® ® Avid Media Composer Editing Guide
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The following disclaimer is required by Altura Software, Inc. for the use of its Mac2Win software and Sample Source Code: ©1993–1998 Altura Software, Inc. The following disclaimer is required by Ultimatte Corporation: Certain real-time compositing capabilities are provided under a license of such technology from Ultimatte Corporation and are subject to copyright protection. The following disclaimer is required by 3Prong.com Inc.
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Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Avid Training Services . . . . . . . . . .
Using the Settings Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Using the Format Tab. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80 Working with Color Spaces in HD Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Changing the Project Color Space for an HD Project . . . . . . . . . . . . . . . . . . . . . . . 83 Using the Usage Tab . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 6 Preparing for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Logging and Shot Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Importing Shot Log Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Preparing the Hardware for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 Selecting Settings for Capture . . . . . . . . .
Modifying the Pulldown Phase After Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 DV and HDV Scene Extraction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 Using the Panasonic VariCam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 Chapter 8 Importing Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 Preparing to Import Files . . . . . . . . . . . . . . . . . . .
Chapter 9 Working with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 Object Icons in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 Bin Procedures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Loading the Media Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 Refreshing Media Directories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 Deleting Unreferenced Clips and Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471 Finding a Related Media File . . . . . . . . . . . . . . . .
Chapter 13 Creating and Editing Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 559 Entering Source/Record Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560 Creating a New Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 560 Making a First Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565 Creating an Instant Rough Cut . . . . . . . . . . . . . .
Linking Clips to a Script . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 628 Interpolating Position for Script Integration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 629 Working with Slates in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 630 Working with Takes in the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633 Indicating Off-Screen Dialog in a Script . . . . . . . . . . . . . .
Refining Trims . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 729 Reviewing Trim Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 730 Trimming On-the-Fly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 731 Using Dual-Image Playback During Trims . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 732 Trimming During a Playback Loop . . . . . .
Using the Audio EQ Tool . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 809 Recording Voice-Over Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 823 Chapter 18 Using External Audio Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 831 Using an External Fader Controller or Mixer to Record Automation Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Exporting Your Clip or Sequence to a P2 Card. . . . . . . . . . . . . . . . . . . . . . . . . . . . 953 Exporting as Windows Media Using a VC1 Resolution. . . . . . . . . . . . . . . . . . . . . . 954 Using Avid Interplay Media Services. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 955 Chapter 21 Generating Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 957 Preparing for Output: Overview. . . . . . . . . . . . . . . . . . . . . . . . . .
Vertical Blanking Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1008 Preserving HD Closed Captioning and Ancillary Data . . . . . . . . . . . . . . . . . . . . . 1014 Chapter 22 Conforming and Transferring Projects . . . . . . . . . . . . . . . . . . . . . . . . 1027 Understanding Conforming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1027 Preparations for Conforming . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Deleting MultiRez Clips and Media from a Bin . . . . . . . . . . . . . . . . . . . . . . . . . . . 1153 Working with Partially Online Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1154 Quality Matching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1157 Chapter 25 MultiCamera Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1163 Understanding Grouping and Multigrouping Clips . . . . .
General Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1255 Grid Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1256 Import Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1258 Interface Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Resolution Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1309 Support for Uncompressed HD Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1318 Mixing Resolutions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1319 Resolution Groups and Image Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1320 Estimating Drive Space Requirements . . . . . . . . . . . . . .
Raster Dimensions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1386 Raster Sizes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1388 Chapter 31 Dual Link HD RGB Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1389 HD RGB Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Using This Guide This guide contains the task-oriented instructions and conceptual information you need to use the basic features of your Avid editing application. The Advanced Guide for your Avid editing application, available as a PDF document in the Online Library, is a companion to this guide. The Advanced Guide contains instructions and conceptual information for advanced features of your Avid editing application, as well as reference information. The contents of both guides are available in the Help.
Symbol or Convention Meaning or Action This symbol indicates a single-step procedure. Multiple arrows in a list indicate that you perform one of the actions listed. (Windows), (Windows only), (Macintosh), or (Macintosh only) This text indicates that the information applies only to the specified operating system, either Windows or Macintosh OS X. Bold font Bold font is primarily used in task instructions to identify user interface items and keyboard sequences.
Accessing the Goodies Folder Accessing the Goodies Folder Avid supplies a Goodies folder located on the editing application DVD. Access the Goodies folder by browsing the DVD. This folder contains programs and files you might find useful when trying to perform functions beyond the scope of your Avid editing application. The information in the Goodies folder is provided solely for your reference and as suggestions for you to decide if any of these products fit into your process.
1 Editing Overview The topics in this chapter provide an overview of the editing workflow: • Editing Workflow • Starting a Project • Preparing to Edit • Editing a Sequence • Outputting a Sequence Editing Workflow Your editing workflow depends on a variety of factors. For example, you might work on a standard-definition video project, a film project, or an HD project.
1 Editing Overview For more information, see “Creating and Editing Sequences” on page 559 and “Using the Timeline” on page 649. 7. Use Trim mode, Effect mode, and Color Correction mode to fine-tune your edits and effects. For more information, see “Working with Trim Edits” on page 715 and the Effects and Color Correction Guide for your Avid editing application. 8. Add any titles you need.
Preparing to Edit 1 Turn on your system and start your Avid editing application 2 Select or create a project 3 Select the Project settings 4 Create and organize bins 5 Back up the project Preparing to Edit When you capture and organize footage before you edit, follow these basic steps: 1. Batch capture, log and capture, or capture on-the-fly your source material into your Avid editing application. For more information, see “Preparing for Capture” on page 163 and “Capturing Media” on page 231. 2.
1 Editing Overview For more information, see “Working with Bins” on page 339. 3. Use the Media tool to manage media files. For more information, see “Managing Media Files” on page 449. 4. Use the bins to create storyboards. For more information, see “Creating a Storyboard” on page 385.
Editing a Sequence 2. Build your sequence in Source/Record mode in the Timeline. See “Creating and Editing Sequences” on page 559. 3. Use Segment, Trim, and Effect modes to fine-tune your edits and effects. For more information, see “Using the Timeline” on page 649, “Working with Trim Edits” on page 715, and the Effects and Color Correction Guide for your Avid editing application. 4. Use the Audio tool to adjust and mix multiple audio tracks and prepare for final playback or output.
1 Editing Overview 4 Fine-tune audio pan, volume, and EQ 5 Screen and continue editing, repeating any or all of steps 1 through 4 as necessary Outputting a Sequence When your sequence is finished, you can output it in any of the following ways: • Export as a file or a series of files. For more information, see “Exporting Frames, Clips, or Sequences” on page 925. • Output a digital cut in one or more formats. For more information, see “Generating Output” on page 957.
Outputting a Sequence Finished sequence.
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2 Starting a Project Your work begins when you turn on your system, start your Avid editing application, and open an existing project or create a new project.
2 Starting a Project Working with the Desktop You can use some of the desktop navigation features of your operating system to speed your work or customize for your convenience while you edit. You can: • Control how the Windows taskbar appears on the screen (Windows only). • Use the Macintosh Dock as a quick way to launch your Avid editing application (Macintosh only). • Use shortcut menus (also sometimes known as context menus) to quickly access editing commands.
Working with the Desktop To see the taskbar and minimized icons: t Minimize your Avid editing application. To change the taskbar settings: 1. Right-click an unused part of the taskbar, and select Properties. The Taskbar and Start Menu Properties dialog box opens. 2. Select the options you want: t To keep the taskbar hidden, deselect “Keep the task bar on top of other windows” and “Auto hide the task bar.
2 Starting a Project Using the Keyboard for Navigating in Dialog Boxes and Menus To navigate in dialog boxes and menus and to select and deselect options: Option Command To move from tabbed page to tabbed page within a dialog box. Press Page Up or Page Down. To move from check box to check box or from Press Tab. option to option in a dialog box. To select or deselect a check box or an option in a dialog box. Press Right Arrow, Left Arrow, or the space bar.
Working with the Desktop Customizing Mouse Functions Your Avid editing application lets you set the speed of scrolling with the mouse wheel, and lets you assign functions to three additional mouse buttons. n When you map mouse buttons, make sure that the modifier key that you assign to the button and command does not already have an alternate function. You cannot assign functions to the standard left and right mouse buttons. To set the mouse scroll speed: 1.
2 Starting a Project Optimum Performance (Windows XP) Background tasks can interrupt time-critical operations, such as capturing, playing, or rendering. Make sure that background tasks are not running while you work on your Avid editing system. The following list contains suggestions for ensuring optimum performance when working with your Avid editing application on a Windows XP system: • It is required to turn off File Sharing.
Working with the Desktop • Do not keep media on the same partition where you install your Avid editing application. Avid recommends external media drives. • Always use small fonts with the display driver to avoid missing characters in the dialog boxes in your Avid editing application. • After you move a drive from one system to another, restart your system. Windows does not recognize the drive until you restart. • Ensure you do not accidentally delete locked items from your desktop.
2 Starting a Project In Control Panel > Appearance and Personalization > Personalization > Window Color and Appearance > Effects, deselect Show window contents while dragging. • Enable setting to adjust for best performance. In Control Panel > System and Maintenance > System > Advanced System Settings > Performance Settings, select Adjust for best performance. • Disable Desktop compositing.
Working with the Desktop • After you move a drive from one system to another, restart your system. Windows does not recognize the drive until you restart. • Ensure you do not accidentally delete locked items from your desktop. Right-click the Recycle Bin icon on your desktop > Properties > General tab > Display delete confirmation dialog. • When you advance by single frames through the Timeline, deselect Render On-the Fly to enable faster response time.
2 Starting a Project Antivirus Applications Antivirus programs that contain autoscanning features can interfere with the operation of your Avid editing application. Since virus scanning is a processor-and disk-intensive activity, it can interfere with capturing and playing real-time effects in your Avid editing application. Avid recommends you do not scan files or schedule any background tasks such as virus scanning when you use your Avid editing application.
Starting Your Avid Editing Application (Macintosh) Starting Your Avid Editing Application (Macintosh) Your Avid editing application is in the following location: Macintosh HD/Applications/Avid editing application For most users, the desktop or Dock is a more convenient location to start your Avid editing application. The installation process places a shortcut alias icon for your Avid editing application on the desktop.
2 Starting a Project Working with Projects This topic describes basic methods for working with projects. You can: • Create a new project and save it to a folder located on your system. Some of the available folders use your operating system’s security features to limit access to the project. • Use the Select Project dialog box to find, open, or delete a project. • Automatically open your last project when you start your Avid editing application.
Working with Projects Element Description 1 User Displays the login name of the user currently logged into the system. To change to a different user, log out and log in as that user. 2 Folder Displays the path of the current folder. This path determines which projects appear in the project list and where a new project is created. n You cannot type into the User or Folder text boxes. 3 User Profile Displays the name associated with the current settings.
2 Starting a Project Creating a New Project You can open a project in any format. The settings you choose for your project will dictate the format and settings for all sequences within this project. To create a new project: 1. Start your Avid editing application. The Select Project dialog box opens. 2. In the Select Project dialog box, select the folder in which you want to create the project: Private, Shared, or External. For more information, see “Select Project Dialog Box” on page 46. 3.
Working with Projects 6. Set the following additional option(s), where applicable: Option SD Aspect Ratio Select either 4:3 or 16:9 HD Always uses the 16:9 aspect ratio. The project uses the aspect ratio setting to determine the display setting in the monitors, and as a factor in determining whether material requires resizing or repositioning in sequences.
2 Starting a Project Project name and user name in the title bar (left) and Close button (right) in the Project window 9. (Option) If your project uses a film project type, set film preferences immediately after you create the project. Naming a Project The system limits bins and project names to 27 characters, not including the period and 3-character extension that the system automatically adds to a file name.
Working with Projects To extend project and bin names to 31 characters (Macintosh only) 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click General Settings. 3. Select Allow files names to extend 27 characters. This extends the names of projects and bins to 31 characters. Project Types The following table lists the format options available. Depending on the model of your Avid editing application, your format options might not include all items listed here.
2 Starting a Project Project Type Source Footage Transfer (Continued) Color Space 1080p/24 For film footage transferred to videotape, or high-resolution files from digital film cameras. True 24-fps editing. YCbCr RGB 1080p/25 For film footage transferred to videotape, or high-resolution files from digital film cameras. YCbCr RGB 1080i/50 For video-originated material, or high-resolution files from digital film cameras. Can be directly captured, edited, and output for HD broadcast.
Working with Projects To open an existing project: 1. In the Select Project dialog box, select the folder in which the project is located: Private, Shared, or External. For more information, see “Select Project Dialog Box” on page 46. 2. Do one of the following: t Select a project in the Select Project dialog box, and then click OK. t Double-click a project name in the Projects list. The Project window, the Composer window, and the Timeline open with the User settings loaded.
2 Starting a Project 2. Click the Browse button. The Browse for Folder (Windows) or Project Directory (Macintosh) dialog box opens.
Working with Projects 3. Navigate to the folder that contains the project you want. 4. Click OK (Windows) or Choose (Macintosh). 5. Select a project in the Projects list. 6. Click OK. The Project window, the Composer window, and the Timeline open with the User settings loaded. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box.
2 Starting a Project 3. In the Format tab of the Project window, ensure that Aspect Ratio is set to 16:9. The footage in the Avid Boston Project DV25 project is shot in 16:9 aspect ratio. 4. Use the Bins tab in the Project window to open one or both of the bins in the project: - Boston Seq DV25 contains a complete sequence - Boston Project source contains all the video and audio clips in the project For more information on opening bins, see “Opening and Closing Bins” on page 73.
