window-based system using the Latin-1 character set. This is the default encoding on Windows-based systems for plain text using the Latin character set. UTF-8 n Select this option when the script was created using the Unicode UTF-8 character set. Non-native characters might not display correctly even if they are encoded in UTF-8.
9 Script-Based Editing Displaying Clip and Sequence Information in a Script Window The Info window displays statistical information about a clip or sequence. The window updates the information automatically. To open the Info window from a Script window: 1. Press the Alt key (Windows) or the Option key (Macintosh), and click the Takes tab. 2. Drag the window to a new location to leave the Info window open.
Working with Script Text Working with Script Text After importing a script, you can customize its appearance by changing the font and font size. You can also cut, copy, paste, or remove lines of script to reflect changes that might occur during the course of a project. Changing the Font Used in Script Text The default font and font size used in the script are established on import, based on the current Script settings. You can override the settings and change the font and size after importing the script.
9 Script-Based Editing Selected lines are highlighted To select several lines of script, use one of the following methods: t Lasso the first line of the selection, and drag through the text. As you drag, a box outlines your selection. Lasso a portion of script to select it. Release the mouse button when you finish lassoing the selected lines. The text is highlighted.
Working with Script Text n t Click the first line of the selection, and then Shift+click the last line. The entire block of text is highlighted. t Press Ctrl+A (Windows) or Command+A (Macintosh) to select all the text and takes. You can also extend a selection by pressing the Shift key and clicking a line of text preceding or following the current selection. Cutting, Copying, and Pasting Script Text You can cut, copy, and paste text in the script as you would in a normal word processor.
9 Script-Based Editing Removing Script Text You cannot delete lines of text from the Script window by using the Delete key as you would in a normal word processor. Use the Cut command to remove the text. To remove lines of script: 1. Select the lines of script you want to delete. 2. Select Edit > Cut. Unlike a normal deletion, the text remains in the Windows Clipboard or Macintosh Clipboard until the next time you copy or cut a selection.
Searching Through Script 3. Type the number for the scene or page, and click OK. The scene number appears in the left margin and the page number appears in the right margin next to the first line of the selected region. New page number New scene number Scene/page status bar Scene and page numbers both appear in the status bar at the bottom of the Script window and reflect your current position within the script.
9 Script-Based Editing To delete a page or scene number: 1. Select the first line of the scene or page. You can also delete all page or scene numbering throughout a range of the script by selecting the range of lines or the entire script. 2. Press the Delete key. The Delete dialog box opens. 3. Select the options for Delete scene(s) or Delete page break(s) as appropriate, and click OK. The numbering is deleted from the Script window. To search for a page or scene number: 1.
Linking Clips to the Script Linking Clips to the Script You can link clips to the script by hand, or you can use the ScriptSync feature to automatically link clips to the script. For more information about ScriptSync, see “Marking with ScriptSync” on page 338. To link clips to the script: 1. Open the script bin by double-clicking the Script Bin icon. 2. Open the source bin for the clips that you want to link to the script. 3.
9 Script-Based Editing The slate appears. 6. Continue to apply clips to additional portions of the script until you have finished creating all your slates. Alternatively, you can create slates one at a time, place script marks, and fine-tune the lining of each scene before proceeding to the next portion of the script. Interpolating Position for Script Integration Interpolate Position matches a clip to a take and allows you to see where a particular line in the script would appear in the clip footage.
Working with Slates in the Script Window Working with Slates in the Script Window Once you create a slate by dragging a clip into the Script window, you can manipulate the slate’s appearance and position. Selecting Slates To select slates, do one of the following: t Click a slate to select it. t Shift+click additional slates to select all the active takes. t Drag a lasso through a region of the script containing slates. All slates and takes within the lasso are selected.
9 Script-Based Editing To hold slates on screen: t n Select Script > Hold Slates Onscreen. You can change the default behavior before opening a script in the Script window by selecting Hold Slates Onscreen in the Script Settings dialog box. For more information, see “Script Settings Options” on page 315. Hiding Slate Frames By default, the system displays a representative frame for each take in the slates.
Working with Slates in the Script Window Showing One Take Per Slate You can minimize clutter on the screen by showing only one take per nonactive slate. To show one take per nonactive slate: t Select Script > Show All Takes. The check mark to left of the command is removed, indicating Show All Takes is disabled. The Script window shows only the first take in each nonactive slate. A single take is shown. To display all the takes: t Select Script > Show All Takes again.
9 Script-Based Editing t n To move the slate and all its take lines vertically to a new location in the script, press the Ctrl key (Windows) or the Command key (Macintosh), and then drag the slate to the new location. As you move the slate, the takes continue to cover the same number of lines in the script. To lengthen or shorten the number of lines covered in the takes at the new location, see “Adjusting Take Lines” on page 333.
Working with Takes in the Script Window t Shift+click additional takes in the same slate or across slates to select them. t Drag a lasso through an entire region of the script. All takes within the lasso are selected. n Selecting multiple takes is especially useful when you add or delete color or off-screen dialog indicators. See “Using Color Indicators in the Script Window” on page 334 and “Indicating Off-Screen Dialog in a Script” on page 333.
9 Script-Based Editing Displaying Take Numbers To display the take numbers in the tab of each take: t Type the numbers in the Take column of the source bin for the clips. Numbers in the Take column appear in the tabs for each take. Changing the Representative Frame for a Take To change the representative frame that appears in the slate for a take: 1. Select the Takes tab in the Script window. 2.
Working with Takes in the Script Window Playing Takes To play back a take, do one of the following: t Double-click a take to load it into the Source monitor, and then click the Play button or press the Play key. The clip plays back and stops when it reaches the end. t Select a take in the script, and then click the Play button at the top of the Script window. The clip loads and plays back in a continuous loop until you press the space bar.
9 Script-Based Editing n You must select the range of the script that contains the off-screen dialog before enabling the off-screen function. To remove one or more off-screen indicators: 1. Select the range of script containing the off-screen indicators. 2. Select only those takes that display the indicators. 3. Click the Set Offscreen button.
Script Marks Script Marks Script marks allow you to synchronize individual lines of script with matching points in captured clips. When you place a mark in the script, an IN point also appears in the clip when you load it into a monitor for editing. This provides line-by-line control over alternative takes that the editor can instantly load and edit into the sequence. You can place script marks in several ways: • One take at a time: see “Placing Script Marks Manually” on page 335.
9 Script-Based Editing 3. Click the Play button, or press the Play key. The take plays in the monitor. Alternatively, you can step (jog) or shuttle through the footage, place the position indicator on the exact frame, or scrub the audio to find the exact line of dialog. The clip does not have to be playing. 4. When the playback reaches the selected line of dialog, click the Add Script Mark button or press the Add Script Mark key.
Script Marks Several takes are selected for automated playback. Current playback is highlighted in green. 3. As you hear a line of dialog (or see a particular clip) that you want to mark, click the matching line in the Script window. A script mark appears at that location in the take, and the clip continues to play. You can scroll through the Script window without affecting playback. 4.
9 Script-Based Editing Marking with ScriptSync ScriptSync uses phonetic-indexing technology from Nexidia™ to analyze the audio portion of a clip and match it to lines of the script text. To add script marks with ScriptSync: 1. Select one or more takes that include audio. 2. Double-click any line in the take to select the take and load it into a monitor. 3. Select Script > ScriptSync. The ScriptSync dialog box opens.
Script Marks 4. Select options as described in the following table. Option Description Language Select the language of your script (this setting is for both the audio and the text). n Depending on the language you select, the Acoustic model used by Nexidia changes; the models are Broadcast and Telephony. Only one model applies per language. Broadcast has a higher resolution and can be more accurate than Telephony in some cases.
9 Script-Based Editing Option Description Skip text before colon ‘:’ Select this option to skip all text before the first colon in a line of text. For example, select this option if your script uses the convention of placing a character’s name before a colon when the character begins to speak. Skip lines indented less than dialog Select this option if action is indented less than dialog in your script.
Script Marks Loading and Playing Marked Segments Once you have placed marks syncing lines in your script to points in the source clips, you can quickly load and cue takes for selected lines of dialog. You can load a single take, or you can load all the coverage for any given range of lines. To load the marked segment of a take: t Double-click the script mark at the line of dialog that you want to cue. The take is loaded into the Source monitor and is cued to the synced line of dialog.
9 Script-Based Editing To delete a script mark: 1. Click once on a script mark to select it. (If you double-click, you load the clip and make the Composer window active.) You can select multiple script marks for removal by highlighting an entire region of text and selecting the takes containing the script marks you want to remove. 2. Press the Delete key. The Delete dialog box opens. 3. Select Delete 1 mark(s), and click OK. The mark is deleted.
Editing From the Script Window To find source clips and bins: 1. Select the takes that you want to find. 2. Click the Find Bin button in the Script window toolbar. Your Avid editing application searches through bins linked to the project, opens the bin containing the linked clips, and highlights them in the bin. Editing From the Script Window Using the Script window in combination with the Single Mark Editing feature, you can edit in a highly streamlined manner.
9 Script-Based Editing 5. Prepare the sequence for the next edit: a. Create new tracks, if necessary. b. Enable the appropriate source and record tracks. c. Patch the tracks, if necessary. d. Mark an IN point in the sequence for the next edit. 6. Double-click the next preferred take to load it. 7. Play the clip until you reach the appropriate OUT point, and stop play. 8. Perform the edit on-the-fly. 9. Repeat steps 5 through 8 until you have moved through the entire scene or segment. 10.
Editing From the Script Window Interactive Screenings The Script window is a valuable tool during screenings of work in progress, allowing you to: • Quickly search for scenes and pages with clips attached for instant retrieval. Sequences are not loaded into the Script window. Instead, you can perform a video mixdown and load the resulting master clips. For more information, see the Help. • Match back and cue source material to compare alternative takes.
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10 Viewing and Marking Footage: Advanced Before making your first edit, 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.
10 Viewing and Marking Footage: Advanced To display information from the Record monitor: 1. Do one of the following: t Move the pointer to the gray area above the Overwrite button. t Place the mouse pointer in the gray area to the right of the Clip icon. 2. Press and hold the mouse button. The Info window opens. Only fields with data are displayed. 3. Drag the window to a new location to leave the window open. 4. Move the pointer to the gray area above the Splice-in button. 5.
Using the Timecode Window To display information from a bin: 1. Do one of the following: t Press and hold the mouse button over the Clip icon in the bin. t Press Ctrl+Alt and click the clip for which you want to display information. The Info window opens. Only fields with data are displayed. 2. Drag the window to a new location to leave it open.
10 Viewing and Marking Footage: Advanced To set a timecode display: 1. Select Tools > Timecode Window. The Timecode window opens. 2. Click anywhere in the Timecode window, and select an option. Timecode menu 3. To add an additional line of timecode, click Add Line, then click the new line and select an option. 4. To change the size of the font displayed in the Timecode window, select Size > font size. 5. Click the Close button to close the Timecode window.
Using the Tool Palette To adjust the offset: 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. Click the Desktop Play Delay slider to increase or decrease the amount of frame offset. You might need to readjust the frames a few times to find the correct offset. Using the Tool Palette The Tool palette provides additional buttons for editing and navigating with your Avid editing application.
10 Viewing and Marking Footage: Advanced 3. (Option) If a subset of the buttons appears in the Tool palette, click the lower right corner and drag it to the right and down to reveal the full Tool palette. To view the names of the buttons in the Tool palette: t Move the pointer over a button. The name of the button appears in a ToolTip box. To display labels on the Tool palette buttons: 1. In the Project window, double-click the Interface Setting. The Interface Setting dialog box appears. 2.
Using Locators There are eight Add Locator buttons in the More tab of the Command palette. Each Add Locator button is a different color, which allows you to group locators by color. For example, you can use the red Add Locator button to identify color correction frames and use the blue Add Locator button to identify cutaway shots. You can map Add Locator buttons, as described in “Understanding Button Mapping” on page 78.
10 Viewing and Marking Footage: Advanced When you insert a locator, it appears as an oval in the Timeline, in the position bar, and at the bottom of the frame in the monitor. The color of the oval corresponds to the color of the locator button you used. Locator displayed in the monitor, the position bar, and the Timeline You can add locators to your source material while you are in an editing session, as described in “Adding Locators While Editing” on page 354.
Using Locators Comment area Click to open the Locators window. 4. (Option) Type a new name in the Name text box. 5. Type your comments in the comment area of the Locator edit entry window. 6. Change the color from the Color menu or change the locator name. 7. To save your information, click OK, or press the Enter (Windows) or Return (Macintosh) key. The information is stored with the marked frame.
10 Viewing and Marking Footage: Advanced 5. (Option) Map different Add Locator buttons to different keys to be able to add more than one color of locator. To add comments to the locators: 1. Stop playing. 2. Do one of the following: t Double-click the locator in the position bar under the monitor. t Click the large oval on the frame in the monitor. A Locator edit pane opens. The locator name, color, frame, and track information appear.
Using Locators Finding Locators To quickly go to a frame with a locator while editing: t Search for a particular comment by selecting Edit > Find. Editing Locator Information You can open the Locator edit entry window directly from a monitor, from the position indicator bar, or from the Locators window. In the Locator edit entry window, you can change the color of a locator, the locator name, or the text of the comment associated with a locator.
10 Viewing and Marking Footage: Advanced Marking an Area Using Locators You can mark the area between two locators by using the Mark Locator button. To mark the area between two locators: 1. Move the position indicator between two locators. 2. Click the Mark Locators button in the Edit tab of the Command palette. The area between the two locators is selected.
Using Locators You can use the Locators window to: • Go to the locator in the sequence or clip. • Find frame, timecode, and footage information about each locator. • Modify and sort the display. • Display frames for easy visual reference. • Change the color of the Locator icons. • Delete a single locator or multiple locators. • Export locators to send out as a review and approval file. • Print the Locators window.
10 Viewing and Marking Footage: Advanced To view locators in the Locators window: 1. Load the sequence containing the locators. 2. Do one of the following: t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the Source or Record monitor and select Locators. t Select Tools > Locators. Working in the Locators Window You can perform a number of basic procedures in the Locators window.
Using Locators To display a timecode column, a footage column, or a frame number column in the Locators window: t Right-click (Windows) or Ctrl+Shift+click (Macintosh), and select Display > Frame Number, Timecode, or Footage. To display XML and Trigger columns: t Right-click (Windows) or Ctrl+Shift+click (Macintosh), and select Show MetaSync. To sort locators: 1. Click the heading of the column that you want to sort. 2.
10 Viewing and Marking Footage: Advanced To export locators: 1. From the Locators window, right-click (Windows) or Ctrl+Shift+click (Macintosh) and select Export Locators. A dialog box opens, asking if you want to export only the selected locators or export all locators. 2. Click All or Selected. The Choose location for Exported Locators dialog box opens. 3. Type a file name and click Save. The locator is saved as a text file (.txt). To import locators. 1.
Using Locators To add comments or information into the Locator text file: 1. Type each line of the file using the following syntax: NameFrameTrackColorComment 2. Enter the color names as follows: red, green, blue, cyan, magenta, yellow, black, white 3.
10 Viewing and Marking Footage: Advanced To copy locators from a clip and paste them into a sequence using the Locators window: 1. Select the locators in the Locators window by doing one of the following: t Click a single locator. t Ctrl+click (Windows) or Shift+click (Macintosh) multiple locators. 2. Do one of the following: t Select Edit > Copy. t Press Ctrl+C (Windows) or Command+C (Macintosh). 3. Load a sequence into the Record monitor or into the Timeline. 4.
Using Locators 3. Select File > Page Setup. The Page Setup dialog box opens, reflecting the specific options for your printer. 4. Select the Page Setup options. 5. Click OK. 6. Select File > Print. The Print dialog box opens, reflecting the specific options for your printer. 7. Select the Print options. 8. Click OK (Windows) or Print (Macintosh). The system prints the current view of locator information. To print the complete contents of the Locators window: 1. Make sure your printer is correctly set up.
10 Viewing and Marking Footage: Advanced You can also disable the Locator edit window so it only opens from the Locators window. For information on accessing the Locator edit window, see “Editing Locator Information” on page 357. To keep the Locator edit window from opening each time you add a locator: 1. Select Tools > Locators. The Locators window opens. 2. Select Disable Locator Popup when Adding from the Fast menu. The Locator edit window now does not open when you add locators.
Sequence and Clip Information Summary Sequence and Clip Information Summary You can generate a report to display information about the contents of a sequence or a clip. For example, you can generate a list of the types of effects in your sequence or where a particular effect is located. You can also create a clip summary or a source summary. This allows you to display a list of clip names, tape names, offline clips, and import path locations of imported clips contained in your selection.
10 Viewing and Marking Footage: Advanced Creating a Summary of Effects and Source Information You need to decide the following when you create a summary of effects, source information, or clip information: • Determine the tracks or the material within the IN and OUT points you want to run the report on • Choose the summary options you want information on: types of effects, location of effects, source information, or clip information • Decide how you want to display the report: through the Console wind
Creating a Summary of Effects and Source Information 4. Select Generate Summary Info. 5. Choose from the following options: t If you selected specific tracks, click Enabled Tracks Only. t If you set IN and OUT points, click Use Marks. t If you want to run a report on the entire sequence regardless of tracks or marks, do not select either of these options.
10 Viewing and Marking Footage: Advanced Summary Option Suboption Description Create Effect Summary This displays the types of effects and how many were found in your sequence, the breakdown by effect type, and an effect plug-in summary. If you have selected individual tracks or selected IN and OUT points, only those effects that fall within those parameters appear. Create Effect Location List This displays the location of an effect.
Creating a Summary of Effects and Source Information To display the summary in a text file: 1. In the Summary Output Options area, select Output File. 2. If you want the text editor to open with the report, click Open File in A Text Window. n The Macintosh text editor that opens is TextEdit and the Windows text editor is Word Pad. 3. Click OK. The Save Summary Output File As dialog box opens. 4. Use the default file name or rename the report and choose a folder to save the report to, click Save.
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11 Creating and Editing Sequences: Advanced After you have viewed and marked your clips or created subclips, you are ready to create a sequence.
11 Creating and Editing Sequences: Advanced User Preferences for Creating Tracks Your Avid editing application provides two options in the Edit tab of the Composer Settings dialog box that help automate the way tracks are created and enabled as you edit. You can adjust these settings in advance, based on personal preference. For information on opening and changing settings, see “Using the Settings List” in the Help.
Phantom Marks Setting One Mark In this example, you set only the mark IN on the source side. By default, the system uses the location of the position indicator as the mark IN for the sequence and calculates both OUT points based on the length of the source clip. One mark IN Three phantom marks You can see the system calculations instantly and can make the edit after setting just one mark, when appropriate.
11 Creating and Editing Sequences: Advanced Enabling Phantom Marks To enable phantom marks: 1. Double-click Composer in the Settings list of the Project window. The Composer Settings dialog box opens. 2. Select the Phantom Marks option in the Edit tab. 3. Click OK. When you enable phantom marks, the system displays blue mark IN or mark OUT icons in the position bars below both the Source monitor and the Record monitor.
Playback Performance Tips Playback Performance Tips As you continue to edit, you might find the playback performance of the system diminishing as the sequence grows in length and layers. This can happen when you are using a great deal of system memory for playback of large and complex sequences.
11 Creating and Editing Sequences: Advanced 3. Click the Play Length Toggle button. The Play button and the Play Length Toggle button change to white, indicating the Play Length Toggle feature is active. 4. Click the Play button. The sequence plays for the default Play Length, which is 1 minute. 5. To set the Play Length back to play the entire sequence, click the Play Length Toggle button again.
Autosyncing Clips Use the following guidelines when autosyncing: • You can autosync audio clips with video clips only. To link two or more video clips or audio clips, use the Grouping option described in “Understanding Grouping and Multigrouping Clips” on page 615. • You can create only one autosynced subclip at a time. You cannot autosync numerous pairs of audio and video clips simultaneously.
11 Creating and Editing Sequences: Advanced 4. Click OK. The subclip is created and named by default after the video clip with the file name extension .sync.n, where n is the incremental number of subclips created with the same name. You can change the name according to preference. You can load an autosynced subclip into the Source monitor and immediately edit it into a sequence. AutoSequence AutoSequence is used with 24p and 25p projects in which picture and sound are captured separately.
Resyncing Subframe Audio • Any points in the clips are removed and ignored. A message box opens, providing you with a choice to continue and remove the points or to cancel the operation. • Synchronized sequences are named from the Tape Name column. Adding Audio to Original Videotape Using AutoSequence c Make sure the video tracks are not enabled when you begin recording a digital cut. To add audio to your original videotape: 1.
11 Creating and Editing Sequences: Advanced The following conditions apply to resyncing at the perforation level: • n You can adjust the sync between a single video and a single audio track within subclips only.
Managing Sync with Multiple Tracks 4. Play the subclip in the Source monitor to evaluate your sync adjustment. Repeat the previous steps to further adjust the sync, up to eight perfs in either direction. 5. Use the resynced clip to edit into the sequence. n If you find a subclip frame sync problem within an edited sequence, be sure to correct the audio sync in the original subclip used in the edit. The sequence is then updated. The telecine facility must correct sync problems with 16mm format.
11 Creating and Editing Sequences: Advanced • You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. • Sync locking affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you add, move, trim, or remove material anywhere in the sequence.
Managing Sync with Multiple Tracks To mark sync points with locators: 1. Move the position indicator to the point in the sequence where you want to maintain sync between two or more tracks. 2. Select all tracks where you want the locators to appear. 3. Click an Add Locator button. The system adds a locator to the enabled tracks in the Timeline and in the Record monitor.
11 Creating and Editing Sequences: Advanced To restore sync: 1. Find the point at which the sync was lost. 2. Add or remove frames by using the appropriate edit function, as described in “Fixing Sync Breaks” in the Help. Using Add Edit When Trimming When trimming with several audio tracks in sync, you can use the Add Edit button to create an edit in the silent or black areas of the synced tracks. They occur in line with the track you are trimming, and they trim all the tracks at once to maintain sync.
Sync Point Editing To gang footage in monitors: 1. Load a sequence into the Record monitor. 2. Load one or more clips into the Source monitor and pop-up monitors. 3. Click the Gang button for each monitor that you want to synchronize (the Record monitor is always ganged). 4. View the footage in any of the monitors using standard playback methods. As you move through footage in one monitor, the footage in all other monitors freezes. The footage is updated when the play stops.
11 Creating and Editing Sequences: Advanced To perform a sync point edit: 1. Load a clip or sequence into the Source monitor. 2. Load a sequence into the Record monitor. 3. Mark the material in one of the following ways: t Mark the IN and OUT points in either the Source or Record monitor, leaving the opposite monitor clear of marks. t Mark an IN or OUT point in the Source monitor, or an IN or OUT point in the Record monitor.
12 Using the Timeline: Advanced Your Avid editing application represents each edit and effect in a graphical timeline structure to help you track and manipulate the elements of your sequence. The Timeline continuously updates as you work, displaying an extensive array of icons and information that you can customize in various ways. In addition, the Timeline has its own set of editing tools that you can use to create and revise edits and transitions across multiple tracks.
12 Using the Timeline: Advanced The following topics provide more information on customizing your Timeline view: • Displaying the Timeline Top Toolbar • Displaying Timecode Tracks in the Timeline • Changing the Timeline Background or Track Color • Showing Locators in the Timeline • Setting the Scroll Option for the Timeline Displaying the Timeline Top Toolbar You can display a top toolbar in the Timeline for easy access to editing buttons.
Timeline Views: Advanced To customize the tracks to be displayed in the Timeline: t n Click the Timeline Fast Menu button, and select Show Track > tracks. The TC1 track represents the timecode of the project in which you are working. For example, when you are working in a 24p NTSC project, the TC1 track displays the same timecode as the TC30 track. Changing the Timeline Background or Track Color To change the background color of the Timeline: 1. Deselect all the tracks in the Timeline.
12 Using the Timeline: Advanced Showing Locators in the Timeline When you add locators to a sequence, the locators are displayed in the Timeline. You can modify which locators are displayed in the Timeline by selecting Show Locators from the Timeline Fast menu. When you select a color from the Show Locators submenu, only locators of that color appear in the Timeline.
Navigating in the Timeline: Advanced Navigating in the Timeline: Advanced The Timeline window provides various controls for quickly moving through a sequence and adjusting your view of details displayed in the tracks while editing.
12 Using the Timeline: Advanced To enlarge tracks: t Select the tracks, and press Ctrl+L (Windows) or Command+L (Macintosh). To reduce tracks: t Select the tracks, and press Ctrl+K (Windows) or Command+K (Macintosh). You can also continue to work in Source/Record mode by resizing the Timeline window so that it overlaps the Composer window.
Advanced Timeline Techniques IN to OUT Highlighting in the Timeline When you mark a sequence with IN to OUT points, the system indicates the selection by highlighting the marked region in the Timeline. Only selected tracks are highlighted. Highlighted region All tracks selected This visual guide helps you monitor track and segment selection more carefully when mixing or applying effects across multiple tracks and segments.
12 Using the Timeline: Advanced Bin Editing into the Timeline You can use Segment mode to edit clips directly from a bin into the sequence in the Timeline. Bin editing allows you to bypass the process of loading clips into the monitor, setting marks, and clicking the Splice-in button or Overwrite button. For information on editing multiple clips directly from the bin into the RecordSource/Record monitor, see “Creating an Instant Rough Cut” in the Help.
Advanced Timeline Techniques To perform a direct edit from a bin into a sequence: 1. Activate bin editing: a. Double-click Bin in the Settings list in the Project window. b. Select the “Enable edit from bin (Splice, Overwrite)” option. c. Click OK. 2. Mark an IN or OUT point in the Timeline, or move the position indicator to the location where you want the clip to appear. 3. Select a clip in the bin. The entire clip is edited into the sequence, unless you have marked IN and OUT points. 4.
12 Using the Timeline: Advanced To adjust your view of the Timeline quickly for frame-by-frame viewing and editing: t Click the Timeline Fast Menu button, and select Show Every Frame. The film track displays frames for the topmost video track only. You cannot display more than one film track at a time. To quickly view more frames as you scroll: t Drag the resize box in the lower right corner of the Timeline for a full-screen view.
Add Edit (Match Frame) 3. Press and hold the Alt key (Windows) or Option key (Macintosh), click the frames representing the clip you want to move, and drag the clip to its new position. The sequence is rearranged to match the changes you made. Performing a Quick Edit Using the Top and Tail Commands The Top and Tail commands allow you to perform quick edits to segments in the Timeline.
12 Using the Timeline: Advanced Add edit placed between frames 1 2 3 4 5 6 7 Footage plays back continuously. This form of edit is also known as a match frame. In traditional analog editing, match framing accomplishes specific tasks, such as creating a dissolve between two clips. In Avid editing applications, however, Add Edits (or match frames) function differently.
Add Edit (Match Frame) n By default, the match-frame indicator is white. If a change in level occurs, the match-frame indicator changes to red. Adding Edits to Filler Clips You can add an edit to all tracks with filler, regardless of the track selection. To add an edit to filler clips at the position indicator: 1. Move the position indicator to the selected frame. 2. Alt+click (Windows) or Option+click (Macintosh) the Add Edit button.
12 Using the Timeline: Advanced Dupe Detection When you edit offline with plans to generate an EDL, the Dupe Detection feature allows you to visually track duplicate frames of footage while editing so that you can eliminate or manage the requirements of an online dupe reel. n The Dupe Detection feature works only for track V1. When you activate Dupe Detection, each set of duplicate frames is tagged with a different color. (Up to 10 color sets can be distinguished during a single detection process.
Dupe Detection To activate Dupe Detection: t Click the Timeline Fast Menu button, and select Dupe Detection. Dupe Detection is instantaneous and retroactive; if duplicate frames already exist in your sequence, the colored bars appear immediately. As you edit, your Avid editing application shows duplicate frames as they occur.
12 Using the Timeline: Advanced 16mm conforming: Zero-frame cutting method Segments of sequence Transition Handles Adding specific handle lengths to dupes (as they appear both in the sequence and in film lists) has the following advantages: • In 35mm single-strand conforming: Editors can better track duplicate frames and provide the negative cutter with more than one safety frame to avoid losing specific frames.
Tracking Color Frame Shifts Tracking Color Frame Shifts If you are preparing for an online edit using 1-inch reel-to-reel sources, you can enable the Color Framing options to track and correct instances where an edit cuts between the four fields (two frames) required to create a complete NTSC color sync signal phase (or eight fields — four frames — required for PAL).
12 Using the Timeline: Advanced Color-framing boxes Incoming frame Outgoing frame Boxes are out of alignment when color-sync signal is out of phase. 3. Trim one frame at a time on one side of the transition or the other until the green boxes are aligned and the color-frame phase bars stop blinking. If you are careful about color framing while editing, you will not need to think about it when assembling your master tape.
Printing the Timeline To find flash frames: 1. Set the maximum frame length that you want to detect: a. In the Project window, double-click the Timeline Setting. The Timeline Settings dialog box opens. b. Click the Edit tab. c. In the option Find Flash Frames Shorter Than, type the maximum number of frames you want to detect. The default is 10, which indicates the system will detect clips with 9 or fewer frames. d. Click OK. 2. Click the Timeline to activate it. 3.
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13 Working in Trim Mode: Advanced After creating a rough version of a sequence, 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.
13 Working in Trim Mode: Advanced 2. Perform a dual-roller trim on either the video track or the audio track, but not on both: t If the video transition occurs at the correct place but you want the audio from one clip to linger into the other (or the reverse), trim the audio tracks accordingly. If the audio transition occurs at the correct place but you want the video to transition either before or after the audio cut, trim the video track accordingly. 3.
Maintaining Sync While Trimming 4. Click the Extend button. The Extend button appears in the Trim tab of the Command palette. You can map the Extend button to a custom location. For information on the Command palette and button mapping, see “Understanding Button Mapping” in the Help. The adjustment appears in the Timeline. Video track is extended backward.
13 Working in Trim Mode: Advanced 4. Press and hold the Alt (Windows) or Ctrl (Macintosh) key while dragging the A-side or B-side trim roller. A black segment is added without changing the duration of sequence. Trimming without adding black Adding black while trimming No black is added and sync breaks appear in the Timeline. Black fills the trim duration and sync is maintained. After you have added black filler to a video track, you can replace the filler with footage by performing a replace edit.
Maintaining Sync While Trimming To trim with sync-locked tracks: 1. Sync lock the tracks as follows: Sync Lock icon Sync Lock All button t Click the Sync Lock button in the Track Selector panel for the track you want to keep in sync. The Sync Lock icon appears. t Click the Sync Lock All button to switch sync lock on and off for all tracks. 2.
13 Working in Trim Mode: Advanced Slipping or Sliding Segments Slip and slide procedures are two unique Trim mode techniques that allow you to make frame-accurate adjustments to a selected segment. They do not affect the overall duration of the sequence or the sync relationships between multiple tracks. Slip or Slide trimming allows you to do the following: • Slip or slide the video and audio segments together.
Slipping or Sliding Segments Lassoing Segments for Slip or Slide Trimming To select segments for slip or slide trimming by dragging a lasso: 1. In Source/Record mode, select a segment for slipping or sliding. 2. Enter Trim mode by dragging a lasso from right to left around a segment (two or more transitions). You enter slip trim by default. 3. To switch to slide trim, press and hold the Shift+Alt keys (Windows) or Option key (Macintosh) while dragging the lasso from right to left.
13 Working in Trim Mode: Advanced To select two or more segments on different tracks for simultaneous slip or slide trimming, do one of the following: t In Trim mode, press Shift and select the head and tail of a segment for slipping. t In Trim mode, press Shift and select the outgoing tail frame of the preceding segment and the incoming head frame of the following segment in a sequence for sliding.
Slipping or Sliding Segments Performing a Slip or Slide Trim To slip or slide a shot: 1. After selecting the segments, as described in “Lassoing Segments for Slip or Slide Trimming” on page 415, do one of the following: t Click any roller in the Timeline, drag the selected material to the left or right, and release the mouse button. t Use the numeric keypad to enter specific frame-count or timecode values, and press Enter.
13 Working in Trim Mode: Advanced To slip a shot in Source/Record mode: 1. Select the tracks for the clips to be slipped. 2. Move the position indicator within the shot that you want to slip. 3. Slip the shot by doing one of the following: t Click the Slip Left button to slip the shot one frame left (revealing later material from the source clip). t Click the Slip Right button to slip the shot one frame right (revealing earlier material from the source clip).
Using the Transition Corner Display Use the Transition Corner Display to trim the transition effect’s start frames, end frames, and duration in timecode or feet+frames (for 24p and 25p projects). As you trim the transition effect, you can see the corresponding frame adjustments in all six monitors simultaneously. c n The Transition Corner Display is applicable only to the trimming of transition effects (for example, dissolves, wipes, picture-in-picture, and so on).
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14 Working with Audio: Advanced You edit audio by using many of the same techniques and tools you use to edit video, including Source/Record mode, Segment mode, and Trim mode functions. Your Avid system 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.
14 Working with Audio: Advanced Audio Gain Staging and an Audio Editing Workflow You can adjust the volume or gain of an audio clip at several points during an editing session. For example, you can adjust volume using the Audio Mixer tool in Clip Gain mode and Automation Gain and Pan mode. Also, the EQ tool and many of the AudioSuite plug-in effects allow you to modify the volume of the clip.
Audio Gain Staging and an Audio Editing Workflow This workflow also applies to using AudioSuite plug-ins because some AudioSuite plug-ins affect the level of the audio. Often, if you use clip gain to raise or lower the level before you apply an audio effect, you can achieve higher quality results. In this workflow, the Audio Mixer tool in Automation Gain and Pan mode acts like the level faders on a console for final mixing of the audio material.
14 Working with Audio: Advanced Viewing Clip Gain and Automation Gain Values You can view the clip gain and the automation gain values in the Timeline at the same time. n You can also view automation pan values by selecting Auto Pan from the Timeline Fast menu. You cannot display Auto Gain and Auto Pan values at the same time in the Timeline. To turn on the display of clip gain values and automation gain values: 1. Click the Timeline Fast Menu button. 2. Select Audio Data. 3.
Audio Gain Staging and an Audio Editing Workflow For more information on the Audio tool, see “Understanding the Audio Tool” in the Help. For information on improving response time, see “Improving Response Time When Adjusting Volume” on page 425. n For additional ways to change the volume while playing an Audio Mix effect, see “Recording Automation Gain or Automation Pan Information” in the Help. To adjust volume while playing a Clip Gain effect: 1.
14 Working with Audio: Advanced To improve the response time, do any of the following: t Monitor as few audio tracks as possible. t Deselect the video track, if practical. t Use IN and OUT points to select a narrow interval to adjust. Using External Fader Controllers Your Avid editing application supports the following external fader controllers or mixers as control surfaces or for Automation Gain and Automation Pan recording. • Digi 002 (Windows only) and Command|8.
Using External Fader Controllers n The JL Cooper controllers and Yamaha mixing consoles do not support automation pan recording. An external fader controller or mixer is optional. It is not required to perform automation gain or automation pan recording. The following table compares the external fader controllers and mixers.
14 Working with Audio: Advanced Digi 002 and Command|8 FaderMaster Pro MCS-3000X Yamaha 01V/96 and Yamaha 01V Latch mode (also known as Snap mode) Yes No Yes No Number of steps of accuracy 1024 128 1024 256 Feature The following list provides additional information on touch sensitivity and automatically stopping recording: • Touch sensitivity: As soon as you touch a moving fader on the Digi 002, Command|8, or MCS-3000X, the unit passes control of the fader to you.
Using External Fader Controllers Adjusting the Volume of Individual Keyframes To edit the volume for individual keyframes using an external fader controller or mixer: 1. Check the color of the position indicator lights. Position indicator lights If the external fader controller or mixer is on and is correctly attached to the system, at least one of the position indicator lights on each enabled track is blue. 2. Click an audio gain keyframe. 3.
14 Working with Audio: Advanced Using an External Fader Controller or Mixer to Record Automation Gain To record audio gain information using an external fader controller or mixer: 1. Attach the fader controller or mixer to your system. For more information, see “Connecting Serial and MIDI Port Devices” in the Help. The position indicator lights change to blue when the fader controller or mixer is on and correctly attached to the system. Position indicator lights 2.
Using the Digi 002 and the Command|8 9. Click the Audio Loop Play button to play the clip and test your results. 10. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and select Filter Automation Gain on Track — In/Out. (Click the Track Selection button for a track to enable Filter Automation.) 11. (Option) If you delete too many keyframes, use the Undo command to restore them. 12. Repeat step 9 until you have decreased the number of keyframes to an acceptable level.
14 Working with Audio: Advanced Using the Digi 002 with Avid Input/Output Hardware (Windows Only) Windows systems with Avid input/output hardware can use the Digi 002 as an external audio device. This means you can use the Digi 002 to play, record, and output audio. n You can also use the Digi 002 as a standalone mixer. However, you cannot use the Digi 002 as a mixer while you are using it as the audio input and output device for your Avid editing application.
Using the Digi 002 and the Command|8 Avid input/output Device Avid Mojo SDI Audio/Video Sync Connection Connect one end of a BNC-to-RCA cable to the Word-clock and S/PDIF Out BNC connector (black cable) on the video output cable from the Avid Mojo SDI. Connect the other end of the BNC-to-RCA cable to the S/PDIF input on the Digi 002. This allows the Digi 002 to receive video sync from the Avid Mojo SDI and the optional black burst generator.
14 Working with Audio: Advanced 3. Click the Settings tab in the Project window. 4. Double-click Controller Settings. The Controller Settings dialog box opens. The Controller menu, Port menu, and Edit Settings button apply to the control surface. For Windows systems, you can use either a Digi 002 or a Command|8. For Macintosh systems, you can use a Command|8. The Gain Controller Port applies to any controller that you connect for automation gain or automation pan recording. 5.
Using the Digi 002 and the Command|8 Console View Open Command Palette button Display Controls and Foot Switch Keyboard Modifier switches Transport and Navigation controls Mic/Line/Inst Input controls Monitor Section Console/channel view section (contains a pan knob for each track) Status indicators and Display controls Keyboard Modifier switches Transport and Navigational controls Fader Section 435
14 Working with Audio: Advanced The following illustration shows the Digidesign Command|8 Controller Settings dialog box as well as the layout on the Command|8 itself. Compare the two illustrations to see which buttons are mappable using the Digidesign Command|8 Controller Settings dialog box.
Using the Digi 002 and the Command|8 Button Layouts on the Digi 002 and Command|8 The buttons on the Digi 002 and Command|8 can have different functions if you press the Shift, Control, Option, or Command keys. You can either use the keyboard or press one of the Keyboard Modifier switches on the controller surface.
14 Working with Audio: Advanced 5. Click Open Command Palette. The Command palette opens. 6. Click Menu to Button Reassignment on the Command palette. As you move the mouse over a button, the cursor changes to a menu icon. 7. Click the button on the dialog box that you want to change. The system highlights the button. 8. Select a menu command. For example, select Tools > Audio Punch-In. The system maps the menu command to the button. 9.
Using the Digi 002 and the Command|8 To ensure that you perform the correct operation when you press a button on the control surface: 1. Map some buttons to menu commands that give focus to a particular window or tool. For example, on the Digi 002, the F5 key is mapped to Tools > Timeline by default. Pressing the F5 button on the Digi 002 puts focus on the Timeline. 2. (Option) To see the function of a mapped button, hold the cursor over the button to view the tooltip.
14 Working with Audio: Advanced Using a Digi 002 or Command|8 to Record Automation Pan To record automation pan information using a Command|8: 1. Attach the Digi 002 or Command|8 to your system. See “Configuring the Digi 002 or Command|8” on page 433. The position indicator lights change to blue when the fader controller or mixer is on and correctly attached to the system. Position indicator lights 2. Click the Timeline Fast Menu button and select Audio Data > Auto Pan. 3.
Configuring USB-to-MIDI Software for External Controllers When a fader is not in Latch Mode, it automatically stops recording as soon as you release the fader. When you release the fader, it begins moving again as it follows the volume information in the Timeline. n The light inside the Latch mode button is on when a fader is not in Latch mode. To use Latch Mode: 1. Click the Latch Mode button for the appropriate tracks on the controller. You can click the button before or during a recording session. 2.
14 Working with Audio: Advanced c To reduce traffic on the USB, connect the USB-to-MIDI converter only if you need to use the JL Cooper FaderMaster Pro, JL Cooper MCS-3000X, Yamaha 01V/96, or Yamaha 01V fader box.
Configuring USB-to-MIDI Software for External Controllers Installing USB-to-MIDI Software (Macintosh) To install the MIDISport 2x2 driver software: 1. Download the latest MIDISPORT 2x2 drivers from the following Web site: www.m-audio.com The system downloads a compressed, executable file. 2. Double-click the downloaded file to uncompress the driver files to a floppy disk or to a folder on your Avid system. 3. Double-click the installer file. 4. Follow the on-screen instructions to load the software.
14 Working with Audio: Advanced 9. Click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders. If the external fader controller is connected and the system is using the correct MIDI port, then the Audio Mixer tool displays the following: - At least one of the position indicator lights is on (blue). - The Recording Status Light changes to gold. Position indicator lights 10. If the lights do not change to blue, see “Troubleshooting MIDI Connections” on page 445. 11.
Configuring USB-to-MIDI Software for External Controllers 5. Select Tools > Audio Mixer. 6. Do one of the following: t Click and hold the Audio Mixer Mode button and select Automation Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Automation Mode setting. If the fader or mixer is on and correctly configured, the indicator lights on the Audio Mixer tool should change to blue.
14 Working with Audio: Advanced Using the FaderMaster Pro and MCS-3000X The setup procedure is similar for both units. To connect and initialize the fader controllers, see “Connecting Serial and MIDI Port Devices” in the Help. c For the MCS-3000X to recognize your Avid editing application, you must set the rear DIP switch #4 down (ON). To set the correct port in the Controller Settings: 1. Start your Avid editing application. 2. Click the Settings tab in the Project window. 3.
Using the FaderMaster Pro and MCS-3000X 4. Check the color of the position indicator lights. If the external fader controller is connected, at least one of the lights should be on (blue). If the external fader controller is not connected properly, the lights will probably appear gray. Position indicator lights 5. Move the faders on the external fader controller. The corresponding fader should move in the Audio Mixer tool.
14 Working with Audio: Advanced • Solo buttons: These buttons solo the selected tracks. • Mute buttons: These buttons mute the selected tracks. Using the Snap Mode Feature on the MCS-3000X The MCS-3000X has a Snap Mode button (Snap mode is also known as Latch mode) for each track that allows you to easily punch-in and punch-out small sections of automation gain information. The second row from the top contains the Snap Mode buttons.
Using the Yamaha 01V/96 or the Yamaha 01V n You cannot gang faders on the Digi 002, the MCS-3000X fader controller, the Yamaha 01V/96 mixer, or the Yamaha 01V mixer. If you have two stereo tracks and want to gang faders 1 and 2 to respond to movement on fader 1: 1. On the FaderMaster Pro, press the PROG button to light the Fader LED. 2. Press the Group button, and move fader 2 until 1 is displayed. 3. Press the PROG button to turn off the Fader LED.
14 Working with Audio: Advanced To return to factory defaults for the Yamaha 01V/96: 1. Turn on the mixer while pressing and holding the STORE button. 2. The LCD panel displays a message asking if you want to Initialize or Password reset. 3. Select Initialize, and press Enter. Configuring the Yamaha 01V/96 or Yamaha 01V to Recognize Control Messages After you initialize the mixer, you must configure it to receive and transmit control messages.
Using the Yamaha 01V/96 or the Yamaha 01V To configure the Yamaha 01V/96 to recognize USB control messages: 1. Press the DIO/Setup button repeatedly until the MIDI/TO HOST SETUP pane appears. The system displays the first pane of the MIDI Options window. 2. Set the following controls in the USB Options window: a. Set RX Port to USB 1. b. Set TX Port to USB 1. 3. (Windows only) Do the following to load the driver: a. Insert the Studio Manager CD-ROM before plugging in the board. b.
14 Working with Audio: Advanced Switching Between Audio Mixing and Gain Recording with the Yamaha 01V/96 and Yamaha 01V When you start your Avid system with the Yamaha 01V/96 or the Yamaha 01V attached, you can use the faders for mixing audio channels or for performing automation gain recording.
Using the Yamaha 01V/96 or the Yamaha 01V To record automation gain information: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Automation Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Automation Mode setting. 3. Press the Option I/O (Yamaha 01V) or Master (Yamaha 01V/96) button. The faders move into the correct position for recording automation gain. 4.
14 Working with Audio: Advanced Using the Audio EQ Tool The Audio Equalization (EQ) tool supports real-time, segment-based frequency equalization on individual clips. This feature allows you to adjust the high, low, and midrange frequency ranges of an audio clip. You can also save a variety of audio EQ effects and apply them in different circumstances, as described in this section. To access the Audio EQ tool, do one of the following: t Select Tools > Audio EQ.
Using the Audio EQ Tool Audio EQ Tool Features This section describes the basic buttons and menus on the Audio EQ tool as well as the EQ-specific items on the tool. The following table describes the buttons that appear along the top portion of the Audio EQ tool: Button Description Effect Mode Selector Allows you to select among the Audio EQ, Audio Mixer, and AudioSuite Plug-In tools. Audio Loop Play Allows you to make adjustments to an EQ effect while you play the effect.
14 Working with Audio: Advanced EQ-Specific Features The Audio EQ tool provides three bands of control: • The first band, the low shelf, has four turnover points (50 Hz, 80 Hz, 120 Hz, and 240 Hz). A turnover point is the point at which the curve starts to return to 0. A shelf affects all frequency values within the range of the shelf. The low shelf affects all frequencies from 20 Hz to the low shelf turnover point. For more information, see “Low Shelf Example” on page 461.
Using the Audio EQ Tool EQ Parameter display Bandwidth around the center point of the parametric curve – 1/4 octave (narrow) or 2 octaves (wide) Current values of the EQ parameters Turnover point where low shelf curve starts moving back toward 0 Turnover point where high shelf curve starts moving back toward 0 Center point of the parametric midrange curve High shelf 0 line Low shelf Parametric midrange The Audio EQ tool allows you to emphasize or de-emphasize audio frequencies.
14 Working with Audio: Advanced 5. Click and hold the Track Selection Menu button in the Audio EQ tool, and select a track to be adjusted. Track Selection Menu button The Track Selector panel in the Timeline is updated to reflect your selection. If multiple tracks are enabled in the Timeline, plus signs (+) appear next to the enabled tracks in the Audio EQ tool. 6. Click the Audio Loop Play button to play the currently selected audio clip within the current IN to OUT range.
Using the Audio EQ Tool Saving Audio EQ Effects Your Avid editing application treats an EQ setting as an effect. You can save EQ settings in a bin just as you save any other effect template. This makes it easy to save EQ settings and apply them whenever you need them. The following illustration shows an EQ Effect icon in a bin and in the Timeline. EQ effect icon in a bin EQ effect in the Timeline To save EQ settings in a bin: t Drag the effect icon in the Audio EQ tool to a bin.
14 Working with Audio: Advanced Before Set EQ In/Out After Set EQ In/Out – EQ effect is added to Audio Clip 1 and Audio Clip 3. If there is no EQ setting on the currently selected clip, selecting Set EQ In/Out deletes the EQ settings on all clips within the IN to OUT range. For example, because there is no EQ setting on Audio Clip 3 in the following example, Set EQ In/Out deletes the EQ effect from Audio Clip 1 and Audio Clip 2.
Using the Audio EQ Tool Audio EQ Examples The following examples show two different ways to use the Audio EQ tool to remove excess bass from an audio track. In these examples, assume that a bass drum in the sound track is very pronounced and the Audio EQ tool is used to deemphasize it. Also assume that there are voices on the same track as the music.
14 Working with Audio: Advanced Small Octave Range Example This example isolates the particular frequency that we want to deemphasize. In this example, we do not use the low shelf, but instead use the parametric midrange to isolate the frequency. To isolate the frequency: 1. Use the ¼-octave influence range. 2. Set the midrange EQ parameter to –15 dB. 3. Use the EQ Range slider to move the midpoint of the parametric curve until it isolates the bass frequency.
Using the Audio EQ Tool Using Audio EQ Templates Your Avid editing application provides a set of predefined audio EQ templates. These templates address a number of common audio problems such as removing tape hiss or boosting the low frequency on a music track. The templates are accessible from the Fast menu on the Audio EQ tool. You can also add your own custom EQ templates to the Fast menu.
14 Working with Audio: Advanced Applying an EQ Template The following illustration shows the contents of the Audio EQ tool when you select the Female Voice with Presence template in the Timeline. As explained in the tool, you cannot change the parameters of a predefined EQ template. n To see the parameter values of one of the EQ templates that cannot be edited, view the Console window after you apply the effect. To open the Console window, select Tools > Console.
Using the Audio EQ Tool To create your own EQ effect template: 1. Drag the effect icon from the Audio EQ tool to a bin. Your Avid editing application creates an EQ effect in the bin. 2. Rename the template by clicking the text and typing a new name. Adding an EQ Template to the Audio EQ Tool Fast Menu Your Avid editing application stores predefined EQ templates in a special bin named Site_EQs_Bin.avb.
14 Working with Audio: Advanced If there is no existing EQ effect on the clip before you start, you do not hear any changes until you click the Audio Loop Play button to stop and replay the effect. As you adjust the EQ values on an existing EQ effect, you might not hear the results immediately. It takes a few seconds for the changes to be applied to the clip. To improve the response time, do one of the following: t Monitor as few audio tracks as possible. t Deselect the video track, if practical.
Recording Voice-Over Narration Connecting Voice-Over Recording Hardware Before you can record voice-over narration, you need to connect a microphone or other input device to your system. The following are typical examples: • Connect a microphone to a mixer, and connect the mixer to the audio interface I/O device on your Avid system. • Connect a microphone to a microphone preamplifier, and connect the preamplifier to the audio interface I/O device on your Avid system.
14 Working with Audio: Advanced Record button Play In/Out button Stop button Go to Mark IN button Passthrough Mix Tool button Cancel button Audio Tool button Preroll and Postroll text boxes Handles text box Input Source menu Input Channels buttons Timeline Track menus Target Drive menu Target Bin menu Audio Punch-In Tool Feature Description Play In/Out button Starts playing with the ability to perform a real-time punch-in.
Recording Voice-Over Narration Audio Punch-In Tool Feature Preroll text box Description Allows you to provide an audiovisual cue before the recording begins. Your Avid editing application backs up the position indicator for the prescribed number of seconds. You can hear the audio during preroll. When starting a punch-in with the Record button, a preroll allows you to provide the duration, in seconds, of the audiovisual cue before the recording begins. n The Record button takes precedence over preroll.
14 Working with Audio: Advanced Audio Punch-in Tool Scenarios You can punch-in audio in several ways: • Scenario 1 – Set only an OUT point. The position indicator is used as the IN point. Set a preroll time. Click the Play In/Out button to loop continuously through the sequence. Click the Record button when you find what you want to punch-in, and then click the Record button again to end recording. • Scenario 2 – Set an IN point and an OUT point around the material you want to record.
Recording Voice-Over Narration Record button Play In/Out button Stop button Input Source menu Timeline Track menus Input Channels buttons 3. Select the input source and input channels that correspond to your hardware setup, and set other values in the window as appropriate. To select the input channels you want, click and hold the appropriate Input Channels button. 4.
14 Working with Audio: Advanced 7. When you are ready to start the voice-over, click the Record button or press the B key. The Record button blinks bright red while recording, and the Play In/Out button is a steady green. The Audio Meter Channel button in the Audio tool becomes an I and changes to orange. 8. Continue to click the Record button to record additional voice-overs.
Using a GPI Device with the Audio Punch-In Tool Monitoring Previously Recorded Tracks While Recording Voice-Over Narration You can monitor previously recorded audio tracks while you record a voice-over narration. To monitor other audio tracks: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the Output Options menu, and select Mono. 3. Record your voice-over as described in “Recording Voice-Over Narration Using Audio Punch-in” on page 470. 4.
14 Working with Audio: Advanced To make use of this feature, you must: • Understand when your Avid editing application sends GPI trigger signals. For more information, see “Understanding GPI Trigger Signals” on page 474. • Connect a V-LAN VLXi deck controller and a VLXi-GT GPI to your Avid system. For more information, see “Connecting a V-LAN VLXi Controller and GPI” on page 476. • Configure the V-LAN VLXi deck controller and the GPI.