Quitting and Turning Off Equipment Quitting and Turning Off Equipment If you work in an Avid Unity™ environment, your Avid editing application writes a media database file (.mdb) to the workspace where you work. Before you quit your Avid editing application, make sure that the workspace has approximately 50 MB of storage space available. Ask your Avid Unity administrator to increase the space if you need more storage.
2 Starting a Project For a Macintosh system: t Select Apple menu > Shut Down. 2. If you have an Avid input/output device attached to your system, turn it off. 3. Turn off peripheral devices (such as monitors and speakers). 4. Turn off external storage devices. c Never remove media drives from your Avid system when it is turned on. Shut down the computer, and then remove the drives. 5. Turn off all other hardware.
Avid Projects and Avid Users Folders The Avid Users folder is located in the application folder: • (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Avid Users • (Windows Vista or Windows 7) drive:\Users\Public\Public Documents\Avid editing application\Avid Users • (Macintosh) Macintosh HD/Users/Shared/Avid editing application/Avid Users n (Windows only) The location of the Avid Users folder depends on the installation path for your Avid editing applicati
2 Starting a Project Changing Project and User Names You cannot change project or user names from within your Avid editing application. You must change the names from your desktop before you start your Avid editing application. For information about the location of the Avid Projects and Avid Users folders, see “Avid Projects and Avid Users Folders” on page 58.
Backing Up Your Project Information Backing Up Your Project Information Although your Avid editing application automatically saves your bins, projects, and settings, you should back up these items frequently.
2 Starting a Project Avid Attic Folder The Avid Attic folder contains backup files of each bin in a project.
Avid Attic Folder 4. Double-click the folder for the bin you want to retrieve. 5. If the bin folder is not already in the Details view, select View > Details. The bin folder displays the backup bin files and their creation dates. A backup bin file has the same name as the bin, with a number appended. For example, a bin named Source Clips might have backup bin files named Source Clips.1 and Source Clips.2. 6. Select the backup bin file or files you want to retrieve. 7.
2 Starting a Project 5. Navigate to the desktop, select one of the backup bin files you copied, and click Open. The backup bin opens. When you open a backup bin, a link to the backup bin on the desktop is created in the Other Bins folder. n Your Avid editing application does not allow a bin and a copy of a bin to be open at the same time. You must keep all other bins closed and open the backup bins one at a time. 6. Create a new bin.
Avid Attic Folder Retrieving Files from the Avid Attic Folder (Macintosh) To retrieve a file from the Avid Attic folder: 1. Minimize your Avid editing application. 2. From the desktop, double-click the Macintosh HD/Users/Shared/Avid editing application/Avid Attic folder. The Avid Attic folder opens and displays a folder for each project. 3. Double-click a project folder, and then double-click the Bins folder. The Bins folder opens and displays a folder for each bin in the project. 4.
2 Starting a Project 8. Repeat steps 3 through 7 for any other backup bin files you copied to the desktop. 9. Select and delete the backup bins in the Other Bins folder. 10. Drag the backup bin files on the desktop to the Trash.
Using Toolsets To link a toolset to another setting: 1. For the toolset you want to link, select Toolset > toolset. 2. Select Toolset > Link Current to. The Link Toolset dialog box opens. 3. Click the Links to Current Toolset menu, and select Link to Named Settings. 4. Type the name of the other setting to which you want to link the toolset. n You can link toolsets only to User settings. 5. Click OK. The active toolset is linked to the custom setting you specified.
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3 Working with the Project Window The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.
3 Working with the Project Window Overview of the Project Window The Project window is a central location for important information and tools that you need as you work on your project. Project window information is organized in tabs. 70 Tab Function Bins Lets you create and open bins. See “Using the Bins Tab” on page 71. Settings Lets you view and modify settings. See “Using the Settings Tab” on page 79. Effects Lets you access a library of effects. See “Applying Effects” in the Help.
Controlling Project Window Display Controlling Project Window Display The Project window opens automatically when you select a project. You can use the Project window’s tab to change the display of information in the window. The Project window is always open when you are working in a project. However, it might become hidden behind open bins or tools. To change the information display in the Project window: t Click one of the tabs.
3 Working with the Project Window Viewing a List of Bins You can view a list of bins in the Project window. The Bins list displays the number, names, sizes, and location of the bins. Bins from other projects appear in the Project window in italic. To view a list of bins associated with the project: t Click the Bins tab in the Project window. Fast menu button (top) and Bins list with bin icons (bottom) in the Bins tab of the Project window.
Using the Bins Tab Renaming a Bin Each new bin that you create takes the name of the project that appears in the title bar of the Project window and is numbered incrementally. n n If you plan to move bins and projects from one platform to another, do not use the characters / \ : * ? “ < > | or leading spaces, trailing spaces, or trailing periods, when you name a project, bin, and user.
3 Working with the Project Window To open a bin directly: 1. Click the Bins tab. 2. Double-click the Bin icon next to the bin name. The bin opens in a separate window. The Bin icon appears dimmed in the Bins list, indicating the bin is open. To open several bins at once from the Project window: 1. Click a Bin icon in the Bins list. 2. Ctrl+click (Windows) or Shift+click (Macintosh) each additional bin you want to open. 3. Select File > Open Selected Bins. To open a bin from another project: 1.
Using the Bins Tab Displaying Folders of Bins in the Bins List You can add folders to the Bins list to help organize your project. You can drag bins into folders or drag folders into folders. Fast Menu button (top), folders and folder arrows (center), and the Trash icon (bottom) in the Bins tab of the Project window. To create a folder in a project: 1. Click the Fast menu button, and select New Folder. A new untitled folder appears. 2. Click the untitled folder name in the Bins list and rename it.
3 Working with the Project Window Creating a Folder 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. Deleting a Bin or Folder You can delete bins and folders along with their contents from the Bins list. Deleted bins and folders are moved to a Trash folder in the Bins list until you empty the Trash.
Using the Bins Tab To view items in the Trash: 1. Click the arrow next to the Trash icon in the Bins list. 2. Click the bins or folders you want to keep (or view), and drag them from the Trash to the Bins list in the Project window. 3. Double-click the bin or folder to view it. To empty the Trash in the Bins list: 1. Click the Fast Menu button, and select Empty Trash. A message box opens. 2. Click Empty Trash to delete the bins or folders from the Trash and from your hard drive.
3 Working with the Project Window 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. n Setting to zero the maximum number of files stored in the Avid Attic folder as well as the maximum number of versions of a bin deletes existing files in the project folder in the Avid Attic folder and prevents any backup bins from being saved.
Using the Settings Tab Using the Settings Tab From the Settings tab in the Project window, you can view, select, open, and alter various User, Project, and Site settings. Each setting either displays information about that specific tool or window or lets you select options or preferences associated with that tool or window. For more information, see “Viewing and Modifying Settings” on page 1185. To view the Settings list: t Click the Settings tab in the Project window.
3 Working with the Project Window Using the Format Tab The Format tab in the Project window lets you view basic project information, such as the video format (NTSC, for example). The information lists the options you selected in the New Project dialog box when you created the project. For some project formats, the Project Type list lets you change the format of the project to another format that shares the same frame rate. For example, if you are working in a 1080i/59.
Working with Color Spaces in HD Projects Working with Color Spaces in HD Projects In full HD projects, some Avid editing applications and Avid input/output hardware devices let you work in either the YCbCr or the RGB color space. Your Avid editing application uses a project’s color space setting to control how it displays video, processes most effects, and outputs sequences. RGB and YCbCr both separate colors into three channels, but they store color information differently.
3 Working with the Project Window Because no color data is lost, your Avid editing application can make more precise calculations when processing effects using RGB media. The quality improvement over YCbCr processing is most noticeable in effects that perform color analysis, such as chroma keyers. Even if the original video data is in YCbCr, your should consider converting to RGB to process effects as precisely as possible. The disadvantage of RGB is file size.
Changing the Project Color Space for an HD Project The color space of your media depends on its format. Tape-based SD and HD media uses the YCbCr color space. Newer HD digital formats, such as R3D, use RGB. See “Resolution Specifications” on page 1309 for information about supported formats. You can check the color space of the media for any clip in your project by viewing the Color Space bin heading in the bin that contains the clip.
3 Working with the Project Window Using the Usage Tab 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.
Using the Usage Tab 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.
3 Working with the Project Window 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 ind
Using the Usage Tab 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. The statistics file appears in spreadsheet format. The following illustration is the sample file from the previous section as it appears when you import it into a spreadsheet.
3 Working with the Project Window Displaying Disk Space Statistics You must use a Console command to calculate and display statistics for disk space in the Usage window. 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.
Using the Info Tab To display system memory information: t Click the Info tab, and then click the Memory button. The Memory window opens with the following information: Item Description Objects The total number of memory handles currently used by your Avid editing application. Objects include memory requirements of your Avid editing application, such as windows, clips, sequences, and other items associated with a project.
3 Working with the Project Window 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. Using more memory can slow system performance. In the Bin tab of the Project window, a memory usage indicator increases and updates as you open and close bins. Avid recommends that you keep memory usage below 80-85%.
Understanding User Profiles User profile folders are kept in the following folder: Windows XP drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Avid Users\UserName Windows Vista and Windows 7 drive:\Users\Public\Public Documents\Avid editing application\Avid Users\UserName Macintosh /Users/Shared/Avid editing application/Avid Users/UserName You can do the following with user profiles: • Create new user profiles • Switch between user profiles • Return to the origin
3 Working with the Project Window Managing User Profiles To create a user profile: 1. Click the Settings tab in the Project window. The User Profile Selection menu in the Settings tab of the Project window 2. Click the User Profile Selection menu, and select Create User Profile. The Create User Profile dialog box opens. 3. Type a name in the Profile Name text box, and then click OK. The new user profile appears selected in the menu, and the user profile name appears in the Project window title bar.
Managing User Profiles To import user settings from another user or user profile: 1. Click the Settings tab. 2. Click the User Profile Selection menu, and select Import User or User Profile. 3. Navigate to the user or user profile you want to import. To export user settings to another user or user profile: 1. Click the Settings tab. 2. Click the User Profile Selection menu, and select Export User or User Profile. 3. Select Personal or Group. 4.
3 Working with the Project Window Customizing the Avid User Interface The Interface Settings dialog box provides you with controls for customizing the brightness and the colors of the Avid user interface. For complete reference information on the Interface Settings dialog box, see “Interface Settings” on page 1264. The Interface Settings dialog box allows you to set the highlight color for buttons.
Customizing the Avid User Interface 2. Click a highlight color to change button highlight colors. 3. Click the Interface Brightness slider to adjust the brightness of the user interface. The Avid editing application provides several presets on the slider. 4. (Option) If you want to set the color of the video, audio, or timecode tracks to the default, select the appropriate option. 5. (Option) If you want to be able to set custom background colors for bins, select Allow Custom Bin Backgrounds.
3 Working with the Project Window Changing Font and Point Size You can change the default font and point sizes of the Project, Bin, Composer monitor, Script, and Timeline windows. You can vary the fonts and point sizes across these windows. For example, you can set the Project window to Helvetica, 13 pt.; set one Bin window to Times Roman, 11 pt.; and set another Bin window to Arial, 12 pt. The table describes the windows you can change, and where these changes are saved.
User-Customized Workspaces User-Customized Workspaces A workspace is the arrangement and size of tool windows displayed in your Avid editing application. If you are accustomed to working with a particular group of windows arranged and sized in a particular setup, you can assign them to a workspace setting that you can then recall with a workspace button. For example, during capture you might want to display the Capture tool and Video Input tool in specific locations.
3 Working with the Project Window 5. Assign a custom name to the new workspace: a. In the column between Workspace and User, click until you see a text cursor and box. Make sure you click the Custom name column and not the Setting name. Custom name column in the Settings list b. Type a name for the new custom workspace; (for example, Logging). c. Press Enter (Windows) or Return (Macintosh). d. Open the windows and tools with which you want to associate the workspace.
User-Customized Workspaces Linking User Settings and Workspaces You can link User settings to a workspace. You can create a customized workspace, set up specific options in any Settings dialog box, and link them together by name. For example, you can create an Audio workspace that opens the Audio Mixer tool and Audio tool. This workspace can also open a customized Timeline (with enlarged audio tracks and rubberbanding displays). To link user settings and a workspace: 1. Create a new workspace.
3 Working with the Project Window 8. Click Activate Settings Linked By Name. 9. Click OK. All the settings and the new workspace you created are activate. Switching Between Workspaces To switch from one workspace to another: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click to the left of the workspace setting you want to use. A check mark appears next to the workspace. To switch between workspaces use the workspace buttons.
User-Customized Workspaces Assigning a Workspace Button To assign a workspace button: 1. Select Tools > Command Palette. Workspace buttons in the More tab of the Command Palette 2. Click the More tab. 3. Select Button to Button Reassignment. 4. 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.
3 Working with the Project Window Working with Bins and Projects in an Avid Unity Environment Avid Unity MediaNetwork and Avid Unity ISIS let you 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 creates sequences in one bin while an assistant recaptures media in another bin.
Working with Bins and Projects in an Avid Unity Environment Sharing Bins and Projects in Avid Unity Sharing Only Bins If you share only bins, you store the project on your local system and store bins and media files on the shared workspace. This method allows users in a shared environment to share only selected bins with other users. The system identifies the shared bins as follows: • Stores the bin in a Unity Bins folder in the Project window. This folder is similar to the Other Bins folder.
3 Working with the Project Window The following illustration shows the Project window for a shared project. Bins tab in the Project window, showing a bin that is locked for editing (bold text, top left), the name of the computer that currently has the bin locked (top right), and folders for each computer that accesses the project (bottom) Opening a Shared Project To open an existing project on the shared volume: 1. Start your Avid editing application. 2.