Using a GPI Device with the Audio Punch-In Tool When you use the Audio Punch-In tool with preroll and postroll, the following occurs: n • Play Out is sent when preroll begins (the position indicator begins moving in the Timeline, and the Play In/Out button in the Audio Punch-In tool blinks green). • Record Out is sent when recording begins (the Record button in the Audio Punch-In tool blinks red).
14 Working with Audio: Advanced Connecting a V-LAN VLXi Controller and GPI The V-LAN VLXi controller and VLXi-GT GPI connect to your Avid system through a direct serial connection as shown in the following illustration. GPI terminals (for connections to external hardware) VLXi-GT GPI IN OUT IN OUT IN OUT IN OUT IN OUT IN OUT SERIAL LAN AC 1 2 3 4 5 6 Terminator (required when cable length is more than 50 feet [15.
Using a GPI Device with the Audio Punch-In Tool 4. Click the Port menu, and select the serial port to which the V-LAN VLXi is connected. 5. Click OK. The Autoconfigure message box opens. 6. Click Yes. The connected GPI is automatically detected and appears in the Deck Configuration dialog box. Working with GPI Settings You must create a separate GPI setting for each trigger signal you want the GPI to recognize.
14 Working with Audio: Advanced GPI Settings Options The following tables describe the GPI settings and GPI Node settings options. GPI Option Description Name Keep the default V-LAN VLXi name, or type a new name. Description (Option) Add a description of the GPI trigger. Device Type Select V-LAN, which is the Avid-supported device type. Address Select the V-LAN network address to which the VLXi-GT is assigned. Valid addresses on the V-LAN network are 16 through 19.
Using a GPI Device with the Audio Punch-In Tool Editing a GPI Setting To edit a GPI setting: 1. In the Project window, double-click Deck Configuration. The Deck Configuration dialog box opens. 2. Click the VLXi-GT text box. 3. Select the name of the GPI you want to edit. 4. Click Edit. 5. Make the applicable changes to the setting. 6. Click OK. 7. Click Apply. The GPI setting is updated. Deleting a GPI Setting To delete a GPI setting: 1. In the Project window, double-click Deck Configuration.
14 Working with Audio: Advanced Displaying Audio Formats in Bins You can select a bin heading to display the audio formats in the bin. The applicable audio format, AIFF-C, WAVE, PCM, or SDII (Macintosh), appears in the Audio Format column for master clips. To add the Audio Format column to a bin: 1. With a bin in Text view, select Bin > Headings. The Bin Column Selection dialog box opens. 2. Ctrl+click (Windows) or Shift+click (Macintosh) Audio Format in the list to select it. 3. Click OK.
15 Using AudioSuite Plug-Ins This chapter describes how to access and use the AudioSuite plug-ins, including the set of core plug-ins that comes with your Avid editing application. It also provides a list of other plug-ins that are supported by this version. • Understanding Digidesign AudioSuite Plug-Ins • Core AudioSuite Plug-Ins Understanding Digidesign AudioSuite Plug-Ins Your Avid editing application supports AudioSuite, the Digidesign® host-based, file-based plug-in specification.
15 Using AudioSuite Plug-Ins A set of core plug-ins is installed automatically. When you purchase additional plug-ins, the third-party vendor provides instructions on how to load the plug-ins. Some vendors might require you to drag the plug-in to the Plug-Ins folder; other vendors might perform the task automatically for you by using an installation program. c n Your Avid editing application requires the files in this folder named AvidAppPlugIn.dpm and AvidAppPlugIn.dpm.
Understanding Digidesign AudioSuite Plug-Ins Effect Mode Selector menu Audio Loop Play button Render Effect button Fast Menu button Effect icon Display/Hide Master Clip Controls button Plug-In Selection menu Target Drive menu Status display Activate Current Plug-In button Track Selection Menu button Applying an AudioSuite Plug-in to a Clip in the Timeline The following illustration shows the default layout of the AudioSuite window.
15 Using AudioSuite Plug-Ins To apply an AudioSuite plug-in to a clip in the Timeline: 1. Open the AudioSuite window by doing one of the following: t Select Tools > AudioSuite. t If an audio tool is already open, click the Effect Mode Selector menu, and select AudioSuite. 2. Use the Track Selection Menu button to select the tracks that you want to modify. When you select an item from this menu, the system selects or deselects the corresponding track in the Timeline. 3.
Understanding Digidesign AudioSuite Plug-Ins These six buttons appear on all AudioSuite Plug-In dialog boxes. The following table describes the six common buttons: Button Description OK Saves the effect and closes the dialog box. Cancel Closes the dialog box and does not save the effect. Preview Plays back a portion or all of the currently selected audio clip with processing. Some plug-ins can preview in real time and some cannot.
15 Using AudioSuite Plug-Ins AudioSuite Fast Menu The AudioSuite Fast menu allows you to: • Apply an existing AudioSuite template. See “Using AudioSuite Effect Templates” on page 491. • Set, render, or remove AudioSuite plug-ins. The menu text differs, depending on whether you have IN to OUT points in the sequence. The following commands appear in the menu: Command Description Global There are no IN points on the segment. The command affects all the plug-ins on the enabled tracks.
Understanding Digidesign AudioSuite Plug-Ins • Create new media that is longer or shorter in duration than the source media. This allows you to use effects that perform time compression and expansion. For example, you can use a Time Compression Expansion plug-in to change the length of the audio file, or you can lengthen the file in order to add a reverb trail. • Apply one mono AudioSuite effect to multiple inputs of a master clip in a multiple-mono fashion.
15 Using AudioSuite Plug-Ins The following table describes the controls in the AudioSuite window. Control Description Track Selection Menu button This menu is not active in Master Clip Processing mode. Clip Selection menu This menu allows you to choose the active clip. It lists the current active clip and other clips you dragged into the AudioSuite window. The window controls change to reflect the active clip.
Understanding Digidesign AudioSuite Plug-Ins Control Description Handle Length for End of This text box allows you to add filler at the end of a master clip. The value Master Clip (seconds) text represents the number of seconds to add. For example, use this feature to add filler box at the end of a master clip when you use a reverb effect to add a reverb trail to the end of the clip. Select the value before you run the plug-in.
15 Using AudioSuite Plug-Ins For stereo and multichannel processing, the plug-in creates a master clip with the number of tracks equal to the number of output streams from the plug-in. For example, a plug-in that operates on stereo pairs creates a two-channel master clip. A plug-in such as Normalize, that operates on multiple channels, creates a master clip with the same number of tracks that were selected in the AudioSuite window.
Understanding Digidesign AudioSuite Plug-Ins 8. Click the Activate Current Plug-In button to open the plug-in’s dialog box. For more information, see “Using an AudioSuite Plug-In Dialog Box” on page 484. 9. Make any changes, and click the Preview button to preview the effect. 10. Either render the plug-in from the Plug-In dialog box, or return to the AudioSuite window. For more information on rendering, see “Rendering AudioSuite Plug-in Effects” on page 486.
15 Using AudioSuite Plug-Ins To add a template to the AudioSuite Fast menu: 1. Open the bin containing your AudioSuite templates. 2. Select File > Open Bin. A dialog box opens. 3. Navigate to the AudioSuite Site bin file in the following location: (Windows) drive:\Program Files\Avid\Avid editing application\ SupportingFiles\Site_Effects\Site_AudioSuite_Bin.avb (Macintosh) Macintosh HD/Applications/Avid editing application/ SupportingFiles/Site_Effects/Site_AudioSuite_Bin 4.
Understanding Digidesign AudioSuite Plug-Ins AudioSuite Plug-in Limitations The following limitations apply to the AudioSuite plug-ins: • Some plug-ins that perform analysis passes on the audio data are not supported. This includes plug-ins that use playlist information to cache analysis data.
15 Using AudioSuite Plug-Ins Core AudioSuite Plug-Ins A set of core AudioSuite plug-ins are installed with your Avid editing application. AudioSuite Plug-ins supported by Avid, such as the core set, are added to the AudioSuite Plug-in Selection menu using their plug-in name. If you install a plug-in that is not officially supported by Avid, the plug-in name is still added to the AudioSuite Plug-in Selection menu, but a ~ character precedes the name, informing you that this plug-in is not supported.
Core AudioSuite Plug-Ins Core AudioSuite Plug-Ins Plug-In Description Expander-Gate Performs the same function as the Gate plug-in with the addition of expander features. Expanders are particularly useful for reducing noise or signal leakage that creeps into recorded material as the signal level falls, which often occurs with headphone leakage. For more information, see “Expander-Gate AudioSuite Plug-In” on page 503.
15 Using AudioSuite Plug-Ins Core AudioSuite Plug-Ins Plug-In Description Multi-Tap Delay Allows you to control up to four independent delays applied to the audio clip. For more information, see “Multi-Tap Delay AudioSuite Plug-In” on page 521. Normalize Finds the peak value in the source audio file and scales the entire file proportionally to that maximum value. For more information, see “Normalize AudioSuite Plug-In” on page 522.
Core AudioSuite Plug-Ins Bomb Factory BF76 AudioSuite Plug-in The Bomb Factory BF76 plug-in is a compressor modeled after the solid-state (transistor) 1176 studio compressor. Introduced in the late 1970s, the 1176 offers a much different compression sound than other compressors.
15 Using AudioSuite Plug-Ins The following table lists the Chorus plug-in parameters: Parameter Description Gain Allows you to adjusts the input volume of the chorus to prevent clipping or increase the level of the processed signal. This slider is set to a default of +3 dB. If your source audio has been recorded very close to peak level, this +3 dB default setting could cause clipping. Use this control to reduce the input level.
Core AudioSuite Plug-Ins D-Verb AudioSuite Plug-In Digital reverberation processing can simulate the complex natural reflections and echoes that occur after a sound has been produced. Reverberation can take relatively lifeless mono source material and create a stereo acoustic environment that gives the source a perceived weight and depth in a mix. In addition, digital signal processing can be used creatively to produce reverberation characteristics that do not exist in nature.
15 Using AudioSuite Plug-Ins Parameter Description Decay Controls the rate at which the reverberation decays after the original direct signal stops. The value of the Decay parameter is affected by the Size and Algorithm parameters. This parameter can be set to infinity on most algorithms for infinite reverberation times. Pre-Delay Allows you to determine the amount of time that elapses between the original audio event and the onset of reverberation.
Core AudioSuite Plug-Ins The following table lists the Compressor plug-in parameters. Parameter Description Input Indicates the level of the unprocessed input signal to the Compressor. Output Indicates the output level of the Compressor, including any gain compensation added through the Gain parameter. Reduction Indicates the amount of gain reduction in dB. Gain Provides overall output gain adjustment. It allows you to compensate for heavily compressed signals.
15 Using AudioSuite Plug-Ins Limiter AudioSuite Plug-In The Limiter plug-in is used to prevent signal peaks from exceeding a chosen level so that they don’t overload amplifiers or recording devices. Most limiters have ratios of 10:1 or 20:1, although some provide ratios of up to 100:1. Large ratios effectively limit the dynamic range of the signal to a specific value by setting an absolute ceiling for the dynamic range. Limiting is used to prevent short-term peaks from reaching their full amplitude.
Core AudioSuite Plug-Ins Parameter Description Release Allows you to control how long it takes for the Limiter to be fully deactivated after the input signal drops below the threshold level. If you use heavy limiting, you should use proportionally longer release times.This prevents pumping, which can occur when the Limiter is forced to jump back and forth between limited and unlimited signal levels.
15 Using AudioSuite Plug-Ins Parameter Description Attack Allows you to set the Expander’s attack time. This parameter determines how quickly a signal’s level is reduced once it falls below the threshold. This setting, along with the Ratio setting, allows you to control the softness of the Expander’s gain reduction curve. Hold Allows you to specify a duration (in seconds or milliseconds) that the Expander-Gate stays open after the initial attack cycle.
Core AudioSuite Plug-Ins Parameter Description Hold Allows you to specify a duration (in seconds or milliseconds) that the Gate stays open after the initial attack cycle. This parameter can be used as a one-time function to keep the Gate open for longer periods of time with a single crossing of the threshold. It can also be used to prevent gate chatter, which might occur if varying input levels near the threshold cause the Gate to open and close very rapidly.
15 Using AudioSuite Plug-Ins To improve audio quality in your project: • Set the Frequency slider to remove sibilants (typically in the 4– to 10–kHz range) and not other parts of the signal. This prevents de-essing from changing the original character of the audio material. • Set the Threshold control high enough to trigger de-essing by sibilants only. If you set the Threshold too low, a loud, nonsibilant section of audio material could cause unwanted gain reduction or overattenuation of sibilants.
Core AudioSuite Plug-Ins n Limiting is used to remove only occasional peaks because gain reduction on successive peaks would be noticeable. If audio material contains many peaks, the threshold should be raised and the gain manually reduced so that only occasional, extreme peaks are limited.
15 Using AudioSuite Plug-Ins Parameter Description Side-Chain panel The side-chain is the split-off signal used by the plug-in’s detector to trigger dynamics processing. The Side-Chain panel lets you toggle the side-chain between the internal input signal or an external key input, and tailor the equalization of the side-chain signal so that the triggering of dynamics processing becomes frequency-sensitive.
Core AudioSuite Plug-Ins Parameter Description Attack Sets the attack time, or the rate at which gain is reduced after the input signal crosses the threshold. Values range from 10 microseconds (fastest attack time) to 300 milliseconds (slowest attack time). The smaller the value, the faster the attack. The faster the attack, the more rapidly the Compressor/Limiter applies attenuation to the signal.
15 Using AudioSuite Plug-Ins Expander/Gate III (Dynamics III) AudioSuite Plug-In The Expander/Gate III plug-in applies expansion or gating to audio material, depending on the ratio setting. Expansion decreases the gain of signals that fall below a chosen threshold. It is particularly useful for reducing noise or signal leakage that creeps into recorded material as its level falls, as often occurs in the case of headphone leakage.
Core AudioSuite Plug-Ins Parameter Description Gain Reduction meter (GR) Indicates the amount the input signal is attenuated (in dB) and shows different colors during dynamics processing.
15 Using AudioSuite Plug-Ins Parameter Description Attack Sets the attack time, or the rate at which gain is reduced after the input signal crosses the threshold. Use this along with the Ratio setting to control how soft the Expander’s gain reduction curve is. Values range from 10 microseconds (fastest attack time) to 300 milliseconds (slowest attack time). Release Sets how long it takes for the gate to close after the input signal falls below the threshold level and the hold time has passed.
Core AudioSuite Plug-Ins The following table lists the DeEsser III plug-in parameters: Parameter Description Levels panel Input/Output level meters Show peak signal levels before and after processing.
15 Using AudioSuite Plug-Ins Parameter Description De-Esser panel Frequency Sets the frequency band in which the De-Esser operates. Values range from 500 Hz (lowest frequency) to 16 kHz (highest frequency). When HF Only is disabled in the Options panel, gain is reduced in frequencies within the specified range. When HF Only is enabled, the gain of frequencies above the specified value will be reduced.
Core AudioSuite Plug-Ins Parameter Description Input Allows you to control the input gain of the EQ to prevent the possibility of clipping. Phase Invert Allows you to invert the phase (polarity) of the input signal in order to change frequency response between “multi-miked” sources (a common technique for “miking” a guitar amplifier), or to correct for miswired microphone cables. Type Allows you to select an EQ type (High-Pass, Low-Shelf, Peak, High-Shelf or Low-Pass).
15 Using AudioSuite Plug-Ins 1-Band EQ III Parameters The following table lists the 1-Band EQ III plug-in parameters. Parameter Description Input Sets the input gain of the plug-in before EQ processing, letting you make up gain or prevent clipping at the plug-in input stage. Input Polarity control Inverts the phase (polarity) of the input signal, to help compensate for phase anomalies occurring in multi-microphone environments, or because of mis-wired balanced connections.
Core AudioSuite Plug-Ins 7-Band EQ III Parameters The following table lists the 7-Band EQ III plug-in parameters. Parameter Description In and Out meters Show peak signal levels before and after EQ processing. Green indicates nominal levels. Yellow indicates pre-clipping levels, starting at –6 dB below full scale. Red indicates full scale (clipping) levels. The clip indicators to the right of each meter indicate clipping at the input of output stage of the plug-in. Click a clip indicator to clear it.
15 Using AudioSuite Plug-Ins Parameter Description Type selectors The HPF, LPF, LF, and HF band sections have type selectors that toggle between the two available filter types for that section, as follows: Q • High-Pass Filter (HPF band) — Attenuates all frequencies below the Frequency setting at the selected slope while letting all frequencies above pass through. • Low-Notch EQ (HPF band) — Attenuates a narrow band of frequencies centered around the Frequency setting.
Core AudioSuite Plug-Ins Flanger AudioSuite Plug-In The Flanger plug-in combines a time-delayed, pitch-shifted copy of an audio signal with itself. The Flanger differs from other digital flangers in that it uses a through-zero flanging algorithm that results in a truer tape-like flange. This technique delays the source signal very slightly (approximately 256 samples), and then modulates the delayed signal back and forth in time in relation to the source signal, passing through its zero point on the way.
15 Using AudioSuite Plug-Ins Funk Logic Mastererizer AudioSuite Plug-in The Funk Logic Mastererizer plug-in is a low-fidelity sound design tool, designed for the creative degradation of audio. By experimenting with adjustments to the controls, you can introduce varying amounts of hiss, hum, distortion, crackle, and other audio characteristics that are associated with old or flawed equipment, media decay, and so on. Invert AudioSuite Plug-In The Invert plug-in reverses the polarity of the selected audio.
Core AudioSuite Plug-Ins The following table lists the Delay plug-in parameters. Parameter Description Input Controls the input volume of the delay to prevent clipping. Mix Allows you to control the balance between the delayed signal and the original signal. If you are using a delay for flanging or chorusing, you can control the depth of the effect somewhat with the Mix setting. LPF (Low-Pass Filter) Controls the cutoff frequency of the low-pass filter.
15 Using AudioSuite Plug-Ins The following table lists the Multi-Tap Delay plug-in parameters: Parameter Description Gain Controls the input level of each of the four delay lines for individual delay taps. Adjust Gain to prevent clipping or increase the level of the processed signal. Feedback Controls the amount of feedback applied from the output of the delay into its input. It also controls the number of repetitions of the delayed signal.
Core AudioSuite Plug-Ins Gain AudioSuite Plug-In Gain allows you to boost or lower amplitudes in a file or selection by a specified amount. Use Gain for smoothing out undesirable peaks and other dynamic inconsistencies. You can specify the desired gain level in several ways: • Enter a numeric decibel value. • Enter a percentage value. • Drag the slider. • Press and hold the Ctrl key (Windows) or the Command key (Macintosh), then drag the slider to fine-adjust.
15 Using AudioSuite Plug-Ins Parameter Description Lowpass Filter Controls the cutoff frequency of the Lowpass Filter, allowing you to attenuate the high frequency content of the feedback signal. The lower the setting, the more high frequencies are removed from the feedback signal. The range of the Lowpass Filter is 20 Hz to 19.86 kHz, with a maximum value of Off (which effectively means bypass). Feedback Controls the amount of feedback applied from the output of the delay into its input.
Core AudioSuite Plug-Ins Use the rms and peak buttons to switch the calibration of the generated signal between RMS and Peak modes. Peak generates the signal at the maximum possible level without clipping. RMS generates the signal at levels consistent with the root-mean-square value, or the effective average level of the signal. n The Signal Generator produces a tone as soon as it is inserted on a track. To mute the tone, click the Bypass button.
15 Using AudioSuite Plug-Ins The following table lists the Time Compression Expansion plug-in parameters. Parameter Description Source and Destination The Source text boxes display the length of the current selection before processing in each of the listed formats. All the text boxes in both columns are constantly active, and a change made to one value is immediately reflected in the values displayed in the other text boxes.
Core AudioSuite Plug-Ins Parameter Description Min Pitch The Min Pitch slider lets you select the minimum (lowest) pitch that is used in the plug-in’s calculations during the time compression and expansion process. The slider has a range of 40 Hz to 1000 Hz. By controlling the minimum pitch, you can focus the time compression and expansion process for maximum efficiency — it all depends on the audio’s spectral shape.
15 Using AudioSuite Plug-Ins Parameter Description Gain The Gain controls set the input level, in tenths of a decibel. The input level should be set so that the plug-in can adequately handle amplitude peaks in the selection. Dragging the slider to the right increases gain, and dragging the slider to the left decreases gain. Coarse and Fine Adjust the pitch by dragging either of the two faders, or by typing values in the Coarse and Fine text boxes.
Core AudioSuite Plug-Ins Parameter Description Reference Pitch The Reference Pitch feature generates a sine wave tone that you can adjust to match a selected portion of audio material, and then use as an audible reference when pitch-shifting other audio material in your session. To use the Reference Pitch feature: 1. Select the audio material you want to use as a pitch reference. Click the Preview button to begin playback of the selected audio. 2.
15 Using AudioSuite Plug-Ins The following table lists the Time Shift plug-in parameters. Parameter Description Audio You use the Audio parameter controls to select the most appropriate time compression and expansion mode for the type of material you want to process, and to attenuate the gain of the processed audio to avoid clipping.
Core AudioSuite Plug-Ins Parameter Description Time You use the Time parameter controls to specify the amount of time compression or expansion you want to apply. The Original column displays the Start and End times, and Length of the edit selection. Times are displayed in units of the timebase selected in the Units menu. The Processed column displays the target End time and Length of the processed signal. Times are displayed in units of the timebase selected in the Units menu.
15 Using AudioSuite Plug-Ins Parameter Description Formant/Transient You use the Formant or Transient parameter controls to adjust either the amount of formant shift or the transient detection parameters, depending upon which mode you have selected in the Audio section. n The Formant parameter is available only when you select Monophonic as the Audio mode. The Transient section is available with slightly different controls, depending on whether you select Polyphonic or Rhythmic as the Audio mode.
Non-Core AudioSuite Plug-Ins Non-Core AudioSuite Plug-Ins Non-core AudioSuite plug-ins are also supported, but are not installed with your Avid editing application. They are located in the Goodies folder. These plug-ins can be used on a trial basis and then purchased through Digidesign. All others are not supported at this time. The plug-ins have their own detailed documentation. For more information, see the following Web site: www.digidesign.com.
15 Using AudioSuite Plug-Ins Maxim The Maxim™ plug-in performs peak limiting and sound maximizing. Maxim takes advantage of the random-access nature of disk-based recording to anticipate peaks in audio material and preserve their transient attacks when performing reduction. It helps to preserve the character of the original audio signal without clipping peaks or introducing distortion.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced You can export files for use with another system, another application, or another platform. Your Avid video-based editing system provides tools for exporting clips and sequences in various formats. You can also use VTR emulation for direct playback or recording of sequences by using an edit controller in an analog editing suite.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced Exporting With the Send To Templates The Send To feature is the quickest and simplest way to perform most common export tasks. Send To enables you to send sequences or master clips from your Avid editing system to other applications, automating your workflow. The Send To option provides you with a choice of several pre-defined templates to streamline your workflow.
Exporting With the Send To Templates Exporting Using Send To DigiDelivery You can export a sequence directly to DigiDelivery®, the file-exchange service from Avid Digidesign®. You must have a DigiDelivery account to deliver your exported sequence. For information about obtaining an account, go to the Avid DigiDesign web site, www.digidesign.com, and select Products > DigiDelivery. To export directly to DigiDelivery: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” in the Help. 2.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced The Filename text box displays the name of the sequence or clip you chose, and Auto Launch is selected by default to launch DigiDelivery automatically after you click OK. If the option you chose involves linking to media, Include Linked Media is also selected by default. 5. (Option) Change the file name. 6.
Exporting With the Send To Templates 9. (Option) Do the following if your sequence includes MetaSync tracks: a. Select Export MetaSync tracks, and then select XML or AAF. If you select XML, the system performs an AAF export, and then automatically opens MetaSync Publisher, which produces the XML file. For more information on MetaSync Publisher, see “Using MetaSync Publisher” in the Help. b.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced To export to Digidesign Pro Tools: 1. Select a sequence in a bin. 2. Do one of the following: t Select File > Send To > Digidesign Pro Tools, for sequences that you want to transfer on movable media. t Select File > Send To > Digidesign Pro Tools on Avid Unity, for sequences that are located on the same Avid Unity environment.
Exporting With the Send To Templates The Filename text box displays the name of the sequence or clip you chose. 4. (Option) Change the file name. 5. Click Set to browse to the drive and folder to which you want to export the sequence. Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. Review the Export Setting Summary. For more information about Export options, see “Export Settings” on page 682. 7.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 9. (Option) If you make any changes to the Send To dialog box, do the following if you want to save these changes as a new template. a. Click the Save As Template button. b. Rename the file. Make sure you leave the .stt extension. c. Click Save. The new template is saved. The next time you select a sequence, and choose File > Send To, the new template appears in the list. 10. Click OK.
Exporting With the Send To Templates The Filename text box displays the name of the sequence or clip you chose. 4. (Option) Change the file name. 5. Click Set to browse to the drive and folder to which you want to export the sequence. Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. Review the Export Setting Summary. 7.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 8. (Option) If you make any changes to the Send To dialog box, do the following if you want to save these changes as a new template. a. Click the Save As Template button. b. Rename the file. Make sure you leave the .stt extension. c. Click Save. The new template is saved. The next time you select a sequence, and select File > Send To, the new template appears in the list. 9. Click OK.
Exporting With the Send To Templates The Filename text box displays the name of the sequence or clip you chose. 4. (Option) Change the file name. 5. Click Set to browse to the drive and folder to which you want to export the sequence. Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. Accept the default settings for the rest of the options. 7. Insert a blank DVD in your DVD drive.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 8. Click OK. The Burn to DVD dialog box opens. 9. Select the capacity of your DVD medium from the Capacity menu. The capacity of your DVD medium must match the size you select from the Capacity menu. For information about the other options, see the Sonic printed or pdf documentation. 10. Click OK. Your DVD is burned.