Working with Bins and Projects in an Avid Unity Environment The Bin Lock Status button. When the button is green (top), the bin is unlocked. When the button is red (bottom) the bin is locked. When a bin is unlocked, you have permission to make changes. You should not make changes to a locked bin. See “Considerations for Working with Shared Bins and Projects” on page 106. n The Bin Lock Status button does not appear if the bin is not on Avid Unity.
3 Working with the Project Window To permanently lock a bin: 1. Select one or more bins in the Project window. 2. Right-click the Bin icon, and select Lock Project Bin. An asterisk (Windows) or diamond (Macintosh) appears next to the user name in the Project window. In this case, the bin remains locked even after you close it. To unlock the bin: t n Right-click the bin in the Project window, and select Unlock Project Bin.
Working with Bins and Projects in an Avid Unity Environment • Do not use Windows Explorer to examine, copy, or manipulate shared bin files or shared project folders or their contents when you use those files or folders. If you do, when you attempt to access those shared bins or projects you might experience delays accompanied by a progress dialog that says, “Filesystem busy, retrying (MESSAGE).” If the busy condition persists, a failure message appears.
3 Working with the Project Window Restrictions and Limitations for Locked Bins The following restrictions apply to bins that are locked by another user: • You cannot select a locked bin for operations such as capture, title creation, and import. This helps to minimize the problems of modifying a locked bin. • You cannot drag an item to a locked bin. • If you drag an item from a locked bin to a writable bin, the Avid system creates a duplicate (not a copy) of the selection in the writable bin.
Working with Bins and Projects in an Avid Unity Environment Drive Filtering in Networked Workflows The Drive Filtering and Indexing tab of the Media Creation Settings dialog box includes three options: • Filter by Resolution • Filter by System Drive • Filter by Launch Drive Depending on the version of your Avid editing system, the drive filtering options could be on or off by default. Avid recommends that all drive filtering options should be on by default.
3 Working with the Project Window 110
4 Using Tools The Tools menu provides quick access to essential tools that you can use in your projects. In addition to the tools available from the Tools menu, you can also add a controller to your system that you can use as an alternative to your keyboard and mouse for editing footage.
4 Using Tools Deck Controller Window Reference 2 1 3 6 4 5 Element 1 Timecode display Description Provides information about the control status of the tape deck: • If the deck is properly connected and power is on, the deck controller displays timecode when you mount a tape. • If a deck is not properly connected to the system or power is off when you open the controller, the indicator displays the message “NO DECK.
The Command Palette Element 6 Logging controls Description Let you log IN and OUT marks while you cue your tape. For more information on logging, see “Logging Directly into a Bin” on page 141. The Command Palette The Command palette provides a central location for all user-selectable buttons that you can map to various locations for ease of use. User-selectable buttons let you perform a wide range of commands with a single click of the mouse. The Command palette organizes buttons by editing function.
4 Using Tools Understanding Button Mapping Mapping user-selectable buttons lets you reconfigure Tool palettes, toolbars, or the keyboard in various combinations to suit different editing needs. n When you map buttons to the keyboard, the mapping might be specific to the current editing mode. For example, buttons mapped to the Page Up key or the Page Down key revert to the default key functions when you enter Effect mode. After you exit Effect mode, the keys return to the mapped function.
The Command Palette To change the appearance of the buttons in the Tool palette in the Interface settings, see “Customizing the Avid User Interface” on page 94. To identify a button’s function with only an icon or with an icon and letters, see “Interface Settings” on page 1264. The Blank Button The Blank button in the Other tab of the Command palette lets you replace a defined button with an undefined button.
4 Using Tools Mapping User-Selectable Buttons To map buttons or keys on the keyboard by using the Command palette: 1. Do one of the following to open a window that has a user-selectable button: t Activate the Playback, Source, or Record monitor in the Composer window. t Click a Fast Menu button, and drag the Tool palette to open it. t Activate the Source/Record monitor or the pop-up monitor, click the Fast Menu button, and drag to tear off the Tool palette. t Open a clip in a pop-up monitor.
Using the Avid Calculator 4. Click a target button in the Keyboard palette or other palette (for example, the Command palette under a monitor). The pointer changes to a small white menu. 5. Select the menu command you want to map to the target button. The initials for the menu command appear on the target button. Example of a menu command mapped to a button in the Tool Palette. Activating Commands from the Command Palette You can perform a command function directly from the Command palette.
4 Using Tools To use the Avid Calculator: 1. Select Tools > Calculator. The Avid Calculator opens. 2. Click the Format menu, and select a format. 3. Make calculations in one of the following ways: t Click numbers and functions in the Avid Calculator. t Enter numbers and functions using the numeric keypad. t Enter numbers and functions using the top row of numbers on the keyboard. You do not need to enter leading zeros, colons, or semicolons for timecode.
Using The Console Window When the feature is turned on, the mapped drive letter appears in the Target Drive menu. When you turn the feature off, the mapped drive letter is dimmed. If you quit and restart your Avid editing application, the mapped drive letter does not appear in the Target Drive menu. 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.
4 Using Tools 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. If your system is connected to an Avid Unity network, you see two drives tabs, Local Drives and Avid Unity Drives.
5 Logging When you import shot log files or log directly into a bin, you provide your Avid editing application with frame-accurate clip information that it uses to capture the source footage. The logs you create form the foundation for organizing, tracking, storing, retrieving, and generating lists of edit information throughout your project.
5 Logging When you convert an ATN file that contains multiple sections to an ALE file, the system creates multiple ALE files. The Avid Log Exchange window displays only the first ALE file. The succeeding ALE files are given the same file name with incremental numbering. For example, the file Nations1.atn converts to Nations001.ale, Nations002.ale, Nations003.ale, and so on. The system stores the converted output files in the folder containing the original input file.
Using Avid Log Exchange to Prepare Log Files for Import The file appears in the Avid Log Exchange window. For specific information on the various file types, see “Log Formats Compatible with Avid Log Exchange” on page 129. 7. Use the Options menu to select the tracks to include in the Tracks column of the log. The default track selections are Log V, Log A1, and Log A2. After you import the log into an Avid bin, the system captures all tracks shown in this column when you batch capture.
5 Logging 11. (Option) Select the original file from the Window menu if you want to convert the file again using different options. 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.
Using Avid Log Exchange to Prepare Log Files for Import 3. Open the folder that contains the files you want to convert. Position the folder so the ALE utility Shortcut icon is visible. 4. Select the files you want to convert. 5. Drag the selected files to the Shortcut icon, and release the mouse button. 6. Depending on the type of files you convert, one of the following occurs: - If the ALE utility recognizes the file type, a message box opens indicating the conversion was successful.
5 Logging The Avid Log Exchange dialog box opens. 1 2 3 4 5 6 7 Avid Log Exchange dialog box 1 Files you can convert 5 Global Settings information 2 Files you can generate 6 Convert button 3 Clean and Relaxed options 7 Quit button 4 Track selection 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.
Using Avid Log Exchange to Prepare Log Files for Import 4. Select the tracks to include in the Tracks column of the log. After you import the log into an Avid bin, the system captures all tracks shown in this column when you batch capture. The Track selection only works on non ALE files that you convert to an ALE format. When ALE is the incoming format, Track selection does not work. 5. Select the options Clean if you want ALE to clean the ALE output file to eliminate overlapping timecodes for clips.
5 Logging Using Drag-and-Drop Conversion for Log Files (Macintosh) Use this shortcut to convert files into an ALE file. n If the log file is a Final Cut Pro, Cinema Tools, or a Tab Delimited shot log file, you cannot use drag-and-drop conversion. Use the procedure in “Converting Log Files with Avid Log Exchange (Macintosh)” on page 125) to convert files of this type. To convert a log file by using drag-and-drop conversion: 1. Check the options that are set in the ALE utility.
Using Avid Log Exchange to Prepare Log Files for Import Log Formats Compatible with Avid Log Exchange The table lists the log formats that you can import directly or convert for import when you use Avid Log Exchange (ALE). Log Format Requirements File Name Extension AatonBase Conversion required .atn or .atl Avid Log Import directly .ale Cinema Tools Conversion required .txt CMX EDL Conversion required .cmx Evertz® Conversion required .ftl Excalibur Conversion required .ale or .
5 Logging Avid Log Specifications Use a word processing application or a text editor to prepare an Avid log on any Windows or Macintosh computer You can use the file name extension .txt, but it is not required. To ensure accuracy, you must follow the Avid log specifications described in this section. An Avid log is composed of three sections, in this order: • Global Titles • Standard and custom column Titles • Data Titles When you create an Avid log, you must follow the order precisely.
Avid Log Specifications Global Titles The global Titles must come first in an Avid log file, and you must enter one value for each Title. GLOBAL Titles: Global Titles are case sensitive and must be spelled exactly as shown. Include all required Titles. Other Titles are optional but might be necessary for your project. The maximum number of combined global, standard, and custom Titles in a log file is 64. Title FIELD_DELIM [Enter] or Required [Return] This marks the start of the global Titles.
5 Logging Column Titles The standard column Titles appear after the global Titles in the Avid log file. You do not enter the data for a column Title along with the Title. You enter the data later, in a separate data section. You must include the five required standard column Titles; they are listed first in the table. You can create your own custom column Titles. Enter them after the standard Titles (see the last Title in the table).
Avid Log Specifications Auxiliary TC5 [Tab] Title for auxiliary timecode. Camera [Tab] Title for the camera used to film this clip. This feature is used in multicamera shoots. Camroll [Tab] Title for the camera roll ID containing this clip. Duration [Tab] Title for timecode Start to timecode End, the length of the video clip. FPS [Tab] Title for video frames per second rate for capturing the individual clip. If omitted, the global entry applies.
5 Logging TC 24 [Tab] Title for 24-fps timecode. TC 25P [Tab] Title for 25-fps timecode with pulldown. TC 25 [Tab] Title for 25-fps timecode. TC 30 [Tab] Title for 30-fps timecode. Take [Tab] Title for take ID for clip. Tape [Tab] Title for source tape ID for the individual clip. If omitted, the global entry applies. DESCRIPT [Tab] Title for description of clip. COMMENTS [Tab] Title for comments about clip. [Tab] Add any category of information you want.
Avid Log Specifications [Tab] Required Under Tracks Title. Enter the tracks you want captured for the clip. Enter V for MOS takes. Enter A1, A2, or A1A2 for wild sound. Enter D for a data track. [Tab] Required Under Start Title. Enter the video timecode for the sync point, the first frame of the clip. Use colons for non-drop-frame (for example, 01:00:12:20). Use one or more semicolons for drop-frame (for example, 01;18;00;02).
5 Logging [Tab] Under KN End Title. Identify the key number for the end of the clip. Identify only feet and frames, for example, 0342&07. [Tab] Under KN Duration Title. Identify the length of the clip, in feet and frames. [Tab] Under Labroll Title. Identify the lab roll, use letters and numbers. <1> <2> <3> [Tab] Under Perf Title. Edit the perf for this clip only. (matchback only) [Tab] Under Pullin Title.
Avid Log Specifications [Tab] Under Tape Title. Enter the source videotape ID for this clip only. [Tab] Under DESCRIPT Title. Describe the clip. [Tab] Under COMMENTS Title. Comment on the clip. [Tab] Under the Titles you create, type the appropriate information. [Enter] or [Return] Press Enter (Windows) or Return (Macintosh) after the last entry for the clip. Do not press Tab after the last entry for the clip.
5 Logging Heading [Return] FIELD_DELIM [Tab] TABS [Return] VIDEO_FORMAT [Tab] NTSC [Return] AUDIO_FORMAT [Tab] 44kHz [Return] TAPE [Tab] 001 [Return] FPS [Tab] 29.
Double-Checking Log Files To open WordPad: t Click the Start button, and select All Programs > Accessories > WordPad. To open Text Edit: t Select Go > Applications, and double-click TextEdit. To create a text document in TextEdit: t Select Format > Make Plain Text. To create an Avid Log by using a word processor or text editor: 1. Enter shot log information according to the specifications described in “Avid Log Specifications” on page 130. 2.
5 Logging If you log your source footage with MediaLog, you can transfer the bins directly to your Avid editing application to batch capture. You can also import the logs as described in “Importing Shot Log Files” on page 164. To transfer bins from MediaLog: 1. Save the MediaLog bins to a storage device or disk. If you use MediaLog for Macintosh, make sure that your Windows system can mount the storage device or disk correctly.
Logging Directly into a Bin Logging Directly into a Bin To log clips directly into a bin use the Capture tool in one of two ways: • Log directly into a bin with an Avid-controlled deck for semiautomated data entry. • Log manually during or after you view footage offline with a non-Avid-controlled deck or other source. Before you capture, observe the following important guidelines for preroll, timecode formats, and naming of tapes when you log.
5 Logging n If you want your Avid editing application to consider master clips as coming from the exact same tape, you should try to select that tape name from the Select Tape dialog box. If you do not see the tape, but know you have online media from that tape, you should click the Scan for Tapes button. For more information, see “Logging with Avid-Controlled Decks” on page 142. • c It is important that you create a naming scheme for your tapes.
Logging Directly into a Bin 1 2 3 4 5 6 7 8 9 1 Capture/Log Mode button 6 Timecode display 2 Mark IN button 7 Deck controls 3 Channel Selection buttons 8 Deck Selection menu 4 Clip Name text box 9 Source Tape Display button 5 Clip Comment text box If you forget to connect and turn on the power to the deck before you open the Capture tool, click the Deck Selection menu and select Check Decks to reinitialize the deck control. 4.
5 Logging 5. Click the Deck Selection menu, and select a deck. For more information, see “Selecting a Deck in the Capture Tool” on page 191. 6. Insert your tape into the deck. The Select Tape dialog box opens. Select “Show other project’s tapes” to display the tape names and associated project names for all bins. Select Tape dialog box. Top: New tape name button. Center: list of tapes. Bottom: Show other projects option.
Logging Directly into a Bin 8. Use one of the following methods to set either an IN point or an OUT point for the clip you want to log: t To keep the deck running while you log: Start the deck. At the point where you want to start the clip, click the Mark IN button or press the F4 key. The deck continues to play. If you want to pause the deck while you enter a clip name and comments, see “Pausing the Deck While Logging” on page 146.
5 Logging 10. To finish logging the clip, do one of the following: t If the deck is running: Click the Mark OUT and Log button or press the F4 key. The clip logs into the bin and the deck continues to play. t To cue the remaining start or end point: Use the deck controls to locate the start or end point. Click the Mark OUT and Log button or the Mark IN and Log button to set the remaining IN point or OUT points. The clip logs into the bin.
Logging Directly into a Bin 4. When you reach the point where you want to end the clip, click the Mark OUT button in 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.
5 Logging 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 “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.
Logging Directly into a Bin 6 Timecode display 13 Clear IN and OUT buttons 7 Deck controls 14 Mark IN and OUT buttons 7. Click the Capture/Log Mode button until the LOG icon appears. 8. Click the Source Tape Display button. A dialog box opens. 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. Use the Channel Selection buttons to select the tracks you want to log. 13.
5 Logging Understanding the Pulldown Phase If you log or capture 24-fps sources (film-to-tape transfers, media downconverted from 1080p/24 footage, or both), you can set the pulldown-to-timecode relationship for a transferred tape in the Film and 24p Settings dialog box. For information about the pulldown process, see “Transfer of 24-fps Film to NTSC Video” on page 1352.
Understanding the Pulldown Phase The illustration shows the relationship between film frames and video frames. A B C D A1 .1 A2 .2 B1 .1 B2 .2 B3 .1 C1 .2 C2 .1 D1 .2 D2 .1 D3 .2 A B X C D Relationship between four film frames (left) and five NTSC video frames (right). On the right, .1 indicates an odd field and .2 indicates an even field. n This setting is not available in matchback projects. However, you can modify the pulldown phase after you log it.
5 Logging 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 capture film-to-tape transfers, check the transfer log. t If you capture 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 155. 2.
Film-Related Log Information Displaying Film Columns To display film columns in the bin: 1. Click the Bin View menu at the bottom of the Bin window, and select Film to display all the required film column Titles. Location of the Bin View menu 2. To log data under optional Titles (such as Ink Number, Auxiliary TC1-Auxiliary TC5, or Film TC), do the following: a. Select Bin > Titles. The Bin Column Selection dialog box opens. b.
5 Logging 3. Create a custom Title to track custom information for the job. To create a new Title, type a name that describes the information in the Titles bar at the top of the bin. For more information on customizing bin views, see “Saving a Custom Bin View” on page 345. Entering Pulldown Information To accurately capture NTSC transfer tapes in 24p projects, you need to enter pulldown information into the bin. (This information is not required for PAL transfer tapes.
Film-Related Log Information Start timecode column (left) and Pullin column (right) in the bin Determining the Pulldown Phase It is easiest to determine the pulldown of a sync point (or pulldown phase) if you ask your film lab to keypunch (cut a small hole in) the sync frame at the zero frame in the original film footage before you transfer the film to video.
5 Logging The illustration shows a keypunch on the A frame. Notice where the timecode changes. A B C D A1 .1 A2 .2 B1 .1 B2 .2 B3 .1 C1 .2 C2 .1 D1 .2 D2 .1 D3 .2 A B X C D Determining pulldown for keypunched footage. Red lines indicate the location of timecode changes. 4. If there are three keypunched fields, or fields without motion, the pulldown is either B or D.
Film-Related Log Information To modify the pulldown phase for multiple clips: 1. Ctrl+click (Windows) or Shift+click (Macintosh) the clips you want to modify. 2. Select Clip > Modify. 3. Click the Modify Options menu, and select Set Pull-in. 4. Select A, B, C, or D. 5. Click OK. The pullin for all selected clips changes, based on the pulldown phase you select. To modify the pulldown phase for multiple clips that have the same pulldown-to-timecode relationship: 1.
5 Logging Entering Frames-per-Second Rates for PAL Transfers When you log in advance for PAL film-to-tape transfers, you must log the footage as clips that have a 25-fps play rate, as listed in the FPS column of the bin. You can capture the footage on-the-fly, without logging the clips first. The minimum information required to capture the footage is the data logged in the Start and End video timecode columns.
Film-Related Log Information Entering Additional Timecodes You can enter custom timecodes for all clips (including captured, imported, and file-based clips) in the Auxiliary TC and Sound TC columns in the bin. To enter additional timecodes: 1. In one of the Aux TC columns (Aux TC1 through Aux TC5), type an auxiliary timecode that syncs with the video timecode logged in the Start column. You can enter up to five auxiliary timecodes.
5 Logging Entering Ink Numbers To enter ink numbers: 1. In the Project window, click the Settings tab. 2. Double-click Film and 24p. The Film and 24p Settings dialog box opens. 3. 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 5. Do one of the following to select the Export setting: t If you previously created an Export setting for exporting shot log files, click the Export menu, and select the setting. Then, go to step 10. For information on creating Export settings, see “Customizing Export Settings” on page 939. t If you want to review or edit Export settings, go to step 6. 6. Click Options. The Export Settings dialog box opens. 7.
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6 Preparing for Capture The chapter provides information on preparing your Avid editing application and your capture hardware before you capture media.
6 Preparing for Capture For film projects, most telecine and other film-to-tape transfer systems generate a log that you can import directly to the bin, after you convert it to .ale format by using the Avid Log Exchange (ALE) utility. Even if the telecine facility supplies you with an .ale file, you should process it through the ALE utility, using the Clean function. For more information, see “Using Avid Log Exchange to Prepare Log Files for Import” on page 121.
Importing Shot Log Files Look in menu (top) and Files of type menu (bottom ) in the Select files to import dialog box on Windows. Enable menu (top) and From menu (bottom ) in the Select files to import dialog box on Macintosh.
6 Preparing for Capture 4. (Option) If you want to select options for combining events on import, click Options to open the Import Settings dialog box. Select the appropriate options from the Shot Log tab, and then click OK to close the Import Settings dialog box and return to the Select Files to Import dialog box. For information on Import settings, see “Import Settings” on page 1258.
Preparing the Hardware for Capture You should check the items described in the following table before capturing: Item Description Sync source An external sync source is not required for capturing video or audio with video. Avid recommends using an external sync source for output. For more information, see “Selecting the Sync Source for Output” on page 959.
6 Preparing for Capture Establishing Sync for Audio-Only Input When you capture audio with video, the video input signal provides the timing reference for capturing analog audio. This ensures that the audio and video remain in synchronization. When you capture audio only, the audio timing reference is taken from the same source as the video output timing. You set the sync source for capture and output timing through the Video Output tool.
Selecting Settings for Capture If the digital media sample rate is different from the project sample rate, and sample rate conversion is available on your system, and you have allowed sample rate conversion by selecting “When Needed” in the Input tab of the Audio Project settings, then sample rate conversion is running in your Avid input/output hardware. In this case, the output of the sample rate conversion uses a sync source under the same rules described above for analog capture.
6 Preparing for Capture You can also select a video resolution and select drives directly in the Capture tool, the Save Title dialog box, the Select Files to Import dialog box, the Audio Mixdown dialog box, the Data Mixdown dialog box and the Video Mixdown dialog box. The Media Creation settings automatically change to the resolution and drives you select. c If you are using Avid Unity LANshare or Avid Unity PortServer Pro, make sure to specify a supported resolution.
Selecting Settings for Capture 4. Click the Video Resolution menu, and select a video resolution. The Video Resolution menu contains a list of the available resolutions, which depend on such factors as the model of your Avid editing application, your Avid input/output hardware, and your project format. For HDV projects, no video resolutions are available for capture, because your Avid editing application automatically selects the correct resolution.
6 Preparing for Capture Disabling Video Resolutions To simplify the options for media creation, you can use a text file to restrict the resolutions available for capturing, rendering, or importing. If you disable resolutions for media creation, you can still play, export, or perform a digital cut in those resolutions. To disable resolutions: 1. Select Tools > Media Creation. The Media Creation dialog box opens. 2.
Selecting Settings for Capture 4. Type each resolution you want to disable on a separate line. Do not include OMF or MXF. DisabledRes.txt examples on Windows (left) and on Macintosh (right) The text of the resolution must exactly match the text in the Media Creation dialog box. To disable DV 25, for example, type DV 25 411 with DV in capital letters. Do not disable all resolutions supported by your Avid editing application. You need to keep one resolution available. 5.
6 Preparing for Capture Setting Drive Filtering Your Avid editing application lets you select any drive on your system to use for media storage. However, high-quality resolutions require striped drives. For more information, see “Getting Information About Striped Drives” on page 167. Because media files are very large, you can filter drives that are not suitable for media storage out of the list of available drives.
Selecting Settings for Capture 3. Select one or more drives to filter out: t Select Filter Network Drives Based on Resolution to remove those network drives that cannot support, or handle playback of, the selected resolution. t Select Filter Out System Drive to remove the drive on which the operating system resides. t Select Filter Out Launch Drive to remove the drive on which your Avid editing application resides.
6 Preparing for Capture 3. Click the Preroll Method menu, and select one of the following methods. Preroll Method Description Best Available Your Avid editing application first checks the tape for timecode to use for preroll. If there is no timecode, or not enough timecode, your Avid editing application uses the control track for preroll.
Selecting Settings for Capture 4. Select or deselect “Capture across timecode breaks.” When you select this option, your Avid editing application begins capturing a new master clip at each timecode break. Select this option when you are performing an unattended batch capture or autocapture. Deselect this option if you plan to capture the entire tape as a single clip by capturing to multiple media files. See “Capturing to Multiple Media Files” on page 177. 5. Click OK.
6 Preparing for Capture 7. To capture to multiple files across drives, click the Target Drive menu in the Capture tool, and select Change Group. The Drive Group dialog box opens. 8. Ctrl+click (Windows) or Shift+click (Macintosh) multiple drives to include in the capturing session, or click the All button to select all drives. If you click Clear, your Avid editing application removes all selections. You must select at least one drive before you can click OK to exit the dialog box. 9. Click OK. 10.
Selecting Settings for Capture Capture-Related 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 1252.
6 Preparing for Capture Option Description Video Pulldown Cadence Lets you specify how your Avid editing 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 your Avid system separately at 100 percent of the actual speed.
Configuring Decks Option Description Audio Source TC Rate Lets you specify the digital audiotape (DAT) timecode format: either 30 fps or 29.97 fps (NTSC only). This timecode format must conform to the timecode format on your original DAT tapes. This setting is active when capturing audio only. This setting does not appear in 23.976 projects. Set Pulldown Phase of Timecode Lets you set a default pulldown phase for a 24p NTSC project. See “Setting the Pulldown Phase” on page 152.
6 Preparing for Capture Configuring a Deck or Multiple Decks To configure a deck or multiple decks: 1. Verify that you have manually configured the appropriate hardware connections for the deck or decks. 2. Double-click Deck Configuration in the Settings list in the Project window. The Deck Configuration dialog box opens. 3. Click the Add Channel button. The Channel dialog box opens.
Configuring Decks 4. Click the Channel Type menu, and select one of the following items, depending upon your system configuration: Option Description FireWire Use if you are controlling a DV camera or deck through a FireWire connection. Direct Use if you are controlling a deck through an RS-422 connection to the serial port. VLAN VLX Use if you are controlling decks through a V-LAN/VLXi connection 5.
6 Preparing for Capture Example of a channel (left) and a deck (right) in the display area of the Deck Configuration dialog box n You can reopen the Channel settings to change the options at any time by double-clicking the channel box in the Deck Configuration dialog box. 8. If you did not autoconfigure the deck, click the channel box to select it. 9. Click the Add Deck button to open the Deck Settings dialog box.
Configuring Decks 10. Select the manufacturer and model number of your deck or other device. Selecting a model opens a template of settings for the device you selected. You can change these settings based on your device. For more information, see “Deck Settings” on page 1217. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh). 11. Click OK to close the Deck Settings dialog box and return to the Deck Configuration dialog box.
6 Preparing for Capture 14. Type a name in the Configuration name text box to name the deck configuration. The new deck configuration appears in the Settings list in the Project window. 15. Click the Apply button to complete the configurations and close the Deck Configuration dialog box. 16. Double-click Deck Preferences in the Settings list in the Project window to review and if necessary adjust global deck control options.
Connecting a DV Device For example, if you work on a 1-hour show that uses 52 minutes of video, the program ends at 01:52:00:00 (non-drop-frame). If it is broadcast at 29.97 fps, it will last 94 frames too long (approximately 3 seconds). The following illustration compares the two types of timecode at the 1-minute mark. Remember that no frames are actually dropped when drop-frame timecode is used. Drop-frame timecode simply skips timecode numbers as necessary to match the actual NTSC scan rate.
6 Preparing for Capture To use a connected DV device for capture, play, or output on a system with an Avid Adrenaline, Avid Mojo, or Avid Mojo SDI, you must select it in your Avid editing application, as described in “Selecting a DV Device” on page 244. On Windows systems with an Adrenaline or an Avid Mojo, you can capture DV 50, DVCPRO, or HDV only through an optional IEEE-1394 card installed in your computer. This card must be on a bus separate from the one used by the Adrenaline or Avid Mojo.