Exporting With the Send To Templates 4. Do one of the following; t Select File > Send To > Encoding > Sorenson Squeeze. t Right-click (Windows) or Ctrl+Shift+click (Macintosh) the clip or sequence in the bin, and select Send To > Encoding > Sorenson Squeeze. The Send To dialog box opens with a default template. The Filename text box displays the name of the sequence or clip you chose. 5. (Option) Change the file name. 6. Click the Options button to select Sorenson Squeeze settings.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced Exporting Using Send To Avid DS When you choose to send to Avid DS, the sequence is exported as an AFE file (Windows) or an AAF file (Macintosh). To export directly to Avid DS: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” in the Help. 2. Select a clip or a sequence in a bin. 3. Do one of the following: t Select File > Send To > Avid DS.
Exporting With the Send To Templates 4. (Option) Change the file name. 5. Click Set to browse to the drive and folder to which you want to export the sequence, and then click OK. Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. (Option) If you need to make any changes, select the Options button, make any necessary changes, and then click Save. 7.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 9. (Option) If you make any changes to the Send To dialog box, do the following if you want to save these changes as a new template. a. Click the Save As Template button. b. Rename the file. Make sure you leave the .stt extension. c. Click Save. The new template is saved. The next time you select a sequence, and choose File > Send To, the new template appears in the list. 10. Click OK to save the AFE file.
Exporting With the Send To Templates 4. (Option) Change the file name. 5. Select the destination folder for the file, and then click OK. Whenever you return to a Send To dialog box, the destination folder that was last set appears in the destination field. 6. Review the Export Setting Summary. 7. (Option) If you need to make any changes, select the Options button, make any necessary changes, and then click Save.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 8. (Option) Do the following if you want the third-party application to automatically launch after you export. a. (Option) Click the Auto Launch button, and select Add Item. b. (Option) Browse to find the third-party application. c. Click OK Open. d. Select Auto Load Exported File(s) if you want the files you export to automatically load in the third-party application. e.
Exporting OMFI and AAF Files Any other program that supports OMFI can read OMFI files, even if the program resides on a different computer platform. As a result, with OMFI, you can transfer between different applications on different platforms without worrying about cross-platform translations. This can be very effective for importing animation or audio files created on proprietary platforms.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced Method 2: Compositions with Embedded Media Avid editing applications can export an OMFI or an AAF file that contains all the editing information for the selected master clip or sequence along with the video and audio media files for that master clip or sequence. See “Exporting As an OMFI or an AAF File” on page 554.
Exporting OMFI and AAF Files 6. Click the Export As menu, and select OMF 1.0, OMF 2.0, or AAF. 7. Select other options as described in “Export Settings: OMFI, AAF, and AFE” on page 691. For additional guidelines on suitable export options for AAF export to Pro Tools, see “Guidelines for Exporting AAF Files to Pro Tools” on page 557.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 9. In the Export As dialog box, select the destination folder for the file. 10. (Option) Change the file name. In most cases, keep the file name extension the same.
Exporting OMFI and AAF Files Guidelines for Exporting AAF Files to Pro Tools You use the same basic method to create an AAF export for use with Pro Tools that you use when creating any other type of AAF export. For more information, see “Exporting OMFI and AAF Files” on page 552. Several of the options you can select in the Export Settings dialog box have particular significance for exports to Pro Tools, so you need to select your options with care.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced Setting Guidelines Export Method: Video • Mixdown (Video Details tab) The Mixdown with Video Edits option is only compatible with Pro Tools v7.2 or later, and takes advantage of the fact that Pro Tools v7.2 or later can display multiple video tracks. This allows you to add a video track that shows the video edits.
Exporting Projects and Bins Using AFE Files (Windows Only) n Specific information for transferring projects to Avid DS is contained in the Avid DS Conform Guide, which is available from the Avid Knowledge Base or the Avid DS Support Center. To create an AFE file that includes all bins in a project: 1. Click the project window and select File > Export. The Export Project As dialog box opens. 2. Select a location, name the file, and click Save. 3.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 3. Select Avid File Exchange from the Export Bin As list. 4. Select a location, name the file, and click Save. 5. Transfer the AFE file to a location you can access from the other Avid application. You can use removable media, a network connection, or an Avid Unity shared storage system.
Exporting Video in DV Stream Format 4. Click the Export Settings menu, and select a setting. If you want to create a new setting, select Untitled. You can create settings in advance.See “Customizing Export Settings” in the Help. 5. Click Options. The Export Settings dialog box opens. 6. Click the Export As menu, and select DV Stream. 7. Select other options as described in “Export Settings: DV Stream” on page 690. 8. Click Format Options. The DV Export Settings dialog box opens. 9.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 11. In the Export Settings dialog box, do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens. Name the setting by typing a name in the Setting Name text box, and click OK. 12. In the Export As dialog box, select the destination folder for the file. 13. (Option) Change the file name.
Exporting QuickTime Movies Option Description QuickTime Reference QuickTime Reference is available from the Export As menu in the Export Settings dialog box. This option is similar to Same as Source, but your Avid editing application links to the original media files. This is the fastest method of export, but the movie can only be run or processed on your local system or in an Avid Unity workgroup environment.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced QuickTime Movie (Same as Source) QuickTime Movie (Custom) 7. Select the Same as Source option to use the resolution of the source file or select the Custom option to customize your settings. Using Same as Source results in the fastest export and is usually the best selection for a movie that will be processed by another application. See “Exporting QuickTime Movies” on page 562. 8.
Exporting QuickTime Movies 10. In the Export As dialog box, select the destination folder for the file. 11. (Option) Change the file name. In most cases, keep the file name extension the same. 12. Click Save. The file is exported to the selected destination. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 6. Click the Export As menu, and select QuickTime Reference. The Export Settings dialog box displays the QuickTime Reference options. 7. Select other options as described in “Export Settings: QuickTime Reference Options” on page 683. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens.
Exporting QuickTime Movies c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. Using Avid Codecs for QuickTime The following Avid codecs for QuickTime are installed automatically when you install your Avid editing application.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 6. Click the Export As menu, and select QuickTime Movie. 7. Select the Custom option. 8. Click the Format Options button. The Movie Settings dialog box opens. 9. Click Settings in the Video area. The Compression Settings dialog box opens. 10. Select the codec that you want to use for export. 11. Click the Options button. A Codec Configuration dialog box opens. The settings depend on the codec that you selected.
Exporting QuickTime Movies 12. Select the settings that you want, and click OK. For Color Levels or Color Input, select the color levels of the source media. If you are exporting from an Avid editing system, use ITU-R 601 (SD) or 709 (HD). 13. Click OK in the Compression Settings dialog box. 14. Click OK in the Movie Settings dialog box. The Export Settings dialog box reopens. 15. Do one of the following: t To save your settings in the existing settings file, click Save.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced Exporting As an AVI File (Windows Only) To export as an AVI file: 1. Prepare the sequence, as described in “Preparing to Export a Sequence” in the Help. 2. Select a clip or a sequence to export, as described in “Exporting Frames, Clips, or Sequences” in the Help. 3. Select File > Export. The Export As dialog box opens. 4. Click the Export Settings menu, and select a setting. If you want to create a new setting, select Untitled.
Installing or Copying the Avid Codecs for QuickTime on Other Systems 7. Select the AVI options you want. “Export Settings: AVI (Windows Only)” on page 695 describes the AVI settings options in the Export Settings dialog box. In the Video Format tab, you can also select further options by clicking the Codec Options button. 8. Select an AVI codec by clicking Codec Options. The Video Compression dialog box opens. 9. Select the compressor you want, and click the Configure button to further configure the codec.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced To install the Avid QuickTime Codecs from the application DVD on a system without an Avid editor: 1. Insert your Avid editing application DVD. 2. Click Install Products. 3. Click Install Avid QuickTime Codecs. 4. Follow the instructions in the installation program. The Avid QuickTime Codecs install on your system. To copy the Avid QuickTime Codecs from one system to another system: 1.
Exporting from a Third-Party QuickTime or AVI Application 3. On the other system, copy the files to one of the following folders: (Windows) drive:\Program Files\QuickTime\QTComponents (Windows) drive:\Windows\System32 (Macintosh) MacintoshHD/Library/QuickTime n Once the Avid Codecs for QuickTime are installed on the system, you can export files from the QuickTime compatible application for reimport into the Avid editing system.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced Exporting as Windows Media Using an Avid Supplied Template (Windows Only) Your Avid editing application includes a number of Windows Media templates you can use to export media. To export as Windows Media using an Avid-supplied template: 1. Select the sequence or clips to export. 2. Select File > Export. The Export As dialog box opens. 3. Click Options. The Export Settings dialog box opens. 4.
Exporting as Windows Media (Windows Only) 8. Click the Version button, and select v8, v7 or v4. This refers to the available version 8, version 7, and version 4 Windows Media templates. 9. Click the Templates button, and select the Windows Media option that best fits your needs. Windows Media Legacy Template compatibility is subject to Windows media updates. 10. Click Save. 11. In the Export As dialog box, select the destination folder for the file. 12. (Option) Change the file name.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 4. From the Export As menu, select Windows Media. 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7.
Exporting as Windows Media (Windows Only) Creating a Custom Video Profile for Windows Media Export (Windows Only) Your Avid editing application allows you to create custom video profiles. Once you create the profile, you can use the settings in that profile to export a sequence. To create a custom video profile: 1. Select the sequence or clips you want to export. 2. Select File > Export. The Export As dialog box opens. 3. Click Options. The Export Settings dialog box opens. Add Button 4.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7. Click the Add button and select Video. 8. Choose the custom profile settings according to “Windows Media Options Video Settings” on page 699. 9. (Option) If you want to save the .prx file, do the following: a.
Exporting as Windows Media (Windows Only) 4. In the Export As menu, select Windows Media. 5. (Option) Select Use Marks. When Use Marks is selected the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, the system uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option. 7. Click the Add button and select Audio. 8.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 11. In the Export As dialog box, select the destination folder for the file. 12. (Option) Change the file name. In most cases, keep the file name extension the same. 13. Click Save. The sequence is exported using the selected profile settings. Exporting as Windows Media Using a VC1 Resolution Use the following procedure to export a clip or sequence as a Windows Media VC1 resolution and then import the media file to your bin.
Exporting Tracks As Audio Files 13. Click Save. The sequence or clip is exported as VC1 media embedded in a Windows Media Video (.wmv) file. 14. Make sure the bin where you want to import the file is active. 15. Select File > Import, and select the .wmv file(s) you exported. 16. Click Open. The file is imported as VC1 and appears in your active bin. Exporting Tracks As Audio Files To export the audio tracks in a clip or sequence as an audio file: 1.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 6. Click the Export As menu, and select Audio. The Export Settings dialog box displays the Audio options. 7. Select the options you require. For more information on selecting options, see “Export Settings: Audio” on page 702. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As. The Save Export Setting dialog box opens.
Exporting Frames As Graphic Files Exporting Frames As Graphic Files You can export a single frame as a graphic file or you can choose to export multiple frames as sequentially numbered files. To export as a graphic file: 1. Do one of the following: t If you plan to export a single frame, mark an IN point to export the marked frame from a bin or a monitor, or move the position indicator to the frame you want to export.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 6. Click the Graphic Format menu, and select a format. For more information on graphic formats, see “Export Settings: Graphic” on page 704. 7. Select other options as appropriate. For more information on graphic format options, see “Export Settings: Graphic” on page 704. 8. Do one of the following: t To save your settings in the existing settings file, click Save. t To create a new settings file, click Save As.
Exporting Frames As Graphic Files 10. (Option) Change the file name. In most cases, keep the file name extension the same. 11. Click Save. The file is exported to the selected destination. When you are working with the Format Options settings, you can click Defaults to return the settings to their default values. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process.
16 Exporting Frames, Clips, or Sequences and Transferring Material: Advanced 586
17 Generating Output: Advanced Your Avid editing application provides tools for generating output for individual tracks or entire sequences to various videotape or audiotape formats. You can also generate an edit decision list (EDL) for use in an online suite and a cut list for creating film negatives.You can also use VTR emulation for direct playback or recording of sequences by using an edit controller in an analog editing suite.
17 Generating Output: Advanced Using Test Patterns Use the menu of test patterns to calibrate the system output. To display a test pattern: t In the Video Output tool, click the Test Patterns menu, and select a pattern.
Using an XLR Adapter for Consumer-Level Analog Output 9. Calibrate any of the available controls in the Video Output tool while checking the external Waveform and Vectorscope monitors. For example, composite output provides Gain and Saturation controls. For more information on using the Video Output tool, see “Preparing for Output” in the Help. 10. In the Video Output tool, click the Test Patterns menu, and select a test pattern.
17 Generating Output: Advanced Using the Digital Cut Tool: Advanced The Digital Cut tool provides controls when you record a sequence to tape. The following topics describe some of the more advanced digital cut features. • Output Mode Resolution Options • Outputting DV 50 and DVCPRO HD Media Directly to a DV Device • Selecting Output and Timecode Formats for 23.
Using the Digital Cut Tool: Advanced Output Device Output Mode menu Bit Depth menu The following table provides information on the output resolutions. Output Mode Description RT DNA Provides 1:1 uncompressed SD output through an Avid Adrenaline, Avid Mojo, or Avid Mojo SDI. DNxHD Provides DNxHD output through an Avid Adrenaline with HD input/output capability. All media must be DNxHD. Does not support real-time effects playback.
17 Generating Output: Advanced Output Mode Description DV50 Provides DV50 output through either a Host 1394 connection or through the 1394 connector on an Avid Mojo SDI. All media must be DV 50. Does not support real-time effects playback. DV25 Provides DV 25 output through either a Host 1394 connection or through the 1394 connector on an Avid Adrenaline, Avid Mojo, or Avid Mojo SDI. All media must be DV 25. Does not support real-time effects playback.
Using the Digital Cut Tool: Advanced 3. If you are using Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following: t Click the DNA/1394 button above the Timeline to display the 1394 label. t Select Special > Device > IEEE 1394. The 1394 icon displays above the Timeline, and a check mark appears next to IEEE 1394 in the Device menu. 4. Select OutputClip > Digital Cut. The Digital Cut tool opens. 5. Select other Digital Cut options.
17 Generating Output: Advanced Selecting Output Formats for 23.976p, 24p, and 25p Projects To output a particular format: 1. Select Output >Digital Cut. 2. Click the Output Format menu, and select a play rate. A brief description of each output format is displayed in the Digital Cut tool. The play rate you select determines how the digital cut is recorded. For example, if you select 23.
Using the Digital Cut Tool: Advanced Digital Cut Tool Output Format (Play Rate) 24 (NTSC) Target Project or System, and Recording Media Audio for film projection; DAWs (video for reference only) Picture and sound to NTSC tape; sound to DAT or mag tape Description Plays back the sequence at 24 fps (film rate). This play rate tells your Avid editing application to record audio at the film rate.
17 Generating Output: Advanced The following table provides changes in audio rates if you are working in a 24p or 25p project: Output Play Rate 24p Source 25p Source 23.976 NTSC 0.1% slowdown 4.1% slowdown 24 NTSC No change 4% slowdown 29.97 NTSC 25% speedup 20% speedup 24 PAL No change 4% slowdown 25 PAL 4.1% speedup No change If you are working in a 23.976 project, all output play rates are available, but only 23.976 NTSC maintains the original audio quality. For 23.
Using the Digital Cut Tool: Advanced n To output LTC timecode, you need to select “Generate LTC on Playback” in the General Settings dialog box. For more information, see “Using LTC Timecode for Output” in the Help. By default, the menus display the timecode format of the sequence you loaded into the Timeline. n Your Avid editing application can generate LTC at 29.97 fps only. See “Indicating the Destination Timecode Rate” on page 598. To select the timecode format for output: 1.
17 Generating Output: Advanced To output drop-frame and non-drop-frame timecode simultaneously for downstream encoding: 1. Select Output > Digital Cut. 2. Do the following: t Click the RS-422 Output menu, and select Drop. t Click the LTC Output menu, and select Non-Drop. Indicating the Destination Timecode Rate When you select 24 (NTSC) as your output format, the Destination Timecode Rate menu (labeled Dest. TC Rate) opens.
Using the Digital Cut Tool: Advanced n Some low-cost DV decks cannot be striped as non-drop-frame for performing digital cuts. To select the video pulldown cadence: 1. Select Output > Digital Cut. 2.
17 Generating Output: Advanced 11. Click the Play Digital Cut button. Your Avid editing application cues the record deck, then plays and records the insert edit. Your application automatically adds the correct pulldown fields. 12. To stop the recording at any time, press the space bar or click the Halt Digital Cut button.
Using the Digital Cut Tool: Advanced Changing the Default Pulldown Phase for Sequences During a digital cut to 30-fps NTSC videotape, your Avid editing application defaults to an A-frame pulldown conversion for sequences (subsequences are an exception). If you are appending sequences to the same output tape on which continuous pulldown is required, you might need to change the default pulldown phase (or pullin) to a B frame. A digital cut can begin only on the first field of an A or B frame.
17 Generating Output: Advanced There are several components to this setting. • The recommended value represents the delay that is found in the machine template for the online DV device. If for some reason, there is no “online” DV device, the recommended value is set to the delay in the machine template of the “offline” DV device. If no DV device is configured in the Deck Configuration and Deck Settings dialog boxes, this value is set to 0.
Using EDL Manager 4. Determine the approximate delay and type the delay in the Digital Cut Delay (frames) text box. 5. Click OK. 6. Perform a digital cut. See “Using the Digital Cut Tool” in the Help. 7. Repeat this process until you achieve the appropriate delay. Using EDL Manager An edit decision list (EDL) is a detailed list of the edits contained in a sequence, including all the timecode and supported effects information required to re-create the sequence in an online videotape suite.
17 Generating Output: Advanced Understanding Matchback The Matchback option on some Avid editing applications, along with the Avid FilmScribe application, allows you to generate a film cut list from a 30-fps or 25-fps video project that uses film as the source material. This video-to-film conversion is useful in a variety of matchback circumstances, including the following: • Using the Matchback option to generate both a videotape master for the project and a final cut on film.
Vertical Blanking Information To make these adjustments, the following occurs during matchback: • If the total video-sequence duration at the end of each cut is a frame longer than the film, the system subtracts a frame from the last video edit. If the video is a frame too short, a frame is added to the last video edit.
17 Generating Output: Advanced Vertical Blanking Interval Line Ranges Your Avid editing application can capture 248 lines per field in NTSC or 296 lines per field in PAL. For NTSC, only 243 of these lines are in RP-187’s production aperture. For PAL, the number is 288. The additional lines in each field are located immediately above the active part of each of the two fields. These lines (5 per field in NTSC and 8 per field in PAL) can be used for carrying additional data.
Vertical Blanking Information To display vertical blanking information and preserve it for a digital cut: 1. Select Tools > Video Output Tool. The Video Output tool opens. VBI menu 2. Click the VBI menu and select Preserve. If you select Blank, your Avid editing application fills the vertical blanking interval with video black (R=G=B=16).
17 Generating Output: Advanced 3. Close the Video Output tool. Any VBI information that is present in your clips or sequences will now be displayed. If you perform a digital cut, any VBI information that is in your sequence will be output. c The VBI value resets to Blank each time you launch your Avid editing application. If you want to preserve VBI information on output, set the value before you perform a digital cut.
Vertical Blanking Information Effects of Preserving Vertical Blanking Information on Compressed Video Quality For resolutions other than 1:1, preserving vertical blanking information when you capture can affect the video quality in the rest of the frame. For example, depending on the compression ratio, a video frame might look more blocky with vertical blanking information included. Your Avid editing application performs the following operations when capturing a frame: 1.
17 Generating Output: Advanced Feature Meridien Current Is VBI supported for DV resolutions? No No Is VBI supported for MPEG IMX? No Yes Does NewsCutter support VBI? No Yes Is VBI supported for JFIF and uncompressed resolutions? Yes Yes Is VBI information preserved when you apply effects? Not always Yes (see “Editing a Sequence with Vertical Blanking Information” on page 608.
Preserving HD Closed Captioning and Ancillary Data Ancillary data preservation is subject to the following requirements and limitations: • n You must capture and output the HD media using Avid Nitris DX, Avid Mojo DX, Avid Adrenaline or Avid DNxchange® input/output hardware. Avid Nitris (classic) does not support HD ancillary data.
17 Generating Output: Advanced To switch the ancillary data feature on and off through a Settings window: 1. Do one of the following: t Double-click Media Creation in the Settings list. t Select Tools > Media Creation. 2. Click the Capture tab. 3. Select Ancillary Data Enabled. A check mark appears. The system enables all four slots. 4. Click OK. 5. To turn off the ancillary data feature, click Capture Ancillary Data again to deselect the feature. To set options for ancillary data preservation: 1.
Preserving HD Closed Captioning and Ancillary Data Controlling Ancillary Data with a Console Command You can turn the ancillary data option on and off and set the slots with Console Commands. To switch the ancillary data feature on and off with a Console command: 1. Select Tools > Console. 2. Type the following command: Embeddnxcc To set the default for ancillary data preservation for all four slots: 1. Select Tools > Console. 2.
17 Generating Output: Advanced To set options for ancillary data preservation for a single slot: 1. Select Tools > Console. 2.
18 MultiCamera Editing The Avid MultiCamera editing features allow you to incorporate multiple camera angle sources into the nonlinear editing process.
18 MultiCamera Editing • The MultiGroup function is designed primarily for situation comedies and similar productions that record multiple takes sequentially on the same source tapes. Multigrouping does not provide any benefit when you edit with clips that do not share common timecode or were not recorded sequentially, and might even cause the wrong clips to be grouped together.
Creating Multigroup Clips 4. Select an option, based on the following: Option Description Film TC/Sound TC Use this option if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. Inpoints Use this option if you are syncing according to IN points set in each clip. Outpoints Use this option if you are syncing according to OUT points set in each clip.
18 MultiCamera Editing 4. Select an option, based on the following: Option Description Film TC/Sound TC Use this option if you are syncing clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not working in a 24p or 25p project. Inpoints Use this option if you are syncing according to IN points set in each clip. Outpoints Use this option if you are syncing according to OUT points set in each clip.
MultiCamera Displays You can switch the Nine Split Source view from one bank of nine camera angles to a second bank of nine camera angles by using the Swap Cam Bank or Quad Split button. • MultiCamera Mode — MultiCamera Quad Split Edit and MultiCamera Nine Split Edit: After you create a sequence that includes group clips, you can display the sequence in MultiCamera mode.
18 MultiCamera Editing Quad Split Source View After loading a group clip into the Source monitor, you enter Quad Split Source view by clicking the Quad Split button located in the Command palette in the MCam tab. The Source monitor splits into four camera angles of the group clip. A Group Menu icon appears in the second row of information above the Source and Record monitors. Group Menu icon 620 Quad Split Source view Sequence or linecut • Provides source-oriented control of multicamera material.
MultiCamera Displays The basic features of Quad Split Source view are as follows: • Allows you to use the Swap Cam Bank button to switch the Quad Split Source view from one bank of four camera angles to another bank of four camera angles. The Multi-angle View menus allow you to change the camera angles of the split displays. • Does not gang the Record monitor with Quad Split Source view.
18 MultiCamera Editing • Provides a list of all group clip video and audio tracks in the Group menu for custom selection and patching. • Allows you to use the Nine Split button to switch the Source monitor between Full-Monitor display and Nine Split Source viewing and editing modes (editing functions are the same in both displays). • Allows you to use the Swap Cam Bank button to switch the Nine Split Source view from one bank of nine camera angles to another bank of nine camera angles.
MultiCamera Displays Group Menu icon Source monitor controls are disabled. Gang icon changes to green. The basic features of MultiCamera mode are as follows: • Provides sequence-oriented control of multicamera material, in contrast to Full-Monitor display, Nine Split Source view, and Quad Split Source view. Whenever you play back, cue, switch camera angles, or mark material, your changes occur in the sequence.
18 MultiCamera Editing Real-time Playback in MultiCamera Mode You can use the Video Quality options to achieve better real-time playback performance in SD projects when you display multiple views (Quad Split Source view or Nine Split Source) in MultiCamera Mode. The range of options available depends on your input/output hardware configuration. For more information on the Video Quality menu, see “Video Quality Options for Playback” in the Help.
MultiCamera Editing Techniques MultiCamera Editing Techniques When you load a group or multigroup clip into the Source monitor and begin editing, the Timeline adds a unique identifier to indicate the presence of a group. The system uses the name of the clip within the group to identify the clip in each cut, and adds a G in parentheses to indicate the group. (G) indicates a group clip. Using various keys and functions, you can switch and edit the displayed group clip at any point in the sequence.
18 MultiCamera Editing When the Record monitor is active, you can place the position indicator within any segment and use the arrow keys to switch the group clip selected for that segment. n Whenever you switch camera angles, you also switch the frame representing the group in the bin. You can use this method to change the representative frame for bin display and storyboarding.
MultiCamera Editing Techniques Editing and Playing Back a Linecut in MultiCamera Mode You can edit and play back a linecut (playback of the edited sequence) on the Source monitor while in Quad Split Source view and Nine Split Source view. The client monitor also plays the linecut. n The client monitor displays only SD multicamera sequences. You can view playback of HD multicamera sequences in the Source monitor only.
18 MultiCamera Editing To add edits: 1. Load the group or multigroup clip into the Source monitor and splice it into a sequence. 2. Play the sequence.Each time you want to make an edit, stop and press the Add Edit key. The edits appear in the Timeline. Play the sequence repeatedly to add more edits, or remove edits in Trim mode by lassoing them in the Timeline and pressing the Delete key. 3.
MultiCamera Editing Techniques Using the Group Menu for Multicamera Editing To use the Group menu: 1. Click the Group Menu icon in the second row of information above the Source monitor to display the Group menu. 2. Select video or audio channels from any clip in the group to patch the video or audio channels to the tracks available in the sequence. 3. (Option) Select the Audio Follow Video option to switch both audio and video for each camera angle when you cut.
18 MultiCamera Editing Using Match Frame in MultiCamera Editing You can use the Match Frame button to display the matching clip within the group when match framing from the sequence, or you can display the original clip when match framing from the source group. For more information on using the Match Frame feature, see “Using Match Frame” in the Help.
Selective Camera Cutting To perform selective camera cutting with grouped clips: 1. Load the group or multigroup clip into the Source monitor. 2. Using timecode notes and the numeric keypad, type the timecode for the first take to begin the sequence, and press Enter (Windows) or Return (Macintosh) to cue the clip in the Source monitor to the take. 3. Mark IN and OUT points for the entire scene. 4. Select a camera angle for the first clip, and then splice the entire scene into a sequence. 5.