Setting Up the Capture Tool The following illustrations show the Capture tool for an HD project. Some items might not be available or might have minor differences in your Avid editing application model.
6 Preparing for Capture 1 2 3 4 9 5 6 7 8 Bottom of Capture tool 1 Clip Name text box 6 Deck controls 2 Clip comment text box 7 Deck Selection menu 3 Resolution menu 8 Source Tape Display button 4 Single/Dual Drive Mode button 9 Time remaining on target drives 5 Target Drive menus When you are working in a 24p NTSC project, the Capture tool includes a pulldown button. For more information, see “Setting the Pulldown Switch” on page 196.
Setting Up the Capture Tool Opening the Capture Tool To open the Capture tool: 1. Ensure the deck or other playback device is properly connected to the system and is turned on. 2. Do one of the following: t Click a bin to activate it and select Bin > Go To Capture Mode. t Select Tools > Capture. t Select Toolset > Capture. 3. Ensure you are in Capture mode. If the Capture tool is in Log mode, click the Capture/Log Mode button until the CAP icon appears.
6 Preparing for Capture If “No Deck” appears in the Deck Selection menu, you need to configure a deck in the Deck Configuration dialog box. See “Configuring Decks” on page 181. If a deck name appears in italics in the Deck Selection menu, the deck has lost power or has been disconnected. Click the menu, and select Check Decks to reestablish deck control.
Setting Up the Capture Tool 2. If you are working in an NTSC project, play the tape for a few seconds so your system can detect the timecode format of the tape (drop-frame or non-drop-frame). Otherwise, the system maintains the timecode format set in the Deck Preferences dialog box, regardless of the format on the tape, and you might receive a message indicating a wrong tape. n Drop-frame timecode appears in the Timecode indicator with semicolons between hours, minutes, seconds, and frames.
6 Preparing for Capture To select only those tracks you want to capture: t Click the Channel Selection buttons in the Capture tool. Channel Selection buttons in the Capture tool If you do not see source video or hear source audio in Capture mode, click the Channel Selection buttons to ensure they are not the cause. n When you use an Avid-controlled deck, the TC (timecode) track is selected by default, and the system captures the timecode from the source tape.
Setting Up the Capture Tool Setting the Video and Audio Input in the Capture Tool The Video and Audio menus show you the current input settings for the Video Input tool and the Input tab in the Audio Project Settings dialog box. The menus also provide a convenient way to change the settings if necessary. n The Video Input tool is not available on all models. If your model does not have the Video Input tool, your Avid editing application sets the default input options automatically.
6 Preparing for Capture Setting the Pulldown Switch If you are capturing sound created during an NTSC film-to-tape transfer, you need to set the pulldown switch before you begin capturing. If you are capturing picture only, you do not need to set the switch. If you are working in a 23.976p project, the pulldown switch is not necessary and does not appear. n Ensure your film preferences are set properly.
Setting Up the Capture Tool Film Project Pulldown and Transfer Settings The following table explains how you should set the pulldown switch and transfer settings, depending on your input media. Source Playback Speed Film to Video Transfer Settings (Set in Film Settings Dialog Box) Original sound source synced to NTSC 24p NTSC On (0.99) during transfer. For capturing picture and sound from NTSC tape, or sound-only from simul-DAT tapes created during telecine transfer. 29.
6 Preparing for Capture Capturing Digital Audio in Film Projects You must capture audio created during an NTSC file-to-tape transfer at a pulldown sample rate. When capturing from a digital source (such as AES/EBU, ADAT, or Embedded SDI), you must either configure the deck to transfer at the pulldown rate (as is possible with some audio decks) or capture the digital source as analog.
Setting Up the Capture Tool 2. In the Capture tool, click the Bin menu and make a selection. Only open bins (and open Interplay folders if you are in an Interplay environment) appear in the Bin menu. For information on opening a bin, see “Opening and Closing Bins” on page 73. Interplay folders are available only in Avid workgroups configurations. If the Interplay folder you want to use is not open, click the folder name in the Interplay Window.
6 Preparing for Capture To target a single drive: 1. If the Capture tool is not already open, select Tools > Capture. The Capture tool opens. 2. Click the Single/Dual Drive Mode button to display the Single Drive icon. 3. Click the Target Drive menu, and select a drive volume. The name in bold in the menu has the most storage available. The time remaining on the selected drive, displayed to the right of the menu, is calculated based on your resolution selection.
Setting Up the Capture Tool To create and target a drive group: 1. Click the Target Drive menu, and select Change Group. The Drive Group dialog box opens. 2. Ctrl+click (Windows) or Shift+click (Macintosh) to select multiple drives to include in the capturing session, or click the All button to select all drives. 3. Click OK. Your Avid editing application creates the drive group, and it appears in the Target Drive menu.
6 Preparing for Capture Selecting a Custom Preroll The Custom Preroll option and menu in the Capture tool lets you select how many seconds the tape rolls before the capturing starts. This option overrides the global preroll setting in the Deck Settings dialog box.
Preparing to Capture Audio The values you set in the Audio Project Settings dialog box are saved as Project settings. You can also save the Audio Project settings as Site settings so that all projects open with the same audio settings. See “Using Site Settings” on page 1191. For information on all Audio Project settings, see “Audio Project Settings” on page 1198. You can also view this information by clicking the dialog box and pressing the F1 key (Windows) or the Help key (Macintosh).
6 Preparing for Capture To set a preference for audio sample rate conversion during capture: 1. In the Project window, click the Settings tab. 2. Double-click Audio Project. The Audio Project Settings dialog box opens. 3. Click the Input tab. 4. Click the Sample Rate Conversion menu, and select on of the following: Option Description Never When this option is set, your Avid editing application displays a warning message if the sample rate of the incoming media does not match the project sample rate.
Preparing to Capture Audio You should be aware of the following: • You can mix AIFF-C and WAVE audio media files within a project. • You should elect AIFF-C or WAVE when you need to transfer media files directly to a Pro Tools system for audio sweetening. For more information, see “Transferring Audio Files” on page 1046. • Media Composer has limited support for Sound Designer II™ audio. See “Transferring and Working with Sound Designer II Audio Files from Macintosh Systems” on page 1047.
6 Preparing for Capture To select the audio input source: 1. In the Project window, click the Settings tab. 2. Double-click Audio Project. The Audio Project Settings dialog box opens. 3. Click the Input tab. 4. Click the Input Source menu and select the source for the audio you want to capture. 5. Close the Audio Project Settings dialog box. The source you selected is displayed in the Capture tool. You can change the source in the Audio Project Settings dialog box or in the Capture tool.
Preparing to Capture Audio To customize the sound card configuration: 1. In the Project window, click the Settings tab. The Settings list appears. 2. Double-click Sound Card Configuration. The Sound Card Configuration dialog box opens. Sound Card Configuration dialog box. Top left: Record/Input list and input sources. Top right: Playback/Output list and Output Source menus. Bottom left: Audio device name. 3.
6 Preparing for Capture To override the mute feature for surround sound: 1. In the Settings list, double-click Sound Card Configuration. The Sound Card Configuration dialog box opens. 2. Click the Override Mute menu. The menu contains a list of the output sources available in Windows Master Volume control. 3. Click one or more of the output sources to override the Sound Card Configuration settings and to accept the default settings of the Master Volume control.
Preparing to Capture Audio Component Description Volume unit (VU) scale (analog) to the right of the meters Displays a range of values that you can conform to the headroom parameters of your source audio. Meters Dynamically track audio levels for each channel as follows: • Meters show green below the target reference level (default reference level is –20 dB on the digital scale). • Meters show yellow for the normal headroom range, above the reference level to approximately –3 dB.
6 Preparing for Capture Adjusting Audio Input Levels You can use the Audio tool and the Audio Project Settings dialog box to check the audio input levels. If the input levels are too high or too low, you need to adjust the output level of your source signal, if possible. n On software-only systems, you can adjust audio input through a slider in the Input tab of the Audio Project settings. For more information, see “Audio Project Settings: Input Tab” on page 1200.
Preparing to Capture Audio 6. Click the menus, and select a target bin for the tone master clip and a target drive for the tone media file. 7. Click OK. After a few seconds, your Avid editing application creates the media file and a master clip appears in the target bin. The default name reflects the options you selected. You can rename the clip by typing a new name.
6 Preparing for Capture 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 to Capture Audio 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. Pan Value display (left) and pop-up slider (right) in the Passthrough Mix tool.
6 Preparing for Capture To calibrate input channels for the Avid Adrenaline: 1. Select the desired audio hardware calibration setting, as described in the procedure above. 2. Send a 1-kHz tone into channel 1. 3. In the Input tab of the Audio Project Settings dialog box, select XLR as the Input source. 4. In the Audio tool, click the In/Out toggle buttons for channel 1 to display I for input. You should see a level in the meter display. 5. Select Calibrate from the PH (Peak Hold) menu in the Audio tool.
Preparing to Capture Audio Calibrating Audio Hardware for Avid Nitris DX and Avid Mojo DX By default, your Avid editing application is calibrated for analog 0 Volume Unit (VU) to be digital –20 dBFS, which matches the default calibration of the Avid Nitris DX and Avid Mojo DX hardware. You can do two things to calibrate audio — make the audio adjustment to correspond to your hardware calibration setting by using the default, or refine the calibration to get to within 1/4 dB.
6 Preparing for Capture 6. Click the Open Calibration window. The Audio Hardware Calibration window opens. 7. To change the digital level of the meter’s display of 0 VU, click Set Reference Level. The Set Reference Level dialog box opens. 8. Enter the new reference level in dB. This should be set to match the 0 VU standard in your workflow. Avid recommends a -20 dBfs value. 9.
Preparing to Capture Audio 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. To calibrate the audio input channels: 1.
6 Preparing for Capture 9. Set the tone generator output to the reference level set in the Audio Hardware Calibration window. The following are suggested professional settings: - Analog XLR input: +4 dBu - Analog RCA input: -10 dBV - Analog TRS input: +4 dBu 10. Use the Up and Down buttons in the Audio Hardware Calibration window to adjust the calibration in 0.5dB increments. The meters in the Audio tool should display around 0 VU. 11. Click Calibrate from the Audio Hardware Calibration window.
Preparing to Capture Audio 8. Click OK. 9. Select the interface you want to calibrate: Monitor output or Analog output. Options vary depending on your Avid input/output hardware. You can calibrate only one channel at a time. 10. Select the appropriate channel. Channels vary depending on your Avid input/output hardware. 11. Click Play Calibration Tone. 12. Repeat this procedure for each channel.
6 Preparing for Capture Preparing to Capture Video The Video Input tool lets you select the format of the video input signal and calibrate composite video, component video, and S-Video. If you are capturing SDI, HD-SDI, or DV, for example, from a D1, D5, digital Betacam, DV, or HD deck, you cannot adjust levels by using the video input controls in your Avid editing application.
Preparing to Capture Video Using the Factory Preset Buttons in the Video Input Tool The preset buttons in the Video Input tool show the status of each calibration setting as follows: • When you first open the Video Input tool in a new project, all preset buttons are lit (green), with the factory presets loaded for each slider. • When you click the slider of a lit preset button, the arrow changes to black and the slider moves to the position of the pointer.
6 Preparing for Capture To calibrate the video input: 1. Ensure that you have properly connected the video playback device to the system. For more information, see the setup guide for your Avid system. 2. Select Tools > Video Input Tool. The Video Input tool opens. 3. Click the Input menu, and select the appropriate video input channel. Your options for video input depend on the model of your Avid editing application and the project you select.
Preparing to Capture Video The Client monitor displays one of the following types of bars (or a variation of them). Top: full-field color bars (the leftmost bar is 100% white). Bottom: SMPTE standard split bars (the leftmost bar in the top row of bars is 75% white, the second bar in the center row of bars is 7.5 black level, and the second bar in the bottom row of bars is 100% white). 5.
6 Preparing for Capture NTSC (top) and PAL waveform values in the Video Input tool. NTSC values are measured in IRE, with the white level at 100 IRE (digital 235), the black level at 7.5 IRE (digital 16), and the 75% white level at 77 IRE (digital 180, the horizontal dotted line in the display). For NTSC-EIAJ, the black level falls at 0 IRE. PAL values are measured in volts, with the white level at 1 V (digital 235) and the black level at 0.3 V (digital 16).
Preparing to Capture Video 11. Adjust the Sat and Hue sliders (composite or S-Video) or the RY Gain and BY Gain sliders (component) until the angle and amplitude of the six color vectors fall within the target boxes on the Vectorscope monitor. There is no hue adjustment for PAL video. n c You can also monitor hue with a vectorscope in the Color Correction tool. See “Working with the Waveform Monitors and Vectorscope Monitor” in the Help.
6 Preparing for Capture Capturing from Unstable Time-Base Sources Your Avid system is optimized for use with modern, broadcast-quality VTRs that contain time-base correctors (TBCs). If the input is stable, your system captures the video by using a high-quality, very-low-jitter clock reference. However, some sources do not include an internal TBC.
Preparing to Capture Video Saving Video Input Settings You can save the settings for an individual tape each time you calibrate bars. Saved settings are restored each time you select the same tape for recapturing clips. The settings that are saved and restored are the Level adjustments made with the sliders and the selection status of the SignalLock or 100% Bars options. n Video Input settings do not restore the source format (Composite, Component, S-Video, DV, or SDI).
6 Preparing for Capture To create a customized default Video Input Tool setting: 1. Select Tools > Video Input Tool. The Video Input tool opens. 2. Adjust the Calibration settings. For more information, see “Calibrating Video Input” on page 221. 3. Click the Settings menu in the Video Input tool, and select Save As. The View Name dialog box opens. 4. Type Default, and click OK. You must use this spelling and initial capitalization.
Capture Preparations Check List Capture Preparations Check List Check your hardware configurations, particularly connections between your deck and the Avid system. See “Preparing the Hardware for Capture” on page 166. If you are working on a complex project with multiple streams of video and high-resolution images, make sure your drives are striped properly. See “Getting Information About Striped Drives” on page 167.
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7 Capturing Media This chapter provides information on capturing media from video or audio input. When you capture, you convert source material into master clips that contain reference information and media files that contain the digital audio and video.
7 Capturing Media Capturing and Logging at the Same Time When you capture without entering log information in a bin ahead of time, your Avid editing application creates clips and associated media files while you capture. You manually cue source footage with an Avid-controlled deck, using the deck controls in the Capture tool. If you entered log information in a bin, see “Batch Capturing from Logged Clips” on page 250.
Capturing and Logging at the Same Time Two additional techniques you can use when capturing and logging at the same time are described in “Capturing from a Non-Avid-Controlled Deck” on page 241 and “Capturing with Time-of-Day Timecode” on page 242. You can name clips and add comments before or during the capture of a clip. For more information, see “Naming Clips and Adding Comments in the Capture Tool” on page 233.
7 Capturing Media To name a clip and add a comment before capturing: 1. Click the arrow in the Capture tool to display the Name and Cmnt text boxes. Name and Cmnt (comment) text boxes in the Capture tool 2. Type a name for the clip. 3. (Option) Press the Tab key and type a comment. You can edit the text before capturing. To add clip names and comments during capture: 1. Click the arrow in the Capture tool to display the Name and Cmnt text boxes. 2.
Capturing and Logging at the Same Time Capturing by Setting Both Marks To capture by specifying a mark IN and a mark OUT: 1. Select the proper Capture settings and set up the capture tools, as described in “Preparing for Capture” on page 163. 2. (Option) Click the arrow in the Capture tool to display the Name and Cmnt text boxes if you plan to enter clip names or comments. You can enter this information before you capture a clip or while you are capturing a clip.
7 Capturing Media 6. If you did not type a clip name while capturing, type it now while the clip name is highlighted in the bin. If you return to the Capture tool and begin another clip, the default clip name remains in the bin until you change it. Capturing by Setting Only One Mark To set only one mark and enter the other mark on-the-fly: t Mark an IN point and click the Record button to begin capturing. Then, click the Record button again to stop capturing on-the-fly and mark an OUT point.
Capturing and Logging at the Same Time c Capturing on-the-fly can cause incorrect pulldown and stuttering playback. Do not use this method 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 152. In some circumstances, the captured material might exceed the 2-GB media file size limit. In such a case, set up the Capture tool to capture to multiple media files.
7 Capturing Media 4. To begin capturing, play the deck. When it gets up to speed, click the Record button or press the F4 key. n Make sure you clear any previous marks so the deck does not begin cueing to the previous location. Capturing begins within a few frames, and the timecode for the clip’s IN point appears. The Capture indicator, to the right of the Record button, flashes on and off. The message bar displays a message that your Avid editing application is capturing.
Capturing and Logging at the Same Time Preparing to Autocapture You can autocapture entire tapes to bypass both the logging and cueing processes necessary for other types of capture, as described in “Autocapturing” on page 240. Before you begin autocapturing entire tapes, you should do the following: • Select the following settings in the Capture Settings dialog box. - Capture to multiple files (Media Files tab) - Maximum default capture time (Media Files tab). Set this to the length of your tape.
7 Capturing Media Autocapturing Autocapturing an entire tape can save you time by allowing you to bypass both the logging process and the time it takes to cue each shot. However, this process requires the most storage space, and it takes time to capture an entire tape. When you autocapture, you mount and cue your tape to a starting point and start the capturing process through the Capture tool.
Capturing and Logging at the Same Time Capturing from a Non-Avid-Controlled Deck If you have a deck that cannot be controlled directly by the system, you can capture with manual deck control. To capture with manual deck control: 1. Select the proper Capture settings and set up the capture tools as described in “Preparing for Capture” on page 163. 2. Click the Toggle Source button in the Capture tool until the Deck Offline icon appears to disable the deck controls and leave only the Tape Name display. 3.
7 Capturing Media n You can map the Record button from the Play tab in the Command palette to a key on the keyboard. This lets you start capturing by pressing a key. 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 114. For information about capturing with external timecode, see “Live Capturing with External Timecode” on page 277.
Capturing Directly from a DV Device You specify the DV input device by using the DNA/1394 button above the Timeline window or commands in the Device menu. For more information, see “Selecting a DV Device” on page 244. • If you are using an Avid Nitris DX or Mojo DX, or if you are not using an Avid input/output hardware device (software-only), you use a 1394 port on your computer (Host 1394).
7 Capturing Media Capturing DV 50, DVCPRO HD, or HDV Media How you capture DV 50, DVCPRO HD, or HDV media depends on whether you use Avid input/output hardware and what type of input/output hardware is connected to your system: • If you are using an Avid Mojo SDI, you can use the 1394 port on the Avid Mojo SDI or a port on a separate 1394 card. In either case, you select IEEE 1394 as the device input by using the DNA/1394 button above the Timeline window or commands in the Device menu.
Capturing Directly from a DV Device To select a DV device for capture, play, or output on systems with Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following: n t Click the DNA/1394 button in the Timeline top toolbar to display DNA or 1394, depending on how the DV device is connected. t Select Special > Device, and then select Avid DNA or IEEE 1394, depending on how the DV device is connected.
7 Capturing Media Example of a Capture with Offset The range of DV capture offset in your Avid editing application is from –6 to 24 frames with the default value set to 0. To use DV capture offset, perform several captures with the DV capture offset set to 0. Note the first frame of the master clip for each clip. If the first frame of the master clip is not what you expect, adjust the DV capture offset to account for this variation.
Frame Chase Capture Frame Chase Capture If your Avid editing application is part of a workgroup environment managed by Avid Interplay™, you can use the Capture tool to capture media to shared storage on the workgroup using your Avid editing application’s Frame Chase™ capture capabilities. When you capture in this way, the media becomes available for viewing and editing from any applications in the workgroup while the capture is still in progress.
7 Capturing Media As soon as the initial check-in takes place, the in-progress clip is available for viewing and editing on any applications in the workgroup. Portions of the clip’s media that have already been captured are visible in monitors, while portions of the clip that have not yet been captured are represented in monitors by a “Capture in Progress” slide. Metadata associated with the clip (including information such as comments and locators added during capture) updates at the defined intervals.
Frame Chase Capture Option Description During capture, clip is When this option is selected, Frame Chase capture is enabled. An updated in Interplay initial check-in takes place 10 seconds after a capture begins. Subsequent Interplay updates occur at intervals defined by the Update Interval option. Update Interval Select an update interval from the menu to determine how frequently updates to Interplay occur during the capture.
7 Capturing Media n If you abort an in-progress clip, you delete the clip’s media even if it is being used in another sequence or for playback. Always verify that an in-progress clip is not being used anywhere in the workgroup before aborting the clip. Batch Capturing from Logged Clips After you import a log or manually log a group of clips into a bin, you can automate the capture process by using your Avid editing application’s batch-capturing capabilities.
Batch Capturing from Logged Clips To resize the Capture tool during batch capturing: t Click the arrow to the left of the deck controller. The arrow points to the right, and the deck control and logging controls close. To display the controls, click the arrow again. Display arrow for deck control and logging controls area of the Capture tool. To prepare for unattended batch capturing: 1. Double-click Capture in the Settings list in the Project window. The Capture Settings dialog box opens. 2.
7 Capturing Media c You cannot batch capture clips that contain timecode breaks between the logged IN and OUT points. Also, you cannot capture across breaks in the recording (that is, if the recorded footage breaks up into noise between shots). If such breaks in recording exist on your tape, consider using the methods described in “Capturing On-the-Fly” on page 236. Batch Capturing Clips To batch capture clips: 1.
Batch Capturing from Logged Clips 5. Select options in the dialog box: t If the bin contains some clips that are already captured and you do not want to recapture those clips, select “Offline media only.” If this option is not selected and some of the selected clips have media files, your Avid editing application deletes the media files and recaptures new media files. t Select “All clips in a group edit” to allow capturing of each clip in a group clip.
7 Capturing Media n To bypass specific clips in the process of batch capturing a particular tape, you must abort each clip manually by clicking the Trash button. Then click the Skip Clip button in the Abort window to continue. When your Avid editing application has finished batch capturing, a dialog box notifies you that the process is complete. Recapturing and Decomposing Recapturing is the process of recording previously captured source footage based on existing clips and sequences.
Recapturing and Decomposing Recapturing Master Clips and Subclips The procedure for recapturing master clips and subclips is identical to the process for batch capturing logged clips. See “Batch Capturing from Logged Clips” on page 250. Although the procedure is the same, the result is slightly different, as follows: • Master clips link to entire media files and serve as sources for subclips and sequences.
7 Capturing Media Consider creating a duplicate of the original version of your sequence before recapturing. You might also want to create a new bin to store the duplicate sequence and keep the new master clips created by the recapture or decompose operations separate from existing clips. For example, duplicate a sequence that uses low-resolution clips to save storage space if you want to recapture the sequence at a higher resolution while retaining the low-resolution version.
Recapturing and Decomposing If you decompose only some of the clips in a sequence, the resulting sequence contains some clips that remain linked to existing master clips and media (the clips you did not decompose) and other clips that are linked to new offline master clips (the clips you did decompose). Once you recapture media for the new master clips, all the clips in the sequence are available in the formats you have chosen.
7 Capturing Media Existing Format Target Formats Source Rate Change Edit Rate Change 30i NTSC 30i NTSC 720p/29.97 720p/59.94 1080i/59.94 1080p/29.97 No No Yes No No No No Yes No No 24p PAL 24p PAL 1080p/24 No Yes No No 25i or 25p PAL 25i PAL 25p PAL 720p/25 720p/50 1080i/50 1080p/25 No No No Yes No No No No No Yes No No Decomposing Sequences You can decompose sequences to create new master clips that you can then recapture.
Recapturing and Decomposing 3. To preserve clips that already have existing media files, select “Offline media only.” Do not select this option if you plan to decompose and recapture any material in the sequence or sequences that has available media. 4. Select other options for the types of clips to decompose: captured only, imported only, captured and imported, or all clips in a group edit. 5.
7 Capturing Media 7. (Option) If you want to create a copy of each selected sequence to use for the decompose, select Create New Sequence. When the decompose process starts, your Avid editing application creates a duplicate of each of the selected sequences, named using the suffix .Decomposed.xx. For example, the duplicate of a sequence named MySequence is named MySequence.Decomposed.01. Your Avid editing application decomposes the duplicate sequences, and the original sequences remain unchanged. 8.
Recapturing and Decomposing Using Expert Decompose If you select the Expert Decompose option in the Decompose dialog box, the Expert Decompose dialog box opens before the decompose process begins. In the Expert Decompose dialog box, you can: • View information about the tapes/sources or clips in the sequences you are decomposing.
7 Capturing Media To sort or reverse sort a column of information: t Right-click the column heading for any column, and then select one of the following: Command Description Sort Column Sorts the information in order, for example, alphabetically A to Z. Reverse Sort Column Sorts the information in reverse order, for example, reverse alphabetically Z to A To select or deselect a single tape/source or clip to decompose: t Click the check box for the tape/source or clip in the Decompose column.
Recapturing and Decomposing To select the target format for a tape/source or clip: t Select a format from the menu for the tape/source or clip in the Target Format column. The available target formats vary depending on the source formats. Some source formats can only be recaptured in their original format. For these formats, the entry in the Target Format column is only for your information, and you cannot select a different format. For more information, see “Expert Decompose” on page 256.
7 Capturing Media 9. (Option) Select “Extend handles beyond master clip edges” to allow the handles to extend before the beginning and after the end of the original master clip. When you batch capture, deselecting this option prevents capturing across a discontinuous timecode error.
Alternate Source Capture When you perform a batch capture of the Timeline or source clips, you can select and frame accurately batch capture from either the HDCAM submaster or the HDCAM SR master. You can also use an alternate tape name if the original tape name was incorrectly logged.
7 Capturing Media 6. Under the Alternate Source Options (Advanced), select the type of timecode from the Timecode Column menu that you want to batch capture from. Options depend on your project type. Timecode options can include: Start, Auxiliary TC1- TC5, Sound TC. If you choose a timecode other than Start, a message displays informing you that an Alternate Source is enabled. 7. Select the tape source from the Source Column menu that you want to batch capture from.
Using Capture Function Keys Using Capture Function Keys Several function keys are mapped to specific capture functions when the Capture tool is active. When you are not in Capture mode, these keys operate with their default keyboard shortcut mappings. For more information, see ¨Shortcuts¨ in the Help. The following table lists the default functions. You can change the functions in the Keys tab of the Capture Settings dialog box. Press To F1 Mark the beginning of the subclip while capturing.
7 Capturing Media 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. 4. Click OK. Handling Errors During the Capture Process You can log errors that occur during the capture process to the Console window. If you are not logging, you can respond to errors if they occur. For more information about the Console window, see “Using The Console Window” on page 118.
Creating Subclips While Capturing 3. Select or deselect “Log errors to the console and continue capturing.” - If “Log errors to the console and continue capturing” is selected, when you batch capture and your Avid editing application encounters an error, it aborts the clip, enters error comments into the Console, and continues capturing the next clip.