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19 Using Settings The Settings list is displayed when you click the Settings tab of the Project window. If you select a setting in the Settings list and make changes, the new options remain the default settings until you change them again. To view or modify the options, double-click the setting. For information on using the Settings list, see “Using the Settings List” on page 635.
19 Using Settings 634 • Interplay Server Settings • Interplay User Settings • Keyboard Settings • Marquee Title Settings • Media Creation Settings • Media Services Settings (Windows Only) • Mouse Settings • PortServer Settings • Remote Play and Capture Settings • Render Settings • Safe Colors Settings • Script Settings • Sound Card Configuration Settings (Windows Only) • Timeline Settings • Trim Settings • Video Display Settings • Video Input Tool Settings • Video Output
Using the Settings List Using the Settings List From the Settings list in the Project window, you can view, select, open, and alter various User, Project, and Site settings. To view the Settings list: t Click the Settings tab in the Project window. Settings tab Settings Fast menu Settings type Settings list Understanding Settings Three types of settings appear in the Settings list in the Project window, as indicated in the third column of information: User, Project, and Site.
19 Using Settings Platform Private Projects Shared Projects Windows C:\Documents and Settings\Windows login name\Documents\Avid Projects C:\Documents and Settings\All Users\Shared Avid Projects Macintosh Macintosh HD/Users/Mac login name/Documents/Avid Projects Macintosh HD/Users/Shared/Avid editing application/Shared Avid Projects • n Site settings establish default parameters for all new users and projects on a particular system.
Using the Settings List Setting Name Description For More Information Composer Configures the display and behavior of buttons and information in the Playback, Source, and Record monitors. See “Composer Settings” on page 666. Controller Settings Sets the default controller, port selection, and custom controller buttons. See “Controller Settings” on page 671. Correction Sets the parameters for the Color Correction See “Correction Settings” on page 671. tool.
19 Using Settings 638 Setting Name Description For More Information Interplay Server Allows you to specify the Avid Interplay Server location on the network. See Interplay Server Settings and the Avid Interplay Installation Guide. Interplay User Allows you to set the preference for accessing Avid asset manager. See “Interplay User Settings” on page 726 and the Avid Interplay Installation Guide.
Using the Settings List Setting Name Description For More Information Sound Card Configuration (Windows only) Allows you to map audio input sources See “Sound Card Configuration directly to the output sources available with Settings (Windows Only)” on page your audio hardware 739. Timecode Window Displays various timecodes in an adjustable See “Using the Timecode Window” on window. Appears in the Settings list to page 349. facilitate copying settings. Timeline Contains general Timeline preferences.
19 Using Settings By establishing these settings once, and selecting the appropriate setting or bin view in context, you can save time and effort that would be spent searching for information or adjusting bin headings on-the-fly. You can also save these settings along with your template for use on similar projects, as described in “Folders and Bins” on page 45.
Using the Settings List 2. Click the Fast Menu button, and select a settings display group from the Settings menu. The selected settings group has a check mark in the Settings menu, and the Settings list displays only the settings in that group. The following table describes the different Settings display groups.
19 Using Settings Selecting Another User Because User settings are not project or site specific, you can display another set of User settings in the Project window. To select another user: 1. Click the Settings tab in the Project window. The Settings list appears. User Selection menu 2. Click the User Selection menu, and select another name. The previous user’s settings are saved, and the new user’s settings are loaded into your Avid editing application and the Project window.
Using the Settings List To modify available settings: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click the name of a setting. A dialog box or window opens. 3. Type new values or select new options for the setting. 4. Click OK, Save, Apply, or Cancel, or click the Close button. The system saves changes in the appropriate User, Project, or Site settings file.
19 Using Settings 3. Select Edit > Duplicate. A copy of each selected setting appears in the Settings list. n If you are duplicating settings with custom setting names, a period followed by a version number appears at the end of the custom setting name of the duplicated settings. 4. Name your settings to indicate their functions. See “Naming Settings” on page 644. Naming Settings You can give settings custom names to differentiate among copies or to indicate a specific use.
Using the Settings List Selecting Among Multiple Settings With multiple settings, only one setting at a time is active. Settings that are currently active have a check mark to the left of the setting name. To change the active setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click in the space to the left of the setting that you want to select as the active setting. Deleting Settings You can delete settings from the Settings list in the Project window at any time.
19 Using Settings 3. Right-click the selected setting (or one of the multiple selected settings), and select Restore to Default. A message box opens, asking whether you want to save the settings. 4. Click Copy & Restore to copy the current settings before restoring the default settings, or click Restore to discard the current settings. The system restores the default values for the selected settings. Copying Settings Between Settings Files You can copy selected settings: • Between existing settings files.
Using the Settings List 3. Drag the selected setting to the destination settings window. Settings list Destination settings window The copied settings are saved when you close or save the file or project. You can also drag settings from the settings window into the Settings list in the Project window. To copy a setting from a settings file into the Settings list with the setting active: 1. Drag the setting into the Settings list. A message box opens. 2.
19 Using Settings The Site_Settings file is located in the following folder: • (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Settings • (Windows Vista) drive:\Users\Public\Public Documents\Avid editing application\Settings • (Macintosh) Macintosh HD/Applications/Avid editing application/ Settings Adding settings to the site settings files is useful if you need to establish global settings for all new users and projects, such as switcher settings, a spe
Using the Settings List A standard file structure with multiple users: Avid Users EMaxwell EMaxwell Settings.avs EMaxwell.ave MCState User2 User2 Settings.avs User2.ave MCState If you use the User Profile option to import User1 and User2 (turning them into User Profiles), you see something like this: Avid Users OS login name EMaxwell EMaxwell Settings.avs EMaxwell.ave MCState UserProfile1 UserProfile1 Settings.avs UserProfile1.ave MCState UserProfile2 UserProfile2 Settings.avs UserProfile2.
19 Using Settings For more information about selecting projects, see “Working with Projects” in the Help. AMA Settings The following topics describe options available in AMA (Avid Media Access) Settings. AMA Settings: Bins Tab The following table describes options available in the Bins tab of the AMA Settings dialog box. Option Description Use active bin Uses and selects a bin that already exists to store imported clips in. Create a new bin Allows you to create a new bin. This is the system default.
Audio Settings Audio Settings The following table describes options available in Audio Settings. Option Description Source Monitor Scrub Select the number of outgoing and incoming frames you hear as you scrub. Record Monitor Scrub Select the number of outgoing and incoming frames you hear as you scrub. Default Pan Select the way you want sound to pan between speakers: • Alternating L/R: Allows you to send the odd tracks to the left channel and send the even tracks to the right channel.
19 Using Settings Audio Project Settings The following topics describe options available in Audio Project Settings. You can save multiple Audio Project settings and select one as the active setting. If you edit an inactive setting, your Avid editing application does not display items that are not saved. For example, Mix Mode is not displayed in an inactive setting because it can’t be saved in the Project settings. n The Direct Out mode is saved in the Audio settings, not the Audio Project settings.
Audio Project Settings Option Description Sample Bit Depth Select this option to set the sample size used when you work with audio files: DV Audio Pattern • 16 Bit: For CD-quality audio. • 24 Bit: For work with higher resolution audio. Depending on your Avid input/output hardware, this option could be grayed out. The option is automatically selected for you depending on the deck template you have chosen.
19 Using Settings Audio Project Settings: Input Tab The options that appear in this tab depend on your audio configuration and the hardware installed on your system. Your options might differ from those listed here. The following table describes options available in the Input tab of the Audio Projects Settings dialog box. Option Description Input Gain slider Depending on your Avid input/output hardware, controls your computer’s volume settings.
Audio Project Settings Audio Project Settings: Output Tab The options that appear in this tab depend on your audio configuration and the hardware installed on your system. Your options might differ from those listed here. The following table describes options available in the Output tab of the Audio Projects Settings dialog box. Option Description Output Gain Allows you to set the volume of global audio output. Monitors Volume Available with software-only configurations.
19 Using Settings Option Description All or Timeline Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button. Allows you to map the track and output channels: • All: Allows you to choose between all available tracks. • Timeline: Allows you to assign output channels to the tracks monitored in the Timeline. Which Set of Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button.
Audio Project Settings Audio Project Settings: Hardware Tab The following table describes settings available in the Hardware tab of the Audio Projects Settings dialog box. Apart from HW Calibration, the settings in this tab are for informational purposes only and list defaults set by the system, depending on your audio hardware and configuration. Option Description Card The type of audio card installed. Peripheral The type of peripheral audio device (audio interface) attached to the system.
19 Using Settings Audio Project Settings: Effects Tab The following table describes options available in the Audio Projects Settings: Effects tab. Option Description Effect Bypass panel Allows you to have your Avid editing application ignore the volume settings established with the audio tools when playing back or recording a sequence: • Clip Gain: Bypasses the clip gain mode of the Audio Mixer tool.
Bin Settings Bin Settings The following table describes options available in Bin Settings. Option Description Auto-Save interval n minutes Specifies the length of time between attempts to auto-save project files. The default is 15 minutes. To avoid interrupting an edit, the Avid system waits until the system is inactive before auto-saving. Use the option “Force Auto-Save at” to specify an interval at which the system interrupts an edit to make the auto-save.
19 Using Settings Capture Settings Capture settings include essential options for capturing, batch capturing, auto capturing, capturing to multiple media files, DV scene extraction, and setting key commands. The following topics describe options available in Capture Settings. Capture Settings: General Tab The following table describes options available in the Capture Settings: General tab.
Capture Settings Option Description Latency for no deck mode n frames Use this setting to compensate for problems that could occur when capturing with external timecode, as described in “Live Capture with External Timecode” on page 166. If you notice that your captured media consistently starts on the wrong frame (usually one or two frames off), use this option to ensure that capturing starts on the correct frame. The option is set to zero by default.
19 Using Settings Option Description Optimize for disk space When this option is selected, your Avid editing application captures only the exact amount of material in the master clips plus any additional handles. The tape pauses and prerolls independently for each master clip that is batch captured. Optimize for batch speed When this option is selected, your Avid editing application speeds up batch capturing by allowing the deck to continue to roll forward between adjoining clips.
Capture Settings Capture Settings: Edit Tab The following table describes options available in the Capture Settings: Edit tab. Option Description Enable edit to timeline (splice, overwrite) Select this option to display the Splice-in Edit and Overwrite Edit buttons in the Capture tool. Handles Indicate the amount of footage you want to capture before and after the IN and OUT points of the clips (when capturing to the Timeline only).
19 Using Settings Capture Settings: MXF Media Files Tab If you select MXF in the Media Type tab of the Media Creation dialog box, this tab in the Capture Settings dialog box is labeled MXF Media Files. If you select OMF, the Capture Settings tab is labeled OMF Media Files. The following table describes options available in the Capture Settings: MXF Media Files tab.
Capture Settings Capture Settings: DV & HDV Options Tab The following table describes options available in the Capture Settings: DV Options tab. Option Description DV&HDV Scene Extraction When this option is selected, you can automatically generate subclips and locators based on time-of-day (TOD) information contained in the DV video format. See “DV and HDV Scene Extraction” on page 182.
19 Using Settings Communication (Serial) Ports Tool Settings The Communication (Serial) Ports tool allows you to view the current configuration of the serial interface at any time during editing. You can also use it to reconfigure the ports without closing your Avid editing application or shutting down the computer. The following table describes options available in the Communication (Serial) Ports Tool settings dialog box.
Composer Settings Option Description Center Duration When this option is selected, your Avid editing application displays duration data (Mark IN/OUT) for the material loaded in the Source or Record monitor, depending on which monitor is active. 16:9 Monitors When this option is selected, your Avid editing application displays media in the Source and Record monitors in 16:9 format for standard NTSC and PAL signals.
19 Using Settings Composer Settings: Edit Tab Use the Color Framing options in the Edit tab of the Composer Settings dialog box if you are going to do online editing using 1-inch, reel-to-reel sources. The options enable your Avid editing application to check each edit in a sequence as you edit, ensuring that transitions do not cut between the four fields (two frames) required to create a complete NTSC color-sync signal phase (or the eight fields — four frames — required for PAL).
Composer Settings Option Description Auto-create New Tracks When this option is selected, whenever you load new source material into the Source monitor, your Avid editing application automatically creates any new tracks in the sequence that match existing tracks in the source material. This is the default setting. Auto-enable Source Tracks When this option is selected, whenever you load new source material into the Source monitor, the system automatically enables all existing source tracks.
19 Using Settings Option Description Stop at Locators When this option is selected, the position indicator moves to the next consecutive frame containing a locator. For more information on using locators, see “Using Locators” on page 352. Ignore Track Selectors When this option is selected, your Avid editing application ignores the selected tracks and cues directly to the start (head) frame of the next edit, regardless of the track on which it occurs.
Controller Settings Controller Settings The following table describes options available in the Controller Settings. Option Description Controller Click the Controller menu, and select one of the following: • No Controller • JL Cooper MCS3 Controller • Digidesign 002 • Digidesign Command|8 Port Click the Port menu, and select the port used to connect your controller. Edit Settings If you have selected a port and controller, click Edit Setting to map the controller functions.
19 Using Settings Correction Settings: Features Tab The following table describes options available in the Correction Settings: Features tab.
Correction Settings Correction Settings: AutoCorrect Tab The following table describes options available in the Correction Settings: AutoCorrect tab. Option Description When applying Color Select one of the following options from menus to define the first, second, and third correction from the automatic color correction that Avid Color Correction makes when you apply the Effect Palette, perform Color Correction effect from the Effect Palette: the following operations: • Nothing: Makes no adjustment.
19 Using Settings Deck Configuration Settings The following table describes options available in Deck Configuration Settings. For information on the Deck Settings options, see “Deck Settings” on page 674. Option Description Configuration name Type a name for the configuration. Add channel Click to add a new channel box. Opens the Channel dialog box. Add deck Click to add a deck or DV device. Opens the Deck Settings dialog box. Delete Click to delete a deck or DV device.
Deck Settings Option Description Name Type your custom name for the tape deck. The default name matches the deck type. Description Enter notes about the deck. Notes Displays configuration information, supplied by Avid, about the deck or DV device you have selected. Not all decks or devices include this information. You can supply your own information in the Description field, and then save the configuration. Device Click the Manufacturer menu, and select your device manufacturer.
19 Using Settings Deck Preferences Settings The following table describes options available in Deck Preferences Settings. Option Description When the deck contains no tape or drop frame cannot be detected set timecode to Select the timecode format (Drop Frame or Non-drop Frame) for logging clips when no tape is in the deck or when drop frame or non-drop frame cannot be detected. When a tape is in the deck, your Avid editing application automatically uses the existing timecode format on the tape.
Dynamic Relink Settings Option Description Host-1394 DV Capture Offset & Digital Cut Offset (when Host 1394 capture is available) This group of options varies depending on your DV input/output configuration. • Digital Cut Offset (when Host 1394 capture is not available) Capture Offset (frames): Type the number of frames by which you want to offset while you capture. For more information, see “Understanding DV Capture Offset” on page 163. This option only appears when Host 1394 capture is available.
19 Using Settings Dialog Box Area Option Description (Continued) Working settings tab and Target settings tab If no match is found Allows you to specify the action to take if no media is available that matches the working or target settings. You can select one option as a working setting and a different option as a target setting. Select one of the following: • Keep Existing Media: The application displays the media to which the clips are currently linked.
Dynamic Relink Settings Dialog Box Area Option Description (Continued) Relink if quality When you select Specific Resolution as the Relink method, the Relink quality menus allow you to specify a relational operator and a resolution to compare against.
19 Using Settings Dialog Box Area Option Description (Continued) Relink if sample rate and bit depth The relational operators on the left for sample rate and bit depth are similar to the relational operators for the Video parameter “Relink if quality” menu. However, the two menus have an additional entry, “Any,” which allows you to use one criteria and ignore the other. For example, you could select sample rate equal to 44.1 kHz and bit depth to “Any”.
Effect Editor Settings Option Description Real Time Update When selected, your Avid editing application updates the rendered effect image in real time. Because the update can be slow for complex effects, you have the option to deselect updating in real time. Set Position To Keyframe With Set Position To Keyframe selected, when you click a keyframe indicator, your Avid editing application moves the position indicator to the keyframe.
19 Using Settings Export Settings The following topics describe options available in Export Settings. Export Settings Dialog Box Options The following table describes options available in the Export Settings Dialog Box Options. Option Description OMFI 1.0 OMFI 2.0 Select one of these options to export a standard OMFI composition for transfer to a third-party workstation that supports OMFI. You can choose to export composition only, or embed the video and audio, or both.
Export Settings Option Description Windows Media (Windows only) Select this option to export your sequence as native Windows Media. You can export your media using one of the Avid-supplied templates or using a custom audio and video template. See “Exporting as Windows Media (Windows Only)” on page 573. Audio Select this option to export audio tracks in the WAVE format, SD II (Macintosh only), or AIFF-C audio format.
19 Using Settings Option Description Digital Mastering Defaults Select this option to render all video effects and to premix audio tracks before exporting the file. This option automatically selects Flatten Video Tracks, Fill Spaces with Black, Render All Video Effects, and Premix Audio Tracks. Flatten Video Tracks When this option is selected, the composition is exported as one video track.
Export Settings Option Description Audio Format Select the format that is supported by the application into which you will be importing the QuickTime reference movie. • WAVE: Compatible with Windows applications. • AIFF-C: Compatible with many third-party applications, including Pro Tools. Select the AIFF-C format for all audio media when you need to transfer audio media files directly to a Pro Tools or an AudioVision® system for audio sweetening.
19 Using Settings Export Settings: QuickTime Movie Export Options The following table describes options available in Export Settings: QuickTime Movie Export Options. Option Description Use Marks When you select this option, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.
Export Settings Option Description Video Format The following options might be available, depending on your other settings: • Width x Height: Appears when you select Custom. Use this option to set the size of the clip. You can type in values or select from the predefined values in the Fast menu. The values in the Fast menu suggest a typical use for each size, for example, 320 x 240 (Internet video, large). The Size to Fit suboption sizes to fit the specified width and height.
19 Using Settings Export Settings: QuickTime Movie Settings The following table describes options available in Export Settings: QuickTime Movie Settings. Option Description Video Settings Opens the Standard Video Compression Settings dialog box. See “Export Settings: QuickTime Compression Settings” on page 689. Filter Opens the Choose Video Filter dialog box, which allows you to apply a single effect filter during an export. Size Opens the Export Size Settings dialog box.
Export Settings Export Settings: QuickTime Compression Settings The Standard Video Compression Settings dialog box gives you access to a wide range of QuickTime video codecs. The set of codecs available from the Compression Type list might vary depending on your computer’s configuration and your operating system. Other options that appear in the dialog box vary depending on the codec you select from the Compression Type list.
19 Using Settings Export Settings: HDV The following table describes options available in Export Settings: HDV. Option Description Use Marks When you select this option, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To output the entire clip or sequence, deselect this option.
Export Settings Option Description Audio Only Select this option if you want to export only the audio. For example, use this option if you want to use or enhance audio in a third-party application or use the audio in a multimedia project. Video Format • Color Levels: Select this option to set color to RGB or 601/709. • File Field Order: These options allow you to select the field that is the upper field during export. For 23.
19 Using Settings Option Description Use Enabled Tracks When you select this option, your Avid editing application exports only the currently enabled tracks for a selected sequence or clip. To export all tracks in the sequence, deselect this option. Include All Video Tracks in Sequence Select this option to include all video tracks from the sequence in the AAF or the OMFI file. The Video Details tab appears.
Export Settings Option Description The following options appear in the Video Details tab only, depending on the export method: Export Method: Video Mixdown Creates a new video mixdown track for the sequence. For more information about video mixdown, see Performing a Video Mixdown” in the Help. • Mixdown with Video Edits: Creates a mixdown compatible with Avid Digidesign Pro Tools v7.
19 Using Settings Option Description The following options appear in the Audio Details tab only, depending on the export method: Include Rendered Audio Effects Select this option to include rendered audio effects during export. Render All Audio Effects Select this option to render all audio effects during export. Add Audio Mixdown Select this option to add an audio mixdown track, and then select the type of track you Track(s) want, either Mono or Stereo.
Export Settings Option Description Convert Audio File Format to: If your sequence has a mix of audio file formats, and you want to embed media, you must choose a single audio file format. (You set the project format in the Audio Project Settings window. For more information see “Audio Project Settings” on page 652.) Audio files are converted to this format during export. This choice is optional if you want to consolidate and link media.
19 Using Settings Option Description Video Format The following options are available: • Codec Options: Opens the Video Compression dialog box to allow you to select a specific AVI compression type. For more information, see “Export Settings: AVI Video Compression (Windows Only)” on page 697. • Width x Height: Sets the size of the clip. Click the Fast Menu button, and select from a list of standard dimensions. The Size to Fit suboption sizes to fit the specified width and height.
Export Settings Option Description Audio Format The following options are available: • Mono: Exports audio to a single channel. • Stereo: Exports audio to two channels. • Sample Rate: Sets the sample rate The Project Rate suboption uses the native rate of the chosen audio media (32 kHz, 44.1 kHz, or 48 kHz). The 22.050 kHz suboption is half the sample rate of 44.1-kHz media. The 11.025 kHz suboption is one quarter the sample rate of 44.1-kHz media.
19 Using Settings Option Description Key Frame Every n frames Use this option to have your Avid editing application use keyframes as a reference for subsequent frames. Enter a numeric value to specify the frequency of the keyframes. This option is not available for the Avid Codec for AVI or for uncompressed files. Data Rate n KB/sec Use this option to set a specific data rate for the compressed file, in kilobytes per second.
Export Settings Existing Windows Media Custom Profile The following table describes options available in Existing Windows Media Custom Profile. Option Description Use Marks When Use Marks is selected, the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export. Use Enabled Tracks When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline.
19 Using Settings Option Description Codec (not available when you select Uncompressed.) Choose one of the following codecs: • Windows Media MPEG-4 Video V3: Creates high-quality video for streaming, download and play. Enables playback of interlaced content on televisions. • ISO MPEG-4 Video V1: The MPEG-4 standard was defined by the Moving Picture Experts Group (MPEG), the working group within the International Organization for Standardization (ISO).
Export Settings Option Description Buffer Size Type the number of seconds that you want content to be stored before encoding begins. A larger buffer results in better quality content, but requires more memory. When you encode content, the encoding process is delayed by the amount of time specified in the buffer; the content is also delayed by the same amount of time when streaming to a player. Quality The setting can range from 0 to 100, with 100 being the highest quality.
19 Using Settings Option Description Passes (not available when you select Uncompressed) Select either 1 Pass or 2 Pass. With 1 Pass encoding, the content passes through the encoder once, and compression is applied as the content is encountered. With 2 Pass encoding, the content is analyzed during the first pass, and then encoded in the second pass based on the data gathered in the first pass.
Export Settings Option Description Sample Rate Depending on your system, select one of the following: • Project Rate • 32 kHz • 44.1 kHz • 48 kHz • 88.2 kHz • 96 kHz You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate. (You set the project rate in the Audio Project Settings dialog box.For more information, see “Audio Project Settings for Capture” in the Help.
19 Using Settings Export Settings: Graphic The following table describes options available in Export Settings: Graphic. Option Description Use Marks When this option is selected, your Avid editing application uses current IN and OUT points in the selected clip or sequence to determine starting and ending frames for the export. To export the entire clip or sequence, deselect this option.
Export Settings Export Settings: Graphic Format The following table describes options available in Export Settings: Graphic Format. Option Description Alias™ This option creates files that are compatible with Alias™/Wavefront™ systems. BMP The following suboptions are available: • Windows: Creates files that are compatible with systems running the Microsoft Windows operating system. • OS/2: Creates files that are compatible with systems running the IBM® OS/2®operating system.
19 Using Settings Option Description JPEG The following options are available: • Quality: Controls the output file size and quality. Higher values produce better images but larger file sizes. Conversely, lower values reduce the image quality but result in smaller file sizes. • Baseline: Selected by default. To see if this option is required, see the documentation that came with your JPEG-supported applications.
Export Settings Option Description PNG The following options are available: • Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. • Interlaced: Allows you to save the file for progressive display, similar to progressive JPEG files. As the file is transmitted, the recognizability of the image improves.
19 Using Settings Option Description Wavefront® The following options are available: • Format Type: Specifies one of two output file formats supported by Wavefront (either RLA or RLB). • Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. • Gamma: Specifies an adjustment to correct for gamma differences between Macintosh and Windows PC output display.
Film and 24P Settings Export Settings: XDCAM The following table describes options available in Export Settings: XDCAM. To open the XDCAM Export Setting dialog box, select Output > Export to Device > XDCAM. Option Description Use Marks When Use Marks is selected, the current IN and OUT points in the selected clip or sequence determine starting and ending frames for the export.
19 Using Settings Option Description Auxiliary Ink Default Film Type Select the film type for a second ink number (this is useful for tracking additional information for different film gauges). The choices are the same as for Ink Number Default Film Type. Auxiliary Ink Default Edge Type Select the format for the auxiliary ink number edge type. The choices are the same as for Ink Number Default Edge Type.
Full Screen Playback Settings Full Screen Playback Settings The following table describes options available in Full Screen Playback Settings.For information on using Full Screen Play, see “Playing Video to a Full-Screen Monitor” in the Help. Option Description Scaling Select the desired scaling.
19 Using Settings Option Description Expand Luminance For Computer Displays Enabling this option gives a more accurate representation of the video image when using Full Screen Play on a standard computer monitor. If you are driving a studio quality monitor through either component, DVI or HDMI inputs you may want to run with this option disabled. The option is disabled by default. Current Monitor Position You can choose the monitor where you want to see the full screen playback.
General Settings Option Description Project Format This option displays the format currently selected for the project (NTSC or PAL). You cannot change it. Temporary File Directory When you use the Drag and Drop Export or an export that creates an intermediate movie file, your Avid editing application must store the intermediate file, which can be as large as the final export. By default, the Temporary File Directory is located in the same directory as your Avid editing application.
19 Using Settings Grid Settings The following topics describe the options available in the Grid Settings dialog box. Grid Settings: Coordinates Tab The following table describes options available in Grid Settings: Coordinates tab. Option Description Scale Mode Allows you to work with a grid that indicates boundaries for a format other than the one in which you are working. This is useful when you are creating graphics (like titles) that must remain safe in other formats.