7 Capturing Media You should be aware of the following while creating subclips while capturing: • When you create subclips in 24p or 25p projects, they are always “hard” subclips. You cannot trim past the edges of the subclip when adjusting transitions and edits. Hard subclips prevent film-tracking information errors for editing and cut lists. • For NTSC film-to-tape transfers, you must log the correct pulldown phase before you create subclips.
Adding Locators On-the-Fly While Capturing To set the duration of a timed subclip: 1. Double-click Capture in the Settings tab in the Project window. The Capture Settings dialog box opens. 2. Click the Keys tab. 3. Enter the time in minutes and seconds to be used by the timed subclip in the Before mark (M:SS) and the After mark (M:SS) text boxes. 4. Click OK. To create a timed subclip: 1. Start capturing. 2. At the point where you want to start a timed subclip, press the mapped function key.
7 Capturing Media To add a locator to a frame while capturing: 1. Start capturing. 2. Watch the playback of the footage in the monitor, and press one of the locator keys (F5–F12) when you see the shot or frame with which you want to associate a locator. A default name and number for the locator appear in the Name text box in the Capture tool. 3. While you capture, you can add comments for the locator. Press the Tab key to move the cursor to the Comments text box, and type your comment. 4.
Controlling Decks from the Keyboard Controlling Decks from the Keyboard You can use the J-K-L keys to control a deck from the Capture tool, Digital Cut tool, and Deck Controller window. The J-K-L keys work in the same way as they do in the Source and Record monitors. See “Playing Footage with the J-K-L Keys (Three-Button Play)” on page 517. Press To K Stop the deck. L Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed.
7 Capturing Media Using Dolby E Media Dolby® E is an audio coding technology created by Dolby Labs that compresses up to 8 channels of audio and metadata into 2 channels. This enables the distribution of multichannel audio within a stereo track or on two mono tracks which you can then use in your Avid editing project. Dolby E support is available only for Avid systems using the following Avid hardware: Avid Nitris, Avid Nitris DX, Avid Mojo DX, and Avid Adrenaline.
Using Dolby E Media Location Option Setting Audio Project Settings (Main tab) Convert Sample Rates When Playing Never Audio Project Settings (Input tab) Input Gain Slider 0 dB (unity gain) Audio Project Settings (Input tab) Sample Rate Conversion Never Audio Project Settings (Input tab) Output Sync During Passthrough Same as Audio In Audio Project Settings (Output tab) Mix Mode Selection Direct Out Passthrough Mix tool Input Mix Mode Direct Out Passthrough Mix tool Input Gain Slider 0
7 Capturing Media 2. Click the Main tab. 3. Click Keep Dolby E Material Safe, and select Yes. If you modify your sequence to change any of these settings, the Keep Dolby E Safe setting automatically changes to No. You can reset the settings by selecting Yes. Capturing Media with Dolby E Information The Capture tool includes a Dolby E Safe button in the Message bar that indicates if your audio settings protect the capture of Dolby E material.
Delaying Audio During Capture Delaying Audio During Capture Sometimes the source from which you are capturing provides an audio signal that is one or more frames ahead of the video. For example, the Panasonic AG-DVX100 DV camcorder always records audio one frame ahead of the video. Also, a timebase corrector (TBC) or other video processing device on your input signal might introduce fixed frame delays of video.
7 Capturing Media Setting IN and OUT points is especially useful if you are taking a feed from a source based on a time-of-day timecode generator. Your Avid editing application begins to capture when the time of the external timecode source matches the IN point, and stops when the external timecode matches the OUT point. n You can log an event ahead of time and it automatically starts recording that signal when the internal clock or external LTC arrives at that timecode.
Capturing to the Timeline 7. Capture by using any of the techniques described elsewhere in this chapter. If you notice your captured material is consistently one or more frames off, use the “Latency for external timecode mode” option in the Capture Settings dialog box to fix the problem. See “Capture Settings” on page 1205.
7 Capturing Media 4. (Option) Patch tracks you are capturing (source tracks) to the tracks in your sequence (record tracks): a. In the Capture tool, click and hold the Track Selector button for the track (video, data, or audio) you want to patch. There is only one data track to select, you cannot patch a data track to any other track. b. From the menu, select the track to which you want to patch the captured footage.
Capturing Video Without Pulldown into a 24p NTSC Project 9. Click the Record button to begin recording. 10. If you did not mark the OUT point in advance, click the Record button again when the footage reaches the appropriate frame. If you already marked an OUT point, recording stops automatically. When capturing ends, the clip appears in place in the sequence, and a master clip appears in the bin. If your capture includes ancillary data, a data track appears in the Timeline.
7 Capturing Media When you select Remote Capture or Remote Punch-In in the Remote Play and Capture Settings dialog box, your Avid editing system performs like a VTR and waits for an external controller to operate the capture functions. n You must be in Deck Offline mode to use Remote Capture. For information on Deck Offline mode, see “Capturing from a Non-Avid-Controlled Deck” on page 241.
Remote Play, Capture, and Punch-In Enabling Remote Capture Before you enable Remote Play and Capture, ensure your edit controller is properly connected. n The Remote Play and Capture command behaves like a Local/Remote switch on a playback device, with the VTR in Local mode by default when you start your system. To enable Remote Capture: 1. Double-click Communication (Serial) Ports in the Settings list of the Project window. The Communication (Serial) Ports tool opens. 2.
7 Capturing Media Enabling Remote Play Remote Play lets you control sequences through an edit controller. You can play, cue, and stop your sequence from the edit controller. n Avid recommends that you do not inhibit preloading under normal circumstances. For more information about the inhibit preloading option, see “Remote Play and Capture Settings” on page 1273. To enable Remote Play: 1. Double-click Remote Play and Capture in the Settings list of the Project window.
Remote Play, Capture, and Punch-In To record audio using Remote Punch-In: 1. Double-click Communication (Serial) Ports in the Settings list of the Project window. The Communication (Serial) Ports tool opens. 2. Click the Remote Play and Capture menu, and select the appropriate port. 3. Close the Communication (Serial) Ports tool. Your Avid editing application saves the setting as a Site setting, effective for all projects. 4.
7 Capturing Media 9. Select Clip > Remote Play and Capture when you are ready to use your system for capturing. A check mark appears next to the command to indicate that your system is ready. A yellow outline appears around the Play button in the Source/Record monitor to indicate that Remote Play and Capture is active. The Remote Play and Capture command behaves like a Local/Remote switch on a playback device, with the VTR in Local mode by default when you start your system. 10.
Remote Play, Capture, and Punch-In Using Serial Drivers with Remote Play and Capture (Windows XP Only) When your Windows XP installation occurs, two serial drivers are installed: msports.inf and serial.sys. When you install your Avid editing application, two additional serial drivers are installed: msportsAvid.inf and Avidxpserial.sys. Your Avid editing system normally uses the Avid drivers.
7 Capturing Media Relinking Clips by Key Number The film-tape-film-tape (FTFT) relinking feature lets you re-create an offline, film-originated sequence as a final finished sequence by using the key numbers of the original film footage. During the offline stage, you capture and edit footage that was transferred to tape through a one-light or best-light telecine transfer (the first FT).
Relinking Clips by Key Number 7. Select the duplicated sequence and the new clips. 8. Select Clip > Relink. The Relink dialog box opens. 9. Select Relink > Key Number [KN Start] - picture only. 10. Select “Relink all non-master clips to selected online items.” 11. (Option) If you did not batch capture the original clips, select “Allow relinking to offline items.” 12. In most cases, select “Relink only to media from the current project.
7 Capturing Media 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” on page 454. 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 To determine the correct pullin frame, use one of the following approaches: t If the source footage includes burn-in code with the pulldown phase, go to the start of the clip and look for the pulldown for the first frame. t If you want to maintain the start timecode for each clip, review the original tape field by field, using the procedure described in “Entering Pulldown Information” on page 154. t If you do not need to maintain the start timecode: a.
7 Capturing Media To modify the clip information after you determine the pullin frame: 1. In a bin, select the clip you want to modify and press the Delete key. The Delete dialog box opens. 2. Deselect the option “Delete master clip(s)” and select “Delete associated media file(s).” 3. (Windows only) Select the resolutions to delete. 4. Click OK. Your Avid editing application deletes the original media file. 5. Make sure the clip is still selected. Press Ctrl+Shift and choose Unlink from the Clip menu.
DV and HDV Scene Extraction You can perform a DV Scene Extraction in two ways and an HDV Scene Extraction one way: • Set up the DV or HDV Scene Extraction option before capturing. When capturing is performed, subclips and locator marks appear in the bin. • Perform DV Scene Extraction after capturing.
7 Capturing Media 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 Panasonic VariCam® (Panasonic AJ-HD1200A) allows the recording of frame rates between 1fps and 60fps. For example, material captured at 24 frames per second and played back at 24 frames per second has no speed change, but the same action captured at 48 frames per second and played back at 24 frames per second runs at 50% speed (slow motion). The 720p format is always recording to a progressive 60 (59.94) frame tape format.
7 Capturing Media 296
8 Importing Files When you import files, your Avid editing application converts them into objects in a bin. You can manipulate and edit these objects as you would any other clip or sequence. You can specify a target drive to store any corresponding media files.
8 Importing Files Preparing to Import Files Before you begin the import process, make sure the system and the files are ready for import: • Prepare the files in advance according to specifications described in “File Format Specifications” on page 1291. • Determine the source for the files. Consider copying all files to a single folder before you import. See “Importing Media Files” on page 301. • Review the information on using import settings in “Creating and Modifying Import Settings” on page 298.
Creating and Modifying Import Settings To create a new Import setting: 1. Click the Settings tab in the Project window. The Settings list appears. Custom setting name column in the Settings list of the Project window 2. Click Import. 3. Select Edit > Duplicate. 4. To name the setting, click the Custom setting name column, type a name, and press Enter (Windows) or Return (Macintosh).
8 Importing Files 5. Double-click the new Import setting. The Import Settings dialog box opens. 6. Select the appropriate options. For more information about Import settings, see “Import Settings” on page 1258. 7. Click OK. To modify an existing Import setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click an Import setting. The Import Settings dialog box opens. 3. Select the appropriate options, as described in “Import Settings” on page 1258. 4. Click OK.
Importing Media Files Importing Media Files You can access files for import from any folder, disk, or drive source mounted on the desktop, such as a CD or DVD, fixed drive, removable drive, or network server. You can import more than one file or types of file at a time. Consider copying all graphics files to a single folder before you import the files.
8 Importing Files 9. Select File > Import. The Select Files to Import dialog box opens.
Importing Media Files 1 2 7 3 4 8 5 6 Select Files to Import dialog box (Macintosh) 1 Enable menu 5 Single/Dual Drive button 2 From menu 6 Video and Audio Drive menus 3 Options button 7 Source file list 4 Resolution menu 8 Disk Label (for XDCAM only) 10. Do one of the following: t Click the Files of Type menu (Windows) and select All Files, or select the Any Documents option (Macintosh) to display all files in a selected folder, regardless of file type.
8 Importing Files Option Description (Continued) Graphic Use to import one of the supported graphics file types. For more information on the file types and their import specifications, see “Specifications for Graphics (Image) Files” on page 1291. Audio Use to import one of the supported audio file types. For more information on the various file types and their import specifications, see “Audio Projects Settings: Main Tab” on page 1198 and “Working with BWF Files” on page 1299.
Importing Audio Files from a Music CD 13. For graphics and video files, click the Video Resolution menu (Windows) or the Resolution menu (Macintosh), and select a resolution for the imported media. The resolution matches the resolution selected on the Import tab of the Media Creation Settings dialog box. If you select a different resolution, the resolution is also selected in the Media Creation Settings dialog box. OMFI and AAF files do not convert DV 25 to DV 50 or DV 50 to DV 25.
8 Importing Files Adjusting Gain Before Importing Audio Files When you import audio files, you can set the gain on a clip without opening the Audio Mix tool. This is especially useful when you import audio from a CD or an MP3 device and you would like to lower the decibel level for all files that you import. To adjust the gain before import: 1. In the Project window, click the Settings tab. 2. Double-click Import. 3. Click the Audio tab, and then select Apply attentuation/gain effect on Import. 4.
Sample Rate Conversion and Audio Import Sample Rate Conversion and Audio Import When you import audio to your project, you have the option of converting the sample rate of the source audio files to the project sample rate. You select this option on the Audio tab of the Import settings dialog box (see “Import Settings: Audio Tab” on page 1262).
8 Importing Files Setting Sample Rate Conversion Options Before Importing Audio Files When you import audio files, you can choose to convert the sample rate of the source audio files to the project sample rate or to import the files at the source sample rate. For more information about converting sample rates when importing audio files, see “Sample Rate Conversion and Audio Import” on page 307. To set sample rate conversion options: 1. In the Project window, click the Settings tab. 2. Double-click Import.
Photoshop Graphics Import Photoshop Graphics Import You can import both single-layer and multilayered graphics created in Adobe® Photoshop®. If you import multilayered graphics, you can preserve the original layers, and then edit them individually in your Avid editing application. n Your Avid editing application supports graphics created in the following modes: RGB 8-bits/channel, RGB 16-bits/channel, and grayscale, including alpha channels.
8 Importing Files Some layer options in Photoshop are not supported for import into your Avid editing application. See “Support for Multilayered Photoshop Graphics Import” on page 312. For example, a title with a Drop Shadow and an Outer Glow effect would not keep these effects when imported. To preserve the effects in these layers, merge them in Photoshop (as described in the Photoshop documentation) and then import the file.
Photoshop Graphics Import 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. You can then edit the tracks to build up to the full collage.
8 Importing Files 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. • Importing preserve layer order and layer names. • Hidden layers are imported as matte keys. • Importing converts Opacity to Foreground level in the Matte Key effect. • Importing rasterizes text and shape layers.