Grid Settings Grid Settings: Display Tab The following table describes options available in Grid Settings: Display tab. Option Description Type Selects a different grid for each standard film type. For video projects, use the Square grid type. The grid for the Academy option includes a safety margin on the left that is used for adding the optical sound track.
19 Using Settings Import Settings The following topics describe options available in Import Settings. Import Settings: Image Tab The following table describes options available in the Import Settings: Image tab. Option Description Image Size Adjustment Controls the dimensions of imported images.
Import Settings Option Description Field Ordering in File Allows you to select the field ordering (sometimes referred to as field dominance) of the media you are importing. For 23.976p, 24p, or 25p projects, these options do not appear; all fields are automatically exported as progressive (still) frames. When the field ordering (or spatial field position) of the imported media matches the field ordering of the project format, no special processing is required.
19 Using Settings Option Description Alpha Channel Controls how the alpha channel is handled in imported images. The following options are available: • (Do not invert (black = opaque)): Select this option to import the image, using the existing alpha channel information.
Import Settings Import Settings: OMFI/AAF Tab The following table describes options available in the Import Settings: OMFI tab. Option Description Resolution Use the source file’s resolution. Select this option to maintain the source file’s resolution. Your Avid editing application disregards the resolution setting in the Select Files to Import dialog box as well as the resolution set in the Import tab of the Media Creation dialog box. Use the current import resolution.
19 Using Settings Option Description Merge events with known sources and automatically create subclips. Select this option to create subclips for events that are merged or relinked to their source clips upon import. Use this option if you have already entered master clips in a bin for each camera roll or master scene, and have subsequently logged all the events related to those clips for import. Merge events with known master clips.
Import Settings Option Description Sample Bit Depth Controls sample bit depth conversion during audio import. Select “Convert source sample bit depth to project sample bit depth on import” to covert the incoming media to the bit depth of the current project (deselected by default). Deselect this option to import audio media at the source sample bit depth.
19 Using Settings Option Description Batch import High-resolution Video Select this option if you want to use the Batch Import function to import high-resolution media from the XDCAM device and automatically conform it with the low-resolution proxy media. Type the number of frames you want to use as handles for batch imported clips in the Handle Length: nn Frames text box. Handles refer to material outside the IN and OUT points and are used for dissolves and trims with the new, shorter master clips.
Interface Settings Option Description Delay n seconds before showing If you select Show ToolTips, you can delay the label display by entering a value in this text box. A delay allows you to move the mouse pointer across the interface without displaying the labels on items between the starting point and the destination of the mouse pointer. Windows Standard Alt Key Behavior (Windows only) This option switches between standard Windows Alt key behavior and Avid system Alt key behavior.
19 Using Settings Option Description Color Controls the color of the given interface component. See “Changing Interface Component Colors” on page 56.
Interplay Folder Settings Option Description Monitor Button Separation Controls the spacing of the Monitor buttons or of the Timeline buttons. See “Changing Button and Toolbar Styles” on page 57. Timeline Button Separation You can select one of the following separation values: Button Style • Maximum • Moderate • None Controls the shape of the buttons. See “Changing Button and Toolbar Styles” on page 57.
19 Using Settings Interplay Server Settings You need to configure your Avid editing application before you can interact with the asset manager. For more information, see the Avid Interplay Installation Guide. The following table describes options available in Interplay Server Settings. Option Description Interplay Server Name Allows you to enter the computer name of your Interplay Server.
Keyboard Settings Keyboard Settings The following illustration displays the default keyboard settings. Step keys Play key Play/Step/Shuttle keys Delete key Home key End key Stop Arrow keys To view the name of a button in the Keyboard settings window, rest the pointer on the button. To get help for the button, right-click (Windows) or Ctrl+Shift+click (Macintosh) and select What’s This? For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 79.
19 Using Settings Marquee Title Settings The following table describes options available in the Marquee Title Settings. For more information on Marquee, see the Avid Marquee Title Tool User’s Guide or the Marquee Help. Option Description Create New Title using Controls which Title tool your Avid editing application uses. The following options are available: • Marquee: Your Avid editing application always opens Marquee when you select Clip > New Title or Tools > Title Tool.
Media Creation Settings Media Creation Settings: Drive Filtering & Indexing Tab The following table describes options available in the Media Creation Settings: Drive Filtering & Indexing tab. Option Description Filter Network Drives Based on Resolution Removes as a storage choice network drives that cannot support the selected resolution or cannot play back the selected resolution. Filter Out System Drive Removes as a storage choice the drive on which the operating system resides.
19 Using Settings Option Description Ancillary Data Enabled Select this to turn on or off the ancillary data option for all slots. Data Type Select the type of ancillary data you want to assign to a particular slot, 1-4. DID and SSID Displays the DID and SDID number values for the ancillary data packets that your Avid editing application captures and preserve by default. Enable Select this checkbox if you want this particular slot to access the ancillary data selected.
Media Creation Settings Media Creation Settings: Render Tab The following table describes options available in the Media Creation Settings: Render tab. Option Description Video Resolution Select a resolution for the rendered effects. n The application always renders an effect at the highest resolution used in the effect source clips. Apply to All This sets your chosen resolution for all the Media Creation dialog box tabs.
19 Using Settings Media Creation Settings: Media Type Tab The following table describes the options in the Media Type tab of the Media Creation dialog box. n If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. Option Description Video File Format Select a file format: Open Media Format (OMF) or Material Exchange Format (MXF).
Mouse Settings Option Description Shared Storage Type the directory where you intend to save the QuickTime reference movie created by the service. You can click the Browse button to locate the directory. Email address (Option) If you select “Notify me of job completion by email.” Type your e-mail address. n You can also check the Avid Interplay Media Services Broker Jobs window to see the status of your job. Mouse Settings The following table describes options available in Mouse Settings.
19 Using Settings The following table describes options available in Remote Play and Capture Settings. Option Description Mode Remote Capture when you want to perform a quick capture. This mode is also known as crash record. It allows your Avid editing application to capture the media being sent to it immediately without setting up parameters like IN and OUT points. Remote Capture supports record and stop with the controller. Remote Play when you want to control sequences via an edit controller.
Render Settings Render Settings The following table describes options available in Render Settings. Option Description Render Completion Sets a sound for your Avid editing application to activate once the rendering process is Sound complete. This is useful when you are rendering multiple effects. The following options are available: Motion Effects Render Using • None: Disables the rendering completion sound. This is the default.
19 Using Settings Option Description • Interpolated Field: Creates a second field for the effect by combining scan line pairs from the first field in the original media. This option calculates the motion effect at the field level rather than the frame level. Because your Avid editing application considers all fields and does not disturb the original order of fields, the smoothest effect results. Effects created using this option take the longest amount of time to render.
Safe Colors Settings Option Description • Effects Quality Render Using Blended VTR: Your Avid editing application blends, or averages, pixels from the original frames or fields to create intermediate frames or fields. For example, at 25% speed, your Avid editing application creates three blended images between outgoing Image A and incoming Image B. The first blended image weights the pixels from Image A at 75% and Image B at 25%.
19 Using Settings Option Description Units buttons Define the units of measurement for the three types of safe color values. The Luminance and RGB Gamut menus allow you to select from any of the following options. The Composite Units menu allows you to select either the IRE or the mVolts (millivolts) option. • 8 Bit: Measures the adjustment on a scale from 0 to 255.
Sound Card Configuration Settings (Windows Only) Option Description Interpolate Position When this option is selected, you can click in a take line within a script, and the image in the Source pop-up monitor updates to the approximate position in the take where you have clicked. If you deselect this option, the Source pop-up monitor does not respond when you click in a take line. Hold Slates Onscreen Set this option to keep the slates on the screen when you scroll through a script in the Script window.
19 Using Settings Timeline Settings The following topics describe options available in Timeline Settings Timeline Settings: Display Tab The following table describes options available in Timeline Settings: Display tab. Option Description Show Toolbar Displays the Timeline top toolbar. Show Marked Region Highlights the region from the IN point to the OUT point. This setting also affects the behavior of the Replace Edit function.
Trim Settings Timeline Settings: Edit Tab The following table describes options available in Timeline Settings: Edit tab. Option Description Start Filler Duration Type a default duration for the filler added at the start of a sequence. For more information, see “Adding Filler” in the Help. Find Flash Frames Shorter Than n frames Type the maximum number of flash frames you want your Avid editing application to detect.
19 Using Settings Trim Settings: Play Loop Tab The following table describes options available in the Trim Settings: Play Loop tab. Option Description Preroll Allows you to type a preroll value for a playback loop. Postroll Allows you to type a postroll value for a playback loop. Intermission Allows you to type a transition effect duration for a playback loop. Trim Settings: Features Tab The following table describes options available in the Trim Settings: Features tab.
Video Display Settings Video Display Settings The following table describes options available in Video Display Settings. Option Description DV Output Setting (not applicable to DV devices connected to an Avid Adrenaline or an Avid Mojo) The following options are available: Desktop Play Delay • Output to DV Device: Select this option if you have connected a DV device to a software-only system or an Avid Mojo SDI and you have selected Device > IEEE 1394.
19 Using Settings Video Input Tool Settings The following table describes options available in Video Input Tool Settings. Option Description Input menu Lets you select the video input for SD projects: Composite, Component, S-Video, SDI, or DNA-1394. For HD projects, the menu displays HD-SDI. For SD or HD projects, if you are capturing DV media through a 1394 port on your computer, the menu displays Host-1394. For more information, see “Capturing DV Media Directly from a DV Device” in the Help.
Video Output Tool Settings Video Output Tool Settings: Options Tab The following table describes options available in the Video Output Tool Settings: Options tab. Specific options apply to different projects, resolutions, and Avid input/output hardware; not all options are available for all versions of Avid editing applications. Option Description Sync Lock Use this feature to lock your output connection to the reference or an internal signal on the Avid input/output hardware.
19 Using Settings Option (Continued) Description VBI (DV resolutions unsupported) (Vertical Blanking Interval) Instructs the system to preserve or blank 5 lines above each field in NTSC and 8 lines above each field for PAL when you when you display a sequence or perform a digital cut. These lines are used to store additional encoded information such as closed captioning, edgecodes or key numbers for film projects, or various interactive or enhanced TV codes.
Video Output Tool Settings Video Output Tool Settings: SD Cal Tab The following table describes options available in the Video Output Tool Settings: SD Cal (Calibration) tab. Specific options apply to different projects, resolutions, and Avid input/output hardware; not all options are available for all versions of Avid editing applications. Option Description Output menu Lets you select either Component, Composite, S Video. On some systems, all outputs on the input/output hardware are active.
19 Using Settings Option (Continued) Description Gain Allows you to adjust the variation of the lightest or brightest in comparison to the darkest portions of the image. Available for the following output: Y Gain • S Video • Composite In some Avid input/output hardware configurations, allows you to adjust Y Gain, a measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Color bars are used to set the white level.
Video Output Tool Settings Option (Continued) Description SubPixel HPhase Provides a fine adjustment of Horizontal phase. Available for the following output: Settings menu • S Video • Component • Composite Lets you save the settings for an individual tape each time you calibrate bars.
19 Using Settings Option (Continued) Description Pb Gain In some Avid input/output hardware configurations, allows you to adjust the gain of the Pb color difference output, scaled from BY using the BT. 709 color space in HD component systems. Available for the following output: • R Gain HD Component YPbPr In some Avid input/output hardware configurations, allows you to adjust the red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard.
Workspace Settings Workspace Settings The following table describes options available in the Workspace Settings. Option Description Activate Settings Linked By Name Select this option to link other settings to the workspace. Continually Update This Workspace Select this option to automatically preserve the workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved.
19 Using Settings 752
20 File Format Specifications To be compatible with a variety of imaging standards, your Avid editing application can accommodate many file types and formats. Avid editing applications use Image Independence™ to produce usable files from a large number of graphics formats. Once you have imported a file in a particular format, you can export it in the same or different format, with the exception of Photo CD™; you cannot export a file to a Photo CD. (You can only import the Photo CD format on a Macintosh).
20 File Format Specifications Specifications for Graphics (Image) Files Import Specifications for Supported Graphics File Formats The following table contains specifications for those graphics file formats that are supported for import. The table uses the following terms: • Bit depth: These numbers refer to color-depth resolution of the image based on the number of bits per pixel.
Specifications for Graphics (Image) Files Format and Default File Bit Depth Name Extension Support Alpha Channel Support Notes IFF (.iff) 1-bit to 24-bit color; 1-bit alpha Pixel aspect information is saved with image data. only 1-bit to 8-bit grayscale; 64-color EHB; 4096-color HAM; 262,144-color HAM8; SHAM; A-HAM; A-RES JPEG (.jpg) 24-bit color, 8-bit grayscale No OMFI (.omf) PCX (.pcx) See “Specifications for Importing OMFI Files” on page 762.
20 File Format Specifications Format and Default File Bit Depth Name Extension Support Alpha Channel Support PNG (.png) 1-bit to 32-bit Yes QRT (.dbw) 24-bit No Rendition (.6rn) 32-bit Yes SGI (.rgb) Yes 8-bit or 16-bit grayscale; 8-bit grayscale plus 8-bit alpha channel; 24- and 48-bit color; 24-bit color plus 8-bit alpha channel; 64-bit (16 bits per component) Softimage (.pic) 24-bit plus 8-bit alpha Yes Notes Transparent areas in a PNG file are interpreted as an alpha channel on import.
Specifications for Graphics (Image) Files Format and Default File Bit Depth Name Extension Support Alpha Channel Support Wavefront (.rla) 32-bit and 64-bit Yes XWindows (.xwd) 1-, 2-, 4-, 8-, 16-, 24-, and 32-bit No YUV (.yuv) 24-bit No Notes Pixel aspect information (based on the video format) is saved with image data. When importing, select the option Force to Fit Screen.
20 File Format Specifications Aspect Requirement Notes File format Various Your Avid editing application accepts many file formats for input. TIFF (.tif), PICT (.pct), and PNG (.png) are commonly used formats. See “Import Specifications for Supported Graphics File Formats” on page 754.
Specifications for Graphics (Image) Files Frame Size for Imported Graphics The table in this topic shows the frame sizes to use when creating and importing graphics and sequences. This table includes sizes for both square and non-square pixels. When creating graphics for import, it’s important to distinguish between these types of pixels. Computer display cards usually use square pixels, and as a result most graphic and animation programs also use square pixels.
20 File Format Specifications Specifications for Animation Files This topic describes the animation file formats that your Avid editing application supports. In addition to the specific formats described in the table below, your Avid editing application also supports sequences of image files. You must name image file sequences appropriately for your Avid editing application to handle them correctly on import. Name each file in the sequence NameN.
Specifications for Audio File Formats Format Description AVI Developed by Microsoft for storing video and audio information as part of its Video (Audio Video Interleave) for Windows standard. (Windows Only) AVI files use the .avi file name extension. After you import an AVI file, the file maintains the .avi file name extension, which is visible in a bin. The .avi file name extension is the default for export. Avid AVI files can be quite large, especially at high video resolutions.
20 File Format Specifications MXF has been designed to be flexible enough for use in all stages of content creation, from acquisition, to authoring, to distribution.The primary benefit of MXF is that it provides greater workflow efficiency by preserving useful metadata as media files make their way through the content creation process.The MXF format is independent of the type of content that it contains, so an MXF file can contain video and/or audio at any resolution or compression.
Working with BWF Files Option Description OMFI version Avid editing applications recognize and support OMFI 1.0 composition and media files and OMFI 2.0 composition files. The following OMFI 2.0 effects are supported generally: • Video effects: dissolves, wipes, freeze frame, film pulldown, slow motion, fade to black • Audio effects: pan and volume, audio dissolves Other effects can be imported from other Avid applications. Film pulldown To import audio media, set the pulldown switch to 1.0.
20 File Format Specifications Avid editing applications support 24-bit audio data, and up to 16 tracks in a single file. You can use the AutoSync™ feature to sync these tracks. You can also use AutoSync to sync picture and sound. BWF Information Displayed in Bins The following information from BWF files always appears in bin columns: Bin Column BWF Source Clip name Imported file name. If scene and take information is provided, the clip name is created as scene/take. Tape ID Imported file name.
Working with BWF Files For example, uSCENE=1A[CR/LF] after importing, displays “1A” in the Scene column of the bin into which it was imported. The following table describes how to code BWF information for particular bin columns: Bin Column BWF Source Comments (editable text field that uNOTE=x, where x is text. appears in the bin script view) Scene uSCENE=x, where x is text. Take uTAKE=x, where x is text. Tape Name uTAPE=x, where x is text.
20 File Format Specifications During import of NTSC BWF files, if no frame rate is specified in the file, a dialog box appears and asks if the conversion should use 29.97 fps or 30 fps, and drop-frame or non-drop-frame. Your choices depend on how the audio was recorded. After you capture video, use the AutoSync™ feature to sync picture and sound or multiple tracks of sound.
Working with BWF Files 5. Make sure\ all entries in the Shoot Date column use the same syntax. Currently, some BWF files use the format 2003/10/03 as the Shoot Date while some ALE files use 2003-10-03. This field is used as part of the AutoSync process to guarantee the uniqueness of the timecode. To fix this problem, do one of the following: - Manually change the format of one set of clips to match the other.
20 File Format Specifications 7. Locate the files and select only one .wav file in the group. You do not need to select multiple files. As long as you select just one of the .wav files in the group, all the files import. 8. Click Open. The file imports and a new master clip appears in the bin with all audio tracks associated with the new master clip. n Some audio track labels (A1, A2, A3) might be skipped because there is no file for that track.
Field Ordering in Graphic Imports and Exports • Lower field is first: The lower field in the frame (even-numbered lines) occurs temporally first, as shown in the following illustration. This arrangement is termed “lower field first” (or “upper field second”). f2 f1 Field 1 Field 2 Time Frame Unit Preventing a Spatial Field Mismatch on Import The following table shows the proper spatial field position for each of the common video formats in Avid editing applications.
20 File Format Specifications Spatial Field Relationship on Export The default export operation is automatically carried out as shown in the preceding table. The fields are properly interleaved in the export frames (one frame per file). If an import comes in mismatched and the dropping of the top line and repeating of the bottom line is performed, you might decide to have the export operation performed to prevent a shift up or down by a line.
21 Resolutions and Storage Requirements This section describes the different resolutions available in your Avid editing application and lists their specifications. It also explains how to estimate the drive space you will require to store your captured media.
21 Resolutions and Storage Requirements Avid editing applications also support the capture and storage of video that is not processed by a data compression scheme: • Uncompressed video (1:1) is available as standard definition (conforming to the ITU-R 601 standard) or as high definition (conforming to the ITU-R 292M standard). The image quality of uncompressed video is very high, but uncompressed files require very large amounts of drive space. • DV (digital video) is a compressed media format.
Compression and Resolutions Compression and Resolutions Avid editing applications provide you with a range of resolutions, both compressed and uncompressed, that you can use at various stages of your project. You can also mix certain resolutions within a sequence. n For information on resolutions to use when importing graphics or sequences from a third-party application, see “Frame Size for Imported Graphics” on page 759.
21 Resolutions and Storage Requirements The following table provides information about HD resolutions for interlaced and progressive media. HD resolutions are available only in MXF format. 774 Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 8 10 8 8 8 720p/23.976 1280 x 720 23.
Compression and Resolutions n Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 8 10 8 8 8 1080i/50 1920 x 1080 25.00 1037 829 185 185 120 100 10 8 10 8 8 8 1080i/59.94 1920 x 1080 29.970 1243 994 220 220 145 100 Resolution Bits 1:1 10-bit HD 1:1 HD DNxHD 185 X DNxHD 185 DNxHD 120 DVCPRO HD 1:1 10b HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DVCPRO HD The data rate (bandwidth) for Avid DNxHD resolutions is calculated per second for each frame rate.
21 Resolutions and Storage Requirements Resolution Specifications: JFIF Interlaced Avid resolutions use a simple notation — x:1 — to identify the level of compression. The value of x indicates the level of compression that is applied to the image data. For example, a 3:1 compression ratio compresses the original data to one-third of its uncompressed size.
Compression and Resolutions Resolution Specifications: JFIF Progressive The following table provides information about the Avid resolutions for progressive media (24p NTSC and 24p PAL projects). Frame size does not include blanking or VITC lines.
21 Resolutions and Storage Requirements Resolution Frame Size (Pixels) Quality 10:1m interlaced 720 x 486 (NTSC) 720 x 576 (PAL) Offline 8:1m progressive 720 x 486 (NTSC) 720 x 576 (PAL) Offline 4:1m interlaced 720 x 486 (NTSC) 720 x 576 (PAL) Online 3:1m progressive 720 x 486 (NTSC) 720 x 576 (PAL) Online Resolution Specifications: Digital Video (DV) Digital video (DV) is an international standard created by a consortium of 10 companies to serve as a consumer digital video format.
Compression and Resolutions Resolution Frame Size Color Sampling Megabits per second (Mb/sec) DV 50p progressive 720 x 480 (NTSC) 720 x 576 (PAL) 4:2:2 50 DVCPRO HD (720p) 1280 x 720 4:2:2 100 DVCPRO HD (1080i) 1920 x 1080 4:2:2 100 Resolution Specifications: MPEG MPEG resolutions are resolutions specifically intended to support the SMPTE Type D-10 bit stream produced and recorded by devices such as Sony MPEG IMX VTRs. It uses 4:2:2 sampling.
21 Resolutions and Storage Requirements Depending on the project type and edit rate, you can fast copy import, play back, transcode, and render VC1 resolutions. You must first export your sequence or clip as a Windows media file in order to perform a fast copy import to the editing application. The following limitations apply to VC1: • For Macintosh systems, the VC1 codec is only available on Intel-based systems and is limited to playback only. • The VC1 codec is only available for Windows media.
Compression and Resolutions Project 1080p Edit Rate 23.976 Stored Resolution Max Bit Raster Size Name Rate (WxHxFields) Playback Fast Copy Transcode Import Render VC1-APL3 6MBbit N N N N VC1-APL3 45MBbit 1920x1080x1 Y Y Y Y VC1-APL3 6MBbit N N N N N N N N 1920x540x2 1920x1080x1 29.97 24 VC1-APL3 45MBbit 1920x1080x1 Y Y Y Y VC1-APL3 6MBbit 1920x1080x1 N N N N VC1-APL3 45MBbit 1920x1080x1 Y Y Y Y VC1-APL3 6MBbit N N N N 23.
21 Resolutions and Storage Requirements Project Edit Rate Resolution Name MB/Sec Raster Size 1080i 59.
Compression and Resolutions The following guidelines and limitations apply to handling uncompressed HD media on systems that do not support capture of uncompressed HD media: • You can play uncompressed HD media as Best Performance quality (yellow) and Draft Quality (yellow/green). Playback of uncompressed HD media through the Avid input/output hardware as Full Quality (green) is not supported.
21 Resolutions and Storage Requirements Single-field resolutions work with smaller amounts of original image data than two-field or progressive resolutions. They use only half the image width of two-field resolutions, and they use only one of the two fields in the standard video signal. For example, there is a 2:1 resolution for both single-field and two-field resolutions. In both cases, the image data is compressed to one-half of its original size.
Storage Requirements 4. Use the appropriate estimated storage requirements table to estimate your drive space requirements based on the resolution and the number of audio tracks. See the following topics. To get an estimate of the number of gigabytes needed, do one of the following: t Calculate by dividing the duration of your material (number of minutes) by the estimated minutes per gigabyte.
21 Resolutions and Storage Requirements Project Format Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media (GB) Drive Space Needed for 10 Minutes of Media (GB) Drive Space Needed for 30 Minutes of Media (GB) Resolution Bits 1:1 10-bit HD 1:1 HD DNxHD 110 X DNxHD 110 DNxHD 70 DVCPRO HD 10 8 10 8 8 8 720p/29.97 0.27 0.34 1.30 1.30 2.05 2.60 4.00 3.12 0.83 0.83 0.53 0.41 39.5 31.7 8.3 8.3 5.3 4.13 118.6 95.0 24.8 24.8 15.8 12.
Storage Requirements Project Format Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media (GB) Drive Space Needed for 10 Minutes of Media (GB) Drive Space Needed for 30 Minutes of Media (GB) Resolution Bits 1:1 10-bit HD 1:1 HD DNxHD 185 X DNxHD 185 DNxHD 120 DVCPRO HD 10 8 10 8 8 8 1080i/50 0.14 0.17 0.78 0.78 1.18 1.20 7.24 5.79 1.28 1.28 0.85 0.80 72.4 57.9 12.8 12.8 8.5 8.0 217.3 173.8 38.4 38.4 25.4 24.
21 Resolutions and Storage Requirements Resolution 2:1s 20:1 10:1 3:1 788 Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 4 9.4 106 MB 1.06 GB 3.18 GB 8 7.9 127 MB 1.27 GB 3.81 GB 0 5.8 172 MB 1.72 GB 5.16 GB 1 5.7 177 MB 1.77 GB 5.28 GB 2 5.5 182 MB 1.82 GB 5.46 GB 3 5.4 187 MB 1.87 GB 5.61 GB 4 5.2 193 MB 1.93 GB 5.79 GB 8 4.7 214 MB 2.14 GB 6.
Storage Requirements Resolution 2:1 1:1 SD (Uncompressed) 1:1 10b SD (10-bit Uncompressed) Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media 4 2.7 365 MB 3.65 GB 10.95 GB 8 2.6 386 MB 3.86 GB 11.58 GB 0 1.9 516 MB 5.16 GB 15.48 GB 1 1.9 521 MB 5.21 GB 15.63 GB 2 1.9 526 MB 5.26 GB 15.78 GB 3 1.9 531 MB 5.31 GB 15.94 GB 4 1.9 537 MB 5.37 GB 16.11 GB 8 1.
21 Resolutions and Storage Requirements Estimated Storage Requirements: JFIF Progressive Before using this table, read the information in “Estimating Drive Space Requirements” on page 784. Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 35:1 0 36.4 (NTSC) 30.3 (PAL) 27.5 MB 33.0 MB 275 MB 330 MB 824 MB 990 MB 1 30.5 (NTSC) 26.1 (PAL) 32.8 MB 38.