Photoshop Graphics Import Special Layer Option Supported Notes Type Layer Yes — Solid Layer Yes Solid layers import 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.
8 Importing 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 select for import.
Importing Color Bars and Other Test Patterns There are several ways to acquire a clip of bars, each with different advantages: Acquisition Method Description Record bars and tone from a house generator Requires the least effort with good results because you record high-quality bars and tone simultaneously, with a minimum of calibration. Record bars and tone from a videotape Lets you record bars and tone simultaneously, but you must calibrate carefully to ensure accuracy.
8 Importing Files 5. Use the Look in menu (Windows) or the From menu (Macintosh) to locate the folder containing the test pattern file. Test pattern files are located in the following folder: - (Windows) drive:\Program Files\Avid\Avid editing application \SupportingFiles\Test_Patterns - (Macintosh) Macintosh HD/Applications/Avid editing application/ SupportingFiles/Test_Patterns 6.
Importing Editcam Files Importing Editcam Files You can import clips recorded with Ikegami® disk-based Editcam™ or Editcam-station products. The Editcam is a digital news-gathering (DNG) camera that uses Avid's CamCutter® technology. For more information about Editcam, CamCutter technology, and how these systems operate with nonlinear editors, see the Web site www.nltek.com. Note the following restrictions: • The CamCutter clips are not copied onto a media drive.
8 Importing Files 5. Ignore the field specifying video resolution to import. 6. Ignore the field regarding video and audio drive selection. 7. Proceed with the import operation. A dialog box opens, asking you to identify the drives that contain the media files. 8. Select the FieldPak drive letters (Windows) or volume names (Macintosh) as appropriate. If the drive or volume is not listed, go back to step 1 and retry the procedure. 9. Complete the import process.
Importing XDCAM Media Importing XDCAM Media XDCAM and XDCAM HD devices store media as MXF OP1a interleaved files. Tour Avid editing application does not use these files directly. Instead, you must first import the media. The import process creates new video and audio MXF OP Atom media files which consist of one video track and up to eight audio tracks. n Low-resolution proxy media have the same number of audio tracks as the high-resolution formats.
8 Importing Files Importing XDCAM EX Media XDCAM EX devices store media as MP4 interleaved files. Your Avid editing application does not directly support these files. You must first convert them to MXF OP1a files using the Sony XDCAM EX Clip Browser application, then you can import them in the same manner as XDCAM and XDCAM HD clips. First you need to export the clip from the XDCAM EX device. There are two export options to choose from, one option is to export “MXF for NLEs.” This option creates an OP1a .
Importing XDCAM EX Media 12. With the bin selected, right-click and select Import. The Select files to Import dialog box opens. 13. Locate and select the AAF composition files, and then click Open. All metadata information is embedded with the clip. The video resolution in the Import window is ignored. The XDCAM EX clips appear in the bin. 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.
8 Importing Files Automatically Importing Proxy Media from an XDCAM Device You can use this method to automate the process of importing proxy media from your XDCAM device to your Avid editing application. 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 disk is inserted. 4. Click OK. 5. Open the bin in which you want to store the imported files.
Importing Proxy Media from an XDCAM Disk 7. Type a name in the Disk Label text box. Your Avid editing application uses the disk label for operations such as Batch Import, where you are prompted to insert a specific XDCAM disc that holds the files you want to import. A disk label is required in order to import XDCAM media. 8. Click the Single/Dual Drives button, and select a destination drive for the imported file from the menu. 9. Click Import.
8 Importing Files 6. Click Import. When the import finishes, 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 Avid editing application ignores other resolution settings — for example, in the Select Files to Import dialog box. 7. (Option) Repeat this procedure for each XDCAM disc that holds media you want to import.
Manually Importing XDCAM Media from the XDCAM Disk Manually Importing XDCAM Media from the XDCAM Disk Use the standard Import function to import XDCAM media into your Avid editing application. Set the default XDCAM import options in the XDCAM tab of the Import Settings dialog box. For more information on import options, see “Import Settings: XDCAM Tab” on page 1263.
8 Importing Files 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 proxy media files, a new master clip is created that you can edit in the timeline just like any other clip.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk To set the playback options for XDCAM media: 1. Right-click 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 playback in real time when you select Draft Quality. For these effects, you must also select the Progressive Source button in the Effect Editor before you render. 2.
8 Importing Files 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.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk 10. Click the All Clips button. The Batch Import dialog box opens. Single/Dual Drives button (left) and Video Drive and Audio Drive menu location (right) in the Batch Import dialog box. 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.
8 Importing Files Editing and Finishing High-Resolution XDCAM Media Once you import the high-resolution media, you can playback and edit your sequence with full resolution and in real-time. You can also send the sequence to a broadcast playback server using Avid Interplay Transfer. 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.
Importing Sequences from Pro Tools through Interplay 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 your Avid editing 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.
8 Importing Files 3. Select either the default Import setting or one you have created. To view or modify the parameters, double-click the setting. For more information, see “Creating and Modifying Import Settings” on page 298. 4. Open the bin in which you want to store the imported files. 5. Open the folder that contains the files you want to import. 6. Select the file you want to import and drag it to the bin.
Reimporting Files When you reimport a media file, the entire media file, including all tracks, is reimported. For example, if you imported only the video track of a file that contains both video and audio and edited it into a sequence, the reimport process imports both the video and audio from the source file. You cannot reimport a mixed-rate sequence because you cannot batch import material in formats other than the project format. A message box appears if you attempt to reimport such material.
8 Importing Files 7. Click one of the following: Option Description Offline only Reimports only the selected imported master clips that are missing their media files. All clips Reimports all the selected imported master clips. For example, click this button if you need to change the video resolution of the imported master clips. The message box closes and the Batch Import dialog box opens. For reference information on the Batch Import dialog box, see “Batch Import Dialog Box” on page 335. 8.
Batch Import Dialog Box 12. (Option) By default, your Avid editing application imports the file using the Import settings from the last time it imported the file. You can change the Import settings for all clips to import by doing the following: a. In the Import Options section, select “Override clip settings with current settings.” b. Click Current Settings to open the Import Settings dialog box. c. Select the appropriate options. d. Click OK to close the Import Settings dialog box. 13.
8 Importing Files Batch Import dialog box. Top: Selected Clips area. Center: Import Target area (including, top to bottom, Video Resolution menu , Video Drive menu, and Audio Drive menu). Bottom: Import Options area. Area Control Selected Clips list Description Shows the clips you selected for import. The caption at the top of the section summarizes the total number of clips shown and how many of them are available for import. Found clips display in black.
Batch Import Dialog Box Area Control Import Target Description Lets you select a resolution and destination drives. Video Resolution menu Lets you select a video resolution. Video Drive and Audio Let you select a destination drive for the media files. Drive menu Import Options Contains global settings that affect all the files you are importing. n If you change the Import settings by using the Import Options section, the new settings apply to all the files you import.
8 Importing Files 338
9 Working with Bins Bins provide powerful database tools for organizing and managing your captured material. Bin functionality lets you view bin objects and information in several different ways. You can rename, sort, sift, duplicate, assign colors, and delete clips and sequences, move or copy clips from one bin to another, and print single-clip frames or whole bins.
9 Working with Bins Icon 340 Object Type Description Master Clips A clip that references audio and video media files formed from captured footage or imported files Shared Storage Master Clip A master clip that references media files located on a shared storage system In-progress Master Clips A master clip that references media currently being captured that you can view and edit. For more information, see “Understanding Frame Chase Capture” on page 247.
Bin Views Bin Views You can display the contents of your bins in four different ways: n Drag the lower right corner of the Bin window to resize each display view. The size of the display view is saved as a User setting for the bin. The bin view retains its set size every time you open that view of that bin, even in separate editing sessions. Each bin view can have a different size.
9 Working with Bins To enter Text view: t Click the Text tab in the bin. Text view: Bin with Text tab selected To select column headings: 1. With a bin in Text view, do one of the following: t Select Bin > Choose Column. t Right-click and select Choose Column. The Bin Column Selection dialog box opens. 2. Select the headings you want to add to the bin: t Click the name of a heading to select it. t Click a selected heading to deselect it.
Bin Views Sorting in Bins You can sort clips to arrange them in either numerical or alphabetical order, based on the data in the column you select as the sorting criteria. When you sort clips, any selected items in the bin remain active. You can also sort clips by color if you have assigned colors to the clips. For more information, see “Assigning Colors to Objects in a Bin” on page 357.
9 Working with Bins 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 headings for the columns you want to contribute to the sort criterion. Cmd+click (Macintosh) or Ctrl+click (Windows) columns to add them to your selection. You can also Shift+click headings to select a range of columns. 3.
Bin Views You can also create and save customized bin views, and then access them from the Bin View menu. For more information, see “Saving a Custom Bin View” on page 345. When you create a new bin view, your Avid editing application saves the settings for the view so that you can alter, copy, or delete the settings at a later time. You can name and save bin views to suit your needs. Bin view settings are also available in the Settings list of the Project window.
9 Working with Bins To change a custom bin view with the Bin View dialog box: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click the custom bin view you want to change. The Bin View dialog box opens. 3. Select and deselect the columns you want to display. 4. Click OK. Using Frame View In Frame view, each clip is represented by a single frame, with the name of the clip displayed below the frame. The system uses the head frame as the default.
Bin Views To enlarge the frame size: t Select Edit > Enlarge Frame. The display size increases each time you select this option, up to seven times. To reduce the frame size: t Select Edit > Reduce Frame. The display size decreases each time you select this option, up to seven times. To rearrange a single frame: 1. Click the frame, and drag it to its new position. 2. Click the background area of the bin to deselect the clips. To rearrange multiple frames: 1.
9 Working with Bins To change the frame identifying the clip: 1. Select the clip that you want to change. Press and hold the K key (Pause) on the keyboard and press the L key (Play Forward) to roll the footage within the frame forward at slow speed. To move backward through the footage, press and hold the K key and press the J key (Play Reverse). 2. When you see the frame that you want to use, release the keys. Your Avid editing application saves your choice as part of the bin configuration.
Bin Views To enter Script view: t Click the Script tab in the bin. Script view in the bin. Top to bottom: Script tab, Clip information, and Script text box To type text in the script box: 1. Click the text box and begin typing. 2. (Option) If the text you type extends beyond the size of the script box, you can use the Page Up and Page Down keys on the keyboard to scroll through the text. This text does not appear in sequences edited from the clips, only in printouts of the bin in Script view.
9 Working with Bins Bin Procedures You can manipulate material in the bin in a variety of ways, including selecting, deleting, duplicating, moving, copying, and sifting clips and sequences. When you work with bins, an asterisk (Windows) or a diamond (Macintosh) appears before the bin name in the bin’s title bar. The asterisk or diamond indicates that the changes to the bin have not been saved. Once you save the bin, the asterisk or diamond is removed.
Bin Procedures To reverse your selection: t Select Bin > Reverse Selection. The items that you previously selected are deselected, and those items that were previously deselected are selected. Duplicating, Copying, and Moving Clips and Sequences When you duplicate a clip or sequence, your Avid editing application creates a separate clip linked to the same media files. You can move, rename, and manipulate this clip without affecting the original clip.
9 Working with Bins To copy clips or sequences from one bin to another bin: 1. Position or resize the bins so that you can see both of them at the same time. 2. In the original bin, click the clips or sequences that you want to copy. 3. Press and hold the Alt key (Windows) or Option key (Macintosh) and drag the clips or sequences to the destination bin, and release the mouse button. The copies appear in the destination bin, and the originals remain in the source bin.
Bin Procedures Deleting Items from a Bin You can delete the following items from a bin: c n • Clips • Subclips • Sequences • Effect clips and their media files • Motion effect clips and their media files • Rendered effects clips and their media files • Data clips and their media files • Master clips and their media files • Sources • Groups When you delete media files, you can no longer see the deleted material.
9 Working with Bins (Windows) To delete clips, subclips, and sequences with their media files from a bin: 1. Select the clips, subclips, or sequences you want to delete. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key. The Delete dialog box opens which displays the items that you selected. By default, media files are not selected for deletion. Examples of the Delete dialog box with one master clip selected (left) and with multiple clips selected (right).
Bin Procedures 3. Select the items you want to delete: t Select clips and their associated media files for deletion. t Select only the media files for deletion if you want to retain the clips to recapture later. t Select only the clips for deletion if the media file is referenced by another clip. t Select the resolutions you want to delete. The Resolutions to Delete section lists all video resolutions for the clips you selected.
9 Working with Bins The Delete dialog box opens which displays information about the selected items. This example shows one sequence and one master clip selected for deletion. 3. Select the items you want to delete. t Select clips and their associated media files for deletion. t Select only the media files for deletion if you want to retain the clips for recapturing later. t Select only the clips for deletion if the media file is referenced by another clip. 4. Click OK.
Bin Procedures 3. Activate the bin you want to change. In Brief view and Text view, make sure no clips are selected. 4. Select Edit > Set Bin Background and click a color. The bin color changes. The change applies to all four bin views. To restore the default bin background color, do the following: t Activate the bin you want to change, and then select Edit > Set Bin Color to Default.
9 Working with Bins 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.
Bin Procedures To lock items: 1. Click a clip, subclip, or sequence to select it. Ctrl+click (Windows) or Cmd+click (Macintosh) additional clips, if necessary. 2. Select Clip > Lock Bin Selection. A Lock icon appears for each locked clip in the Lock column of the bin in Text view. If the Lock column does not display, you might have the column hidden. For information on hiding and restoring bin columns, see “Moving, Aligning, and Deleting Bin