Storage Requirements Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 14:1 0 14.6 (NTSC) 12.1 (PAL) 68.5 MB 82.6 MB 685 MB 826 MB 2.05 GB 2.48 GB 1 13.6 (NTSC) 11.4 (PAL) 73.8 MB 87.9 MB 738 MB 879 MB 2.21 GB 2.64 GB 2 12.6 (NTSC) 10.7 (PAL) 79.1 MB 93.2 MB 791 MB 932 MB 2.37 GB 2.80 GB 3 11.8 (NTSC) 10.1 (PAL) 84.4 MB 98.5 MB 844 MB 985 MB 2.53 GB 2.96 GB 4 11.1 (NTSC) 9.6 (PAL) 89.7 MB 103 MB 897 MB 1.04 GB 2.69 GB 3.12 GB 8 9.
21 Resolutions and Storage Requirements Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 2:1 0 2.4 (NTSC) 2.0 (PAL) 417 MB 500 MB 4.17 GB 5.00 GB 12.5 GB 15.0 GB 1 2.4 (NTSC) 2.0 (PAL) 422 MB 505 MB 4.22 GB 5.05 GB 12.7 GB 15.2 GB 2 2.3 (NTSC) 2.0 (PAL) 427 MB 510 MB 4.27 GB 5.11 GB 12.8 GB 15.3 GB 3 2.3 (NTSC) 1.9 (PAL) 433 MB 516 MB 4.33 GB 5.16 GB 13.0 GB 15.5 GB 4 2.3 (NTSC) 1.9 (PAL) 438 MB 521 MB 4.38 GB 5.21 GB 13.1 GB 15.6 GB 8 2.
Storage Requirements Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 3 0.8 (NTSC) 0.7 (PAL) 1.28 GB 1.46 GB 12.8 GB 14.6 GB 38.4 GB 43.8 GB 4 0.8 (NTSC) 0.7 (PAL) 1.28 GB 1.46 GB 12.8 GB 14.6 GB 38.4 GB 43.8 GB 8 0.8 (NTSC) 0.7 (PAL) 1.30 GB 1.49 GB 13.0 GB 14.9 GB 39.0 GB 44.
21 Resolutions and Storage Requirements Drive Space Needed for Resolution Minutes Per 1 Minute of (NTSC and PAL) Gigabyte Media Drive Space Needed for 10 Minutes of Media Drive Space Needed for 30 Minutes of Media MPEG 30 4.7 210 MB 2.1 GB 6.3 GB MPEG 40 3.6 280 MB 2.8 GB 8.4 GB MPEG 50 2.9 350 MB 3.5 GB 10.
22 Working in a Film Project This chapter presents suggested workflows and other information that can help you work with film-originated material. This chapter includes the following topics: • Understanding 24p Media • Understanding 25p Media • Planning a 24p or 25p Project • Planning a 23.
22 Working in a Film Project Progressive media is composed of single frames, each of which is vertically scanned as one pass. Avid editing applications create 24p media by combining (deinterlacing) two video fields into a single full, reconstructed frame. For NTSC film-to-tape transfers, Avid editing applications create 24p media by removing the extra fields inserted by the 2:3 pulldown process and by creating progressive frames.
Planning a 24p or 25p Project Planning a 24p or 25p Project A 24p or 25p project is one that uses 24p or 25p media, which is created and stored in your Avid editing application. In most cases, the source footage is film shot at 24 fps (for 24p) or 25 fps (for 25p), but new technology is introducing 24p and 25p videotape formats, both for cameras and VTRs.
22 Working in a Film Project The following steps describe the offline stage of the workflow for 24-fps Film Source with SDTV Transfer: 1. The telecine process uses one-light or best-light transfer and syncs picture and sound to create ITU-R 601 video. The process adds 2:3 pulldown to film footage to create an NTSC videotape, or uses 4.1% speedup for PAL videotape. The telecine process also creates a shot log (for example, a FLEX file). 2.
Planning a 24p or 25p Project Offline Workflow: 24-fps Film Source, SDTV Transfer Telecine transfer process Nagra or DAT playback system DAT Sound recording (Nagra or DAT) Film shot at 24 fps Te lecine controller and record deck (Step 1) (Step 2) Log Betacam Digital Betacam, D5, DCT, or D1 format (NTSC or PAL) Digital Betacam, D5, DCT, or D1 VTR (Step 3) Media Composer or Film Composer offline system (Step 4) (Step 5) Pull list Proj To the Avid Symphony system To the telecine system 799
22 Working in a Film Project Online Workflow: 24-fps Film Source, SDTV Transfer, Multiformat Output From the offline system (Step 6) Telecine transfer process (picture only) Pull list Film shot at 24 fps (Step 7) From the offline system Betacam Proj (Step 8) Digital Betacam, D5, DCT, or D1 format (NTSC or PAL) Log Digital Betacam, D5, DCT, or D1 VTR (Step 9) Avid Symphony (Step 10) Cut list (Step 11) Betacam NTSC 29.
Planning a 24p or 25p Project 24p Workflow: 24-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output This workflow is based on film or video footage shot at 24 fps and planned for HDTV (high-definition television). Different workflows are being developed for this new technology, which includes 24p tape formats, VTRs, and cameras. This workflow presents one possible path.
22 Working in a Film Project The following steps describe the online stage of film or video footage shot at 24 fps and planned for HDTV: 1. For film-originated projects, the telecine process uses the pull list and full color-corrected transfer to create HDTV videotape with selects from the original negative (picture only). The process also creates a new shot log file. 2. Copy the project information to the Symphony online system. 3.
Planning a 24p or 25p Project Offline Workflow: 24-fps Film or HDTV Source SDTV Downconversion Telecine transfer process Nagra or DAT playback system DAT Sound recording (Nagra or DAT ) Film shot at 24 fps Te lecine controller and record deck HD 24 (Step 1) (Step 2) HD 24 Log (Step 3) 1:1 transfer 24-fps HD format Video shot by 24-fps camera 24p HD VTR such as an HDW-F500 VTR Media Composer or Film Composer offline system (Step 4) (Step 5) Pull list Proj To the Avid Symphony system To the tele
22 Working in a Film Project Online Workflow: 24-fps Film or HDTV Source, SDTV Downconversion, Multiformat Output Telecine transfer process (picture only) (Step 6) From the offline system Pull list Film shot at 24 fps (Step 7) From the offline system HD 24 HD 24 Proj Video shot by 24-fps camera Log (Step 8) (Step 9) Avid Symphony system (Step 10) 24p EDL Cut list (Step 11) Betacam NTSC 29.
Planning a 24p or 25p Project 25p Workflow: 25-fps Film or HD Video Source, SDTV Downconversion, Multiformat Output This workflow is based on film or video footage shot at 25 fps and planned for HDTV (high-definition television). Different workflows are being developed for this new technology, which includes 25p tape formats, VTRs, and cameras. This workflow presents one possible path.
22 Working in a Film Project 4. Edit at 25 fps, apply Pan and Scan or other effects, and create a final sequence. 5. Create a 25p pull list for another telecine process, to retransfer footage used in the final edit. Create a floppy disk with project information for transfer to the Symphony online system. The following steps describe the online stage of film or video footage shot at 25 fps and planned for HDTV: 6. Copy the project information to the Avid Symphony system. 7.
Planning a 24p or 25p Project Offline Workflow: 25-fps Film or HDTV Source, SDTV Downconversion Telecine transfer process Nagra or DAT playback system DAT Sound recording (Nagra or DAT ) Film shot at 25 fps Te lecine controller and record deck HD 25 (Step 1) (Step 2) HD 25 Log (Step 3) 1:1 transfer 25-fps HD format Video shot by 25-fps camera 25p HD VTR Media Composer or Film Composer offline system (Step 4) (Step 5) Pull list Proj To the Avid Symphony system To the telecine system 807
22 Working in a Film Project Online Workflow: 25-fps Film or HDTV Source, SDTV Downconversion, Multiformat Output Telecine transfer process (picture only) (Step 6) From the offline system Pull list Film shot at 25 fps (Step 7) From the offline system HD 25 HD 25 Proj Video shot by 25-fps camera Log (Step 8) (Step 9) Avid Symphony online system (Step 10) 25p EDL Cut list (Step 11) Betacam NTSC 29.
Planning a 23.976p NTSC Project Audio Transfer Options for 24p PAL Projects When you create a 24p PAL project, you must specify the appropriate audio transfer rate for the project. (This is not necessary for a 25p PAL project because there is no film speedup during the transfer.) The New Project dialog box provides Audio Transfer options that allow you to select either Film Rate or Video Rate.
22 Working in a Film Project Select this project type for one of the following reasons: • Your film and audio sources have been synced in the telecine process and transferred to Digital Betacam® or other digital videotape formats. Audio from digital videotapes can now be directly input and output through the AES/EBU connections on some Avid input/output hardware. • Your audio and video sources have been shot at a camera rate of 23.976 fps.
Planning a 23.976p NTSC Project Tools and Settings Information for 23.976p Projects The following table describes how several key tools and settings change in 23.976 projects. Tool or Setting Description Film and 24p Settings The Edit Play Rate and Audio Source Tape TC Rate options do not appear in the Film and 24p Settings dialog box. Edit Play Rate is automatically set at 23.976 fps. The Audio Source Tape TC Rate does not apply to 23.976p projects because you cannot capture 30 fps audio in a 23.
22 Working in a Film Project With this workflow, the sound recording is synchronized as part of the telecine transfer. For a workflow in which video and audio are captured separately, see the illustration “NTSC Audio and Video Captured Separately (23.976 Project)” below. For details on the telecine transfer process, see “Film-to-Tape Transfer Guidelines” on page 831. The following steps describe the offline stage of film transferred at 23.976 or video footage shot at 23.976 fps and planned for HDTV: 1.
Planning a 23.976p NTSC Project 9. Batch capture in an online resolution, based on the new shot log file. Downconvert either the telecine transfer tape or HDTV source tape. 10. For film, relink the sequence and clips by key numbers and complete any other finishing. 11. Generate multiple formats for output. For NTSC video, the Symphony system reinserts pulldown. For conforming film, it creates a 24p cut list. For HDTV, it creates a 24p EDL for use in an online suite.
22 Working in a Film Project Offline Workflow: 23.976-fps Film Transfer or HDTV Source, SDTV Downconversion Telecine transfer process Nagra or DAT playback system DAT Sound recording (Nagra or DAT ) Film shot at 24 fps or 23.976 fps Te lecine controller and record deck 23.976 (Step 1) (Step 2) 23.976 Log 1:1 transfer at 23.976 fps (Digital Betacam tape) Video shot at 23.
Planning a 23.976p NTSC Project Online Workflow: 23.976-fps Film Transfer or HDTV Source, SDTV Downconversion, Multiformat Output Telecine transfer process (picture only) (Step 6) From the offline system Pull list Film shot at 24 fps or 23.976 fps (Step 7) From the offline system 23.976 23.976 Proj (Step 8) Video shot at 23.976 fps Log (Step 9) Avid Symphony online system (Step 10) 24p EDL Cut list (Step 11) Beta or or EDL NTSC 29.
22 Working in a Film Project NTSC Audio and Video Captured Separately (23,976p Project) Te lecine transfer process (picture only) (Step 1) Film shot at 24 fps or 23.976 fps DAT (Step 2) Sound recorded at 48 kHz (DAT) 1:1 transfer at 23.976 fps (Digital Betacam tape) 23.976 24p HD VTR such as an HDW-F500 VTR (Step 3) Avid video editing system (Step 4) (Step 5) 816 DAT Digital cut at 23.976 for audio transfer Beta Digital cut at 23.
Film Project Considerations Limitations for 23.976p Projects You should be aware of the following limitations when you are planning a 23.976p project: c • For film projects shot at 24 fps, audio must be “pulled down” or “slowed down” before it can be captured into a 23.976p project. The user does not have the choice of capturing non-pulled-down audio. Unlike 24p NTSC projects, where the audio pulldown switch can be set to 1.0 or 0.99 to support either 24 fps or 23.976 fps, 23.
22 Working in a Film Project Film Shoot Specifications Use the guidelines in the following table to help you plan for film shoots. Element Supported Formats Notes Film type 16mm Use Standard 16mm or Super 16mm. Super 16’s aspect ratio closely matches 16:9. 35mm: 2, 3, 4, and 8 perf 16mm, 35mm 4 perf, and 35mm 3 perf are supported as projects in the Avid system. The remaining formats are supported through ink numbers and auxiliary ink numbers, which you select in the Film and 24p Settings dialog box.
Film Project Considerations Viewing Dailies Viewing dailies is a critical part of the film production process. With an Avid system, there are two different ways to produce dailies. Film Dailies Method The film dailies method relies on work print for screening, transferring, and creating conformed cuts during editing. When you work with film dailies and work print, the advantages are: • You can screen the dailies immediately after the lab work.
22 Working in a Film Project Film Dailies Method .................... ..................... .................... ..................... Negative (Steps 1 and 2) Work print (Step 4) .................... Mag track KEM roll (Step 3) Screening Te lecine (Step 5) Betacam Transfer (Step 6) Cut list Conformed cut To describe the film dailies method: 1. Prepare work print for the circled (selected) takes. 2. Sync work print with audio mag track, and assemble each take on a roll with ink numbers. 3.
Film Project Considerations 7. You can screen the dailies immediately after the lab work. 8. You can use work print previews to view the full film aspect ratios, resolutions, and contrast ranges. For this reason, film dailies are often preferred for feature film projects. The disadvantage is that the magnetic track and work print require additional facilities, procedures, and costs. Video Dailies Method .................... ....................
22 Working in a Film Project To describe the video dailies method: 1. Prepare film negative for the circled (selected) takes. 2. Transfer reels of negative synced to audio in telecine. Generate a simultaneous online transfer, or create the online transfer from selects after editing the sequence. 3. Screen the videotape dailies after the transfer. 4. Import existing key numbers and timecode information into the Avid system, then capture. 5. Edit using the Avid system. 6.
Transfer of 24-fps Film to NTSC Video Te lecine 2:3 pulldown 23.976 fps Stage 1 Film shot at 24 fps Betacam Capture and reverse pulldown to 24 fps. Stage 2 Betacam or Digital Betacam video signal 29.97 fps Avid editing system at 24 fps Stage 1: Transferring Film to Video The NTSC film-to-video transfer occurs as a two-part process: the telecine adds extra frames during transfer and, at the same time, slightly reduces the film’s running speed.
22 Working in a Film Project The telecine uses a method known as pulldown to create the extra frames. As each film frame moves through the telecine projector, it is held in place (pulled down) while a specific number of fields are recorded on videotape. To transfer four film frames to ten video fields, the telecine process alternates between creating two and three video fields per film frame (referred to as 2:3 pulldown).
Transfer of 24-fps Film to NTSC Video An accurate conversion requires exact adherence to the 4:5 ratio, but this ratio breaks down when you compare 24 fps to 29.97 fps. To achieve a true 4:5 ratio, the film frame rate is slowed down to 23.976 fps. The telecine process makes this correction automatically, slowing NTSC video 0.1 percent from the original film speed, so that the video plays at 99.9 percent of its original speed.
22 Working in a Film Project n To capture audio transferred at 29.97 fps (video rate) you must set the pulldown switch to 0.99 in the Capture tool. For more information, see “Setting the Pulldown Switch” in the Help. The following illustration shows each stage of the film-video-24p process.
Transfer of 24-fps Film to PAL Video Te lecine transfer with 4.1% speedup Capture Betacam Stage 1 Film shot at 24 fps Stage 2 Betacam or Digital Betacam video signal 25 fps Avid editing system at 24 fps There are two approaches to synchronizing sound, which are often referred to as PAL Method 1 and PAL Method 2. PAL Method 1 With PAL Method 1, you synchronize sound with picture during the telecine process.
22 Working in a Film Project n You must capture audio along with video at the PAL rate of 25 fps if you want to use audio that was transferred along with picture during the telecine process. You set the Audio Transfer rate as Video Rate (100+%) in the New Project dialog box. For more information, see “Audio Transfer Options for 24p PAL Projects” on page 809. You have the option of playing back the footage at 24 fps or 25 fps. If you select 24 fps, the system slows both the picture and the sound by 4.
How Avid Editing Applications Store and Display 24p and 25p Media To capture at 24 fps, you need to follow a two-step process: 1. Capture the picture to create 24p media. 2. Capture the sound at the film rate of 24 fps. n When you created the project, you set the Audio Transfer rate as Film Rate (100%) in the New Project dialog box. For more information, see “Audio Transfer Options for 24p PAL Projects” on page 809. In most cases, you will choose to edit at 24 fps.
22 Working in a Film Project Displaying Media While Editing When you click the Play button while editing a clip or a sequence (sometimes referred to as Edit Play), the system separates (interlaces) the progressive frames into fields and does the following: • n On the Source, Record, Playback, or pop-up monitor, your application displays the footage at 23.976 fps, 24 fps, or 25 fps, depending on your project and editing preference.
Film-to-Tape Transfer Guidelines Film-to-Tape Transfer Guidelines Observe the following general guidelines when transferring film to tape: n • Instruct the telecine facility to record timecode on the address track. • Instruct the facility to use only a telecine transfer process when transferring to NTSC videotape. Do not use a film chain or any other transfer device. • PAL transfers do not require pulldown, so you can use either a telecine or a film chain.
22 Working in a Film Project You can use the film-tape-film-tape feature to perform two separate telecine processes for a project: n • Perform a one-light or best-light transfer to obtain the most material for the initial edits. • After editing is complete, perform a timed, fully color-corrected transfer of the clips that will be used in the final cut. For more information on the film-tape-film-tape option, see “Relinking Clips by Key Number” on page 177.
23 Working with Stereoscopic Material If you are working in a progressive HD project, your Avid editing application allows you to display and edit stereoscopic (3D) material. You can work with stereoscopic content that uses any of the following frame layouts: • Over/Under, which stores the left and right eye images one above the other in a horizontal split frame (left eye on top). • Interlaced (full height images), which stores the left and right eye images as interlaced pairs of scan lines.
23 Working with Stereoscopic Material Acquiring Stereoscopic Files One way to create stereoscopic files that you can edit in your Avid editing application is by using Avid MetaFuze. This topic briefly explains how MetaFuze works and directs you to more information in the Avid MetaFuze User’s Guide. You might also import stereoscopic files that have been created using third-party applications and processes. Avid MetaFuze merges sets of single-frame files into playable MXF media files.
Setting Up Your System For Viewing Stereoscopic Material in Three Dimensions For the DLP monitor option, the following procedure describes the general workflow for setup. The details of which connections are available and how they are labeled, and of how you access and adjust the monitor’s settings, vary depending on the model of the monitor and of the active glasses and emitter. To set up a DLP monitor for use with your system: 1. Connect the monitor to your system’s video card.
23 Working with Stereoscopic Material Displaying Stereoscopic Material You can display stereoscopic material in several different views in the Composer window, or in full-screen playback if you are using your Avid editing application in a software-only configuration.
Displaying Stereoscopic Material 3. Click Stereo 3D Layout, and select the option that matches the frame layout of your stereoscopic material: Option Description None Turns stereo viewing off. When this option is selected, the Stereo 3D Display in Edit Monitors menu is not available in the Composer Settings dialog box and the Stereo 3D Display menu is not available in the Full-Screen Playback Settings dialog box. Over/Under Select this option if your stereoscopic material uses over/under frame layout.
23 Working with Stereoscopic Material Option Description Left Displays the left image. Right Displays the right image. Stereo (Checkerboard) Displays both the left and the right images for stereo viewing. With the correct monitor and viewing equipment, the image appears three dimensional. On a monitor without stereo display capability, the left and right images appear superimposed and slightly offset from one another.
Considerations When Working with Stereoscopic Material • Your Avid editing application can only play back stereoscopic material that uses the interlaced frame layout at full video quality. Only the Full Quality and Full Quality 10-bit options are available in the Video Quality menu in the Timeline when you are working with interlaced stereoscopic material. For more information, see “Video Quality Options for Playback” in the Help.
23 Working with Stereoscopic Material 840
24 Working with HD Media Avid editing applications include support for capture, editing, and output of high-definition (HD) media in the following resolutions: • 1:1 HD (uncompressed 8-bit and 10-bit) • Avid DNxHD (8-bit and 10-bit) Avid DNxHD encoding technology delivers mastering-quality HD media at standard definition (SD) data rates and file sizes.
24 Working with HD Media High-Definition Television High-definition television (HDTV) is a digital broadcasting technology that delivers a larger, clearer, more detailed picture than standard definition television (SDTV). HDTV refers to specific digital television (DTV) formats that have been standardized by the Advanced Television Systems Committee (ATSC) and adopted by the United States Federal Communications Commission (FCC).
HDTV Workflows HDTV Workflows This section describes three common workflows for creating HDTV output: • Creation of film-based television programs • Creation of video-based television programs • Creation of video graphics for broadcast For a more detailed description of the conform workflow, see “Conforming Workflow” in the Help.
24 Working with HD Media 5. Edit at 23.976 fps, apply effects, and create a final sequence. 6. (Option) If a retransfer is needed, use FilmScribe to create an OCN (original camera negative) pull list for another telecine process, to retransfer footage used in the final edit. 7. (Option) Export an OMFI or AAF file to a Pro Tools digital audio workstation to create a final audio mix. For more information, see “Transferring Audio Files” in the Help. 8.
HDTV Workflows Offline Workflow: 24-fps Film Source for HDTV Telecine transfer process DAT DAT playback system Sound recording (DAT) 1 Film shot at 24 fps Te lecine controller and record deck Log file 1080p 1:1 transfer 1080p/23.976 HD format HD VTR 2 33 Avid offline system 23.
24 Working with HD Media Online Workflow: 24-fps Film Source for HDTV Telecine transfer process (picture only) From the offline session 8 Pull list Assembled reel at 24 fps 1080p Log file 1:1 transfer 1080p/23.976 HD format 9 24p HD VTR 310 11 12 Avid online system OMFI or AAF file 13 14 15 846 1080p 1080p/23.
HDTV Workflows HD Workflow: Video-Based Television Workflow The following workflow describes the steps in creating video-based television programs that originate on video footage and are planned for HDTV broadcast. The workflow for creating such programs uses a single system for offline and online editing, but you can adapt it to use one system for offline editing and another for online editing.
24 Working with HD Media 10. Finish the sequence by batch capturing graphics, recreating title media and reviewing the program for effects that need fine-tuning. Use the original offline sequence for reference. 11. Render all effects and output a master tape. The following illustration shows an offline/online workflow using an HD video source for HDTV 1 1080i/59.94 HD format 1080i HD VTR 2 30i 30i NTSC SD format Avid editing system 33 4 5 6 OMFI or AAF file 7 8 9 10 848 1080i 1080i/59.
HDTV Workflows HD Workflow: Broadcast Graphics Workflow Another HDTV workflow produces graphics, such as bumpers and promos that are created in graphics programs for HDTV broadcast. To create a graphics-based HDTV program: 1. Create files on a graphics workstation, using either 1280x720 for 720p or 1920x1080 for 1080i. 2. Export the files to a location that the Avid editing system can access. 3. Create a 720p or 1080i project, import the files, edit, and finish. 4.
24 Working with HD Media Editing in HD The following sections describe features that are specific to HD projects.: Understanding Options for Changing the Project Format The Format tab in the Project window lets you change the format of the project to another format that shares the same frame rate. On systems with supported Avid input/output hardware, you can also change the raster dimension to improve performance as you edit HD projects.
Editing in HD HD Online SD Offline Notes 720p/23.976 23.976p NTSC You cannot change between these project formats because the edit rates are different. See “Converting a 23.976p NTSC Sequence to 720p/23.976” on page 852. 720p/25 25p PAL or 25i PAL Change the project format and modify the sequence. 720p/50 25p PAL or 25i PAL You cannot change between these project formats because the edit rates are different. 720p/59.
24 Working with HD Media Changing the Project Format When you change the project format, the following changes take place: • The hardware changes to support input and output for the new project. • The available resolutions and, for some configurations, raster dimensions change to those of the new project. • Any new sequences you create use the format of the new project.
Editing in HD To convert a 23.976p NTSC sequence to 720p/23.976: 1. In the 23.976p NTSC project, duplicate the final sequence and move it to a new bin. 2. Decompose the sequence. 3. Select the master clips and export them as a shot log file. 4. Create a 720p/23.976p HD project. 5. Import the shot log file into a bin. 6. Batch capture the clips. 7. Open the SD bin containing the duplicated sequence. 8. Relink the SD sequence to the new HD clips. See “Relinking and New Project Formats” on page 296.
24 Working with HD Media Displaying Formats in a Bin The Format column displays the format of a clip or sequence as determined by the project type, such as 30i NTSC or 1080i/59.94. This is especially useful if you have both SD and HD clips in the same bin. Format column For information on displaying a column, see “Manipulating Bin Columns” on page 214. Editing at 60 fps The project type 720p/59.94 uses a screen resolution of 1280 x 720 at a frame rate of 60 frames per second.
Working with HDV Working with True 24 FPS Timecode Avid HD editing applications support direct device control at 24 fps, enabling you to capture true 24-fps timecode from HD decks. When you are capturing 23.976-fps or 24-fps material in HD, the Capture tool displays 24-fps timecode for the Mark IN and Mark OUT points. After you capture a clip, the Start and End timecodes are also shown as 24-fps timecode.
24 Working with HD Media • 1080i/50 • 1080i/59.94 You can capture from an HDV device, edit in native HDV, and export to an HDV device using these project types. You can also use HDV in other project types, but Avid editing applications are more efficient and perform better with the dedicated HDV project types. The other project types you can use include: n • PAL 25i • NTSC 30i You cannot capture or export native HDV in the non-HDV project types.
Working with HDV HDV uses MPEG-2 video encoding and MPEG-1 audio encoding. 1080i records at about 25Mbps and 720p records at about 19Mbps. Sony provides HDV cameras that record at 1080i/59.94 and 1080i/50. JVC® cameras record at 720p/29.97 and 720p/23.976. In some 1080i formats on qualified systems, you can reduce the data rate of the video before compression by setting the video display (raster) to resize horizontally from 1920 x 1080 pixels to 1440 x 1080 pixels or to 1280 x 1080 pixels.
24 Working with HD Media 4. Edit the material. 5. Select the sequence. 6. Output the sequence back to the HDV device using the Export to HDV Device dialog box. You can also export the file in other formats or use Windows Media 9 for export to a third-party HD-DVD authoring system, See “Exporting HDV as Windows Media” on page 863. Capturing and Importing HDV You can capture HDV only through a IEEE 1394 port, as described in “Capturing HDV” on page 858. You can import an HDV transport stream file (.m2t).
Working with HDV To capture HDV material: 1. Set up an HDV project, depending on the format in which your HDV camera records. 2. If you are using Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following: t Select Special > Device > IEEE 1394. t Click the DNA/1394 button on the Timeline to show 1394. 3. Select Tools > Capture. The Avid system automatically selects the correct resolution for native HDV. 4. Select other options, and start to capture.
24 Working with HD Media In a 1080i HDV project you can play back through some Avid input/output hardware configurations (including through a non-1394 output on an Avid Mojo SDI) by changing the project type. If you have a system with Avid Nitris DX or Avid Mojo DX input/output hardware, you do not need to transcode your HDV media or change your project type for playback. To play back HDV media: t In the Project window, click the Format tab. From the Project Type menu, select a project type as follows.
Working with HDV Long-GOP Splicing for HDV Encoding Your Avid editing application uses a technique called long-GOP splicing when encoding an HDV MPEG-2 sequence for export. When you export to an HDV device, the application uses splicing to reconstruct only the edited sections of the media, such as cut points, transitions, and segments that contain effects. Other areas of the sequence are copied intact. The result is faster encoding at higher quality.
24 Working with HD Media 4. Select options as described in the following table: Option/Suboption Description Use Existing Transport Stream Select this option if you previously exported or output a transport stream and saved it. Create New Transport Stream/ Not available if you use an existing transport stream. Select to Delete Transport Stream after create a transport stream and then save it. writing to HDV Device Create New Transport Stream/ Not available if you use an existing transport stream.
Working with HDV Exporting an HDV Transport Stream You can export an HDV transport stream for use in other applications. To export an HDV transport stream: 1. Select the sequence or marked section. 2. Select Export in the Settings tab of the Project window. The Export Settings dialog box opens. 3. Select Export As > HDV. 4. Select Use Marks and Use Enabled Tracks as desired. See “Export Settings: HDV” on page 690. 5. Click OK.
24 Working with HD Media 5. Set the following: Setting Value Width 720 Height 540 FPS 60 Video Type Progressive Pixel Aspect Ratio 16:9 Codec Windows Media 9 VBR Enabled and set to Quality Audio Settings Leave set at defaults 6. Click Save to export the sequence. 7. In the Export As dialog box, select the destination folder for the file. 8. Click Save. The sequence is exported using the selected settings. To export HDV as Windows Media for use in DVD authoring: 1.
Working with HDV 5. Set the following: Setting Value Width 1440 Height 1080 FPS 60 Video Type Progressive Pixel Aspect Ratio 16:9 Codec Windows Media 9 VBR Enabled and set to Quality Audio Settings Leave set at defaults 6. Click Save to export the sequence. 7. In the Export As dialog box, select the destination folder for the file. 8. Click Save. The sequence is exported using the selected settings.
24 Working with HD Media 866
25 International Character Support This chapter describes how to take advantage of international character support (ICS) in your Avid editing application. ICS allows you to display and input characters in languages other than English by doing the following: n • (Windows only) Install the local language operating system, and work within the operating system. • (Macintosh or Windows) Use the standard English language operating system, install the language pack, and set the locale to your local language.
25 International Character Support Choosing a Locale on an English Language Operating System (Windows and Macintosh) This method is common on Windows systems, and it is the only option on Mac OS® X systems. When you use this method, you typically instruct your operating system to allow you to choose between English and a specific locale such as French, German, Chinese, or Japanese.
Non-English Character Support (Macintosh) The following topics provide more information on non-English character support on the Macintosh: • Setting the Language in System Preferences (Macintosh) • Specifying the Language in the Get Info Dialog Box (Macintosh) • Non-English Character Support (Windows) Setting the Language in System Preferences (Macintosh) In System Preferences, you need to specify which language should appear in operating system menus and dialog boxes.
25 International Character Support n For more information about the International window, see Mac Help by clicking the question mark icon in the window. To add your language’s keyboard layout, input method, and character set palette to the operating system’s Input menu (Flag icon): 1. Select Apple menu > System Preferences > International. The International window opens to the Language tab. 2. Click the Input Menu tab. 3. Select the language or languages in which you want to type. 4.
Non-English Character Support (Macintosh) Specifying the Language in the Get Info Dialog Box (Macintosh) If you are attempting to enter text within your Avid editing application and you are not seeing characters from your language, you need to specify the language in the application’s Resources folder. You do not need to perform this procedure if all of your language’s characters appear correctly in the Avid editing application. To specify the languages in the Get Info dialog box: 1.
25 International Character Support Non-English Character Support (Windows) You can specify a non-English keyboard layout and text entry format for the language in which you want to type. n The operating system does not need to be in the same language as that in which you are typing. To specify a language in which to type: 1. (Option) Plug in a regional keyboard. 2. Click the Start button, and select Settings > Control Panel. 3. Double-click Regional and Language Options.
Non-English Character Support (Windows) 4. In the Regional Options tab, do the following: a. In the “Standards and formats” area, select a language. b. In the “Location” area, select your country. 5. Click the Languages tab. 6. Select the option you want in the Supplemental Language Support area. 7. In the “Text services and input languages” area, click Details. The Text Services and Input Languages dialog box opens.
25 International Character Support 8. In the “Installed services” area in the Settings tab, select a language and a keyboard layout for that language. 9. If the language you want is not in the list, click Add, select an input language and a keyboard layout for the language, and then click OK. 10. If you need to install additional files, the Insert CD-ROM dialog box opens. Follow the instructions and click OK. 11. In the “Default input language” area, select an input language.
Using Foreign Keyboard Mapping (Windows Only) 14. Click OK to close the Regional and Language Options dialog box. A keyboard icon appears in the taskbar to allow you to switch keyboard layouts. 15. Restart the system. n For more information, see the Windows XP Help. Using Foreign Keyboard Mapping (Windows Only) When you start your Avid editing application under a new locale, the application automatically creates a Keyboard setting for your language.
25 International Character Support 4. Click the key that you want to change in the Keyboard palette. The key changes to white. 5. Press the corresponding key on your keyboard. The image in the Keyboard palette changes to match your keyboard, and the mapped key changes to blue. n Each language has a certain number of keys that do not map to functions in your Avid editing application. These are referred to as “dead” keys. You cannot map functions to these dead keys.
Recommendations and Restrictions for International Character Support Characters to Avoid When Naming Avid Elements Do not use the Japanese yen symbol in the ASCII character set. The system converts the symbol to a backslash, and this can cause problems with pathnames. Do not use the Y-acute and Y-diaeresis characters. The system does not recognize the Y-acute character, and it can cause problems with file recognition. The system might not display the Y-diaeresis character correctly.
25 International Character Support EDL Manager Does Not Save Diacritical Marks or Chinese Characters You can display diacritical marks and Chinese characters in EDL Manager but you cannot save an EDL and reopen it with those characters preserved. This includes saving the file to the desktop or to an RT-11 formatted disk. If you plan to create and save an EDL from your sequences, you must use ASCII names for tape names.
Tips and Limitations for International Character Support Tips and Limitations for International Character Support The following topics describes tips and limitations that you should be aware of when working with international characters.
25 International Character Support Additional Tips and Limitations for Working with International Characters • When using international character support, you must install the Avid editing application after the system has been set up for international character support. • Files exported from a FIGS (French, Italian, German, or Spanish) OS might not display correctly and might not import on an English OS.
26 Using the MCS3 Controller The JL Cooper Media Control Station3 (MCS3) provides an alternative to editing footage using the keyboard and mouse. While you need to use the keyboard and mouse for naming and digitizing functions, you can program and use the MCS3 controller for navigation and frequently used editing functions. Your Avid system documentation explains the editing process in detail. For hardware installation instructions, see the Help for your Avid system.
26 Using the MCS3 Controller 2. Click the Port menu, and select the appropriate port: - (Windows) COM1 or COM2 - (Macintosh) Port #1, #2, #3, or #4 3. Select Controller > JL Cooper MCS3 Controller. 4. Click Edit Settings. The MCS3 Controller Settings dialog box opens. Function buttons Navigation buttons Using the Default Button Mappings When the MCS3 Controller Settings dialog box opens for the first time, it includes a set of default functions mapped to the MCS3 buttons.
Configuring the MCS3 Settings Default Navigation Buttons The navigation buttons appear at the bottom of the MCS3 Controller Settings dialog box as follows: n • Rewind • Fast Forward • Stop • Play You cannot change the navigation button definitions; however, the rightmost navigation button (without a symbol) is not mapped to a Command palette function. You can map this button. For instructions, see “Mapping MCS3 Buttons” on page 884.
26 Using the MCS3 Controller Mapping MCS3 Buttons You can map the Command palette functions of your choice to the MCS3 buttons. Each button has an additional function activated by the Shift key. To see the shifted function: t Press and hold the Shift key on your keyboard. The alternate function appears on the button in the MCS3 Controller Settings dialog box. To map the Command palette functions to the MCS3 buttons: 1. Open the MCS3 Controller Settings dialog box.
Configuring the MCS3 Settings 4. To map a function, do one of the following: t Map an unshifted function: Click the function in the Command palette and drag it to the button in the MCS3 Controller Settings dialog box whose function you want to program. t Map a shifted function: Press and hold the Shift key on your keyboard, click the function in the Command palette, and drag it to the button in the MCS3 Controller Settings dialog box whose function you want to program.
26 Using the MCS3 Controller Customizing the Maximum Jog Speed To customize the maximum jog speed: t Click the Maximum Jog Speed menu in the MCS3 Controller Settings dialog box, and select an option. (The default is Normal.) The following table describes the Maximum Jog Speed options. Option Description 1/4 speed The jog speed does not exceed one quarter the recorded speed. 1/2 speed The jog speed does not exceed one half the recorded speed.
Moving Through Footage with the MCS3 Controller Option Description 8x (default) Eight times the recorded frames per second 16x Sixteen times the recorded frames per second 32x Thirty-two times the recorded frames per second Creating Multiple Controller Settings Because you cannot map all in the Command palette functions to the MCS3 controller, you might want to create Controller settings for different sets of editing functions. To create multiple Controller settings: 1.
26 Using the MCS3 Controller Jog Mode Jog mode allows for frame-by-frame positioning, depending on how fast you turn the wheel right (clockwise) or left (counterclockwise). Use Jog mode when you want to locate a specific frame by slowly viewing footage. The red arrow lights above the jog/shuttle wheel are off when you are in Jog mode. If they are on, press the wheel to enter Jog mode. • When the jog/shuttle wheel is stationary, the footage is paused.
Troubleshooting the MCS3 Controller 3. Open one of the following windows: - Capture tool - Digital Cut tool - Deck Controller - Timeline The MCS3 controls the active window. 4. Use the jog/shuttle wheel and the navigation buttons to move back and forth between clips and sequences. 5. Use the MCS3 function buttons to perform edits. To view your button mappings, check the mappings in the MCS3 Controller Settings dialog box (see “Configuring the MCS3 Settings” on page 881).
26 Using the MCS3 Controller 890
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Index Numerics 1 Pass encoding 699 1:1 video defined 771 1394 capturing HDV through 858 16:9 display format (Composer settings) 666 16:9 format 831 2 Pass encoding 699 2:3 pulldown transferring film to video with 823 23.976p projects converting NTSC sequence to 720p/23.
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ locators while editing 352 memory mark 114 off-screen indicators (Script window) 333 page and scene numbers in the Script window 322 script marks 335 takes in the Script window 331 Adjusting margins in the Script window 318 offset between audio and video playback 350 pan, using an external fader or mixer 429 take lines in the Script window 333 video levels for tapes without color bars 156 volume, using an external fader or mixer 429 adjustments 424 Adrenaline using Command
ABCDEFGHIJKLMNOPQRSTUVWXYZ Audio effects rendering order 423 Audio EQ (Equalization) adjusting while playing 465 removing 460 saving 459 templates 463, 464 Audio EQ command (Tools menu) 454 Audio EQ tool examples of usage 461 Fast menu options 457 features of 456 opening 454 saving effects with 459 Audio File format displaying in bins 480 options 652 Audio file sample size 652 Audio files supported formats 761 Audio Gain Automation configuring USB-to-MIDI software 441 installing driver software (Macintosh)
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Fast menu 486 Flanger 519 Focusrite d3 533 Funk Logic Mastererizer 520 Gain 523 Gate 504 installing 481 Invert 520 limitations 493 Limiter 502 Maxim 533 Multi-Tap Delay 521 Normalize 522 Ping-Pong Delay 523 Pitch Shift 527 rendering 486 Reverse 524 Signal Generator 524 supported 494, 533 Time Compression Expansion 525 Time Shift 529 troubleshooting 493 Authoring a DVD in Avid DVD by Sonic 542 Auto-create New Tracks option (Composer settings) 668 Auto-enable Source Tracks o
ABCDEFGHIJKLMNOPQRSTUVWXYZ B Background color changing in the Timeline 391 Backing up Title Tool titles when promoting to Marquee 728 Backup options (Bin settings) 659 Bandwidths in Audio EQ tool 456 Bars and tone preparing for capturing 239 Batch importing XDCAM media 279 Best-light transfers defined 831 BF Essential Clip Remover AudioSuite plug-in 496 Bin editing in Segment mode 396 using the keyboard 396 Bin Fast menu Loop Selected Clips command 352 Bin headings Format 854 modifying data in 220 setting
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Go to Previous Locator 358 in the MCS3 Controller Settings dialog box 882 mapping 79 mapping user-selectable to MCS3 controller 884 Mark Locators 358 Next In Group 625 Nine Split 621 Play (Script window) 333 Previous In Group 625 Quad Split 620 Set Color (Script window) 334 Set Offscreen (Script window) 333 Slip Left 417 Slip Left 1 Perf 382 Slip Right 417 Slip Right 1 Perf 382 Tail 399 Toggle Source/Record in Timeline 394 Top 399 Transition Corner Display 418 Buttons, Add
ABCDEFGHIJKLMNOPQRSTUVWXYZ video transferred without pulldown 171 with external timecode 166 CCIR See ITU-R 601 CCIR video levels, Import settings 716 Center Duration option (Composer settings) 666 Change lists using FilmScribe to create 603 Change Scene/Page dialog box 322 Changing default pulldown frame 601 font in the Script window 319 fonts in user interface 59 interface component shading style 57 interface components button separation 57 interface components button style 57 interface components color 5
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Color space for HD 855 Color submenu (Script menu) 334 Color-sync signal phase 668 Column headings setting audio format in 480 Column Titles in Avid log file 98 Columns See Bins Command palette activating commands from 81 described 77 mapping buttons 79 mapping buttons to MCS3 controller 884 mapping menu commands 80 Command|8 configuring 433 recording automation gain 430 using with Avid editing systems 433 Command|8 controller 85 Comments adding to sequence clips 376 displ
ABCDEFGHIJKLMNOPQRSTUVWXYZ Converting shot log files using Avid Log Exchange (Macintosh) 92 using drag-and-drop conversion (Macintosh) 94 using drag-and-drop conversion (Windows) 91 Coordinates displaying, in monitors 715 Copy Source Locators options (Composer settings) 668 Copying Ikegami GFCAM files 258 locators from source clips 357 Panasonic P2 files 252, 253 text from the Info window 347 text in the Script window 321 Copying XDCAM files 276 Core AudioSuite plug-ins 494 Correction Mode settings Features
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Delete command (Edit menu) deleting columns 214 Delete Take command (Script menu) 330 Deleting add edits (match frames) 401 bin columns 214 columns 214 locators 358, 360, 363 page and scene numbers in the Script window 322 script marks 341 settings 645 slates in the Script window 330 takes in the Script window 331 text in the Script window 322 user profiles 43 workspaces 64 deleting clips 267 Desktop Play Delay dialog box 350 Destination timecode rate 598 Device Code optio
ABCDEFGHIJKLMNOPQRSTUVWXYZ Dominance described 770 Dominance, Import settings options 716 Double-byte systems, ASCII characters in 876 Downconverting HD 24p to SDTV 801, 811 25p to SDTV 805 Drag-and-drop method for converting files to ALE format (Macintosh) 94 for converting files to ALE format (Windows) 91 Drive filtering in networked workflows 72 Drive Filtering and Indexing tab 729 Drive space managing to improve playback performance 794 maximizing use of 794 planning 784 statistics 55 Drive striping in
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Enable Confidence View video display setting 743 Enlarge Frame command (Edit menu) 327 Entering additional film data 119 frames-per-second rates for PAL transfers 125 ink numbers 128 key numbers 126 optional timecodes 126 pulldown of the sync point 121 EQ AudioSuite plug-ins 514 EQ effects adjusting while playing 465 applying 456 removing 460 templates for 463 ERIMovie file format additional export options 705 brief description 760 Errors “No MCS3 found” message 889 logged
ABCDEFGHIJKLMNOPQRSTUVWXYZ External fader controller adjusting pan with 429 adjusting volume with 429 connecting to a system 441, 446 troubleshooting connections 445 using 430, 440 External timecode 166 capturing with 166 Eyedropper 3 x 3 averaging of pixels, setting 672 Color Match 672 F Fader controller external, adjusting pan with 429 external, adjusting volume with 429 external, using 430, 440 FaderMaster Professional fader controller connecting 441 described 426 recording audio gain 430 testing 446 Fa
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Finding black holes 406 flash frames 406 related media files 291 script from marked takes 342 text in the Script window 324 Finding bins from the Script window 342 Finding locators 357 First (lower) Row of Info option (Composer settings) 666 First Row of Buttons option (Composer settings) 666 Flanger AudioSuite plug-in 519 Flash frames 406 Focusrite d3 AudioSuite plug-in 533 Folders creating in projects 47 managing 45 Fonts changing in the Script window 319 changing in use
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Grid Safe Action setting 715 Safe Title setting 715 Grid settings Coordinates tab 714 described 714 Display tab 715 Group clips command (Bin menu) 616 creating 616 dialog box options 616 Video Quality settings 624 Group menu 628 Grouping procedures 616 Guidelines for film-to-tape transfers 831 for logging 108 for naming tapes 108 importing 859 Long GOP splicing 861 outputting digital cut by transcoding 862 rendering 860 transcoding 860 Headings command (Bin menu) 200 Head
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Shot Log tab 719 XDCAM tab 269 Importing a script 315 animation files 760 HDV transport stream file 858 statistics files 53 test patterns 239 XDCAM media 269, 270, 275, 276 Importing clips and media from P2 card 285 Importing files EditCam 193 Photoshop files 187 preparing for 757 specifications for audio files 761 specifications for graphics files 754, 759 specifications for OMFI files 762 XDCAM 270, 276 IMX resolutions See MPEG resolutions IN and OUT points using to defi
ABCDEFGHIJKLMNOPQRSTUVWXYZ Jog speed MCS3 controller 886 JPEG file format additional Export options for 705 import specifications for 755 K Key numbers entering 126 formats for 126 relinking clips by 177 Keyboard controlling decks from 162 mapping buttons to 79 mapping foreign 875 Keyframes adjusting pan for individual 429 adjusting volume for individual 429 Keykode format 126 Keypunch camera roll 831 L Labroll data 119 Language non-English keyboard mapping 875 non-English, typing in 872 specifying in Get
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ directly into a bin, with a non-Avid-controlled deck 114 directly into a bin, with an Avid-controlled deck 109 errors during capturing 158 errors to the Console window 83 film information 119 guidelines for 108 pausing deck while 113 preroll 108 timecode 108 Logs See Shot log files Long GOP splicing 861 Loop Selected Clips command (Bin Fast menu) 352 Low shelf in Audio EQ Tool 456 LTC (longitudinal timecode) capturing with 166 output for 24p and 25p projects 596 output for
ABCDEFGHIJKLMNOPQRSTUVWXYZ restoring from videotape 305 unlinking 300 Media Files Capture settings 134 Media Indexer auto-indexing local drives 729 Media Services Broker 732 Media Services settings described 732 Media tool dragging P2 clips from 287 MediaLog transferring bins with 106 Memory information 49 Memory marks adding 114 Memory usage system 47 Memory window for checking system performance 377 for viewing memory 49 Menu commands Add Comments (Clip Name menu) 376 Align to Grid (Bin menu) 214 Audio EQ
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Mode option (Remote Play and Capture settings) 733 Modify command changing sequence format 852 Clip menu 222 Modify Pulldown Phase dialog box 124 Modifying clip information using the Modify command 222 data in bin headings 220 settings 642 the pulldown phase after capturing 180 Monitor resolutions NTSC, PAL, HD 772 Monitors displaying sequence information using 347 ganging footage in 386 Motion effects rendering options 735 Mouse Settings described 733 Mouse support for mu
ABCDEFGHIJKLMNOPQRSTUVWXYZ NTSC (National Television System Committee) video creating Avid log files for 105 transferring 24-fps film to 822 NTSC Has Setup option 135 NTSC-EIAJ format setting 135 Numeric keypad support for multicamera editing 626 O Offline editing detecting color-frame shifts during 405 detecting duplicate frames during 402 Offline items selecting in bins 211 Off-screen dialog in the lined script 310 indicating in the Script window 333 Off-screen indicators (script integration) adding to t
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ transferring files 252, 253 updating drive list 251 workflow 265, 284 Parametric midrange in Audio EQtool 456 Passthrough Mix tool using 143 Pasting text in the Script window 321 Patching when capturing to the Timeline 169 PCX file format import specifications for 755 Phantom marks 374 Phantom Marks options (Composer settings) 668 Phonetic indexing using to link clips with script 338 Photo CD file format import specifications for 755 Photoshop file format additional export
ABCDEFGHIJKLMNOPQRSTUVWXYZ Progressive resolutions storage requirements for 790 Project settings audio transfer 809 described 635 displaying 640 Project window displaying settings 635 Format display, using 850 Info display 49 Info tab, using 809 Projects 24p and 25p 797 changing formats 850 creating folders within 47 exporting as AFE files 558 planning 795 relinking media files for 300 shared, opening 68 sharing on Avid Unity 65 video, using script integration in 313 Promoting Title Tool titles, back up opt
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Remote Play enabling 173 Remote Play and Capture Avid serial driver 176 command (Clip menu) 174 command (Special menu) 172, 173 Device Code option 733 Inhibit Preloading option 733 Mode type option 733 Runup option 733 setting ports for 733 Remote Play and Capture settings described 733 Removable storage, sending to Pro Tools on 539 Removing add edits (match frames) 401 audio EQ effects 460 color indicators (Script window) 334 off-screen indicators (Script window) 333 text
ABCDEFGHIJKLMNOPQRSTUVWXYZ holding slates on screen 327 importing a script for 315 in Script window 333 in slates 311 in takes 333 lining conventions in 309 using color indicators 334 using off-screen indicators 333 using script marks 335 workflow 313, 343 Script Mark button 335 Script marks adding 335 adding during automatic screening 336 deleting 341 described 311 manually placing 335 moving 341 using 335 using for playback 341 using to find script 342 Script range, splicing 344 Script settings described
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ sources in the bin 213 text in the Script window 319 unreferenced clips in the bin 213 Send To DigiDelivery 537 Digidesign Pro Tools 539 DVD 542, 544 DVD authoring 542 DVD One Step 544 Sorenson Squeeze 546 using predefined templates 536 Send To dialog box 536, 550 Sequence information displaying, in a Script window 318 summary 203, 306, 367 sequence information effect summary 203, 306, 367 Sequenced image files 760 Sequences adding comments to 376 displaying information ab
ABCDEFGHIJKLMNOPQRSTUVWXYZ tab 635 Timeline 740 Timeline, showing toolbar 390 Trim 741 user 635 user, linking to workspaces 62 using site 647 Video Display 743 Video Input Tool 744 Video Output Tool 744 viewing 640 workspace, creating 61 settings Sound Card Configuration 739 Settings list 635 Composer 635 Controller settings 881 Settings Options GPI 478 SGI file format additional export options for 705 import specifications for 756 Shared volume segmentation (chunking) 663 Shift Key Button option MCS3 contr
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Sorting clips 227 columns, multilevel 227 Sound Card Configuration settings 739 Sound roll cues for shoots 818 entering data for 119 Sound timecode logging additional 126 Source colors assigning in bins 200 Source material displaying in the Timeline 394 Source/Record mode first edits in 373 slipping shots in 417 Sources selecting in the bin 213 SPE See Sync Point Editing Specifications Avid log 96 for film shoots 818 graphics file import 754, 759 OMF file import 762 Splici
ABCDEFGHIJKLMNOPQRSTUVWXYZ Sync mode 657 Sync point finding the pulldown at 121 Sync Point Editing (SPE) 387 Sync Point Editing option (Composer settings) 668 Sync Selection dialog box 379 Synchronized sound maintaining 825 Synchronizing video and audio subclips 378 Sync-locked tracks 383 System information displaying 83 System memory usage 47 T Tail button 399 Tail command performing a quick edit with 399 Takes (script integration) adding 331 adjusting lines in 333 applying color indicators 334 applying o
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Timed (scene-by-scene) transfers 831 Timeline capturing to 168 changing background color in 391 displaying comments 376 displaying locators 392 Dupe Detection Handles option 741 dupe detection in 402 editing with film track in 397 full-screen view of 393 Heads and Heads Tails views of 398 IN to OUT highlighting in 395 printing 407 removing add edits in 401 resizing 393 scrolling option 392 source material, displaying 394 top toolbar 390 Timeline settings described 740 Disp
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Trim mode options (Trim settings) 742 using the Transition Corner Display 418 Trim pots adjusting 146 Trim settings described 741 Render On-the-Fly option 742 Trim Mode options 742 Trimming adding filler during 411 maintaining sync during 411 with sync-locked tracks 412 Troubleshooting 39 vertical blanking interval information problems 609 Turnover points in the Audio EQ tool 456 Two-field media and field dominance 770 and field ordering 768 installing driver software (Wi
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Video Input tool saving settings in 154 Video Input Tool settings described 744 Video levels adjusting without color bars 156 Video Mixdown AAF export to Pro Tools 557 Video output advanced calibration 587 Video Output tool advanced calibration controls 587 Video Output Tool settings described 744 HD tab 749 SD tab 745, 747 Video playback quality options for interlaced stereoscopic material 838 Video projects using script integration in 313 Video quality settings with mult
ABCDEFGHIJKLMNOPQRSTUVWXYZ Workflows AMA 259, 261 audio editing 422 film or 23.
Index 924 ABCDEFGHIJKLMNOPQRSTUVWXYZ
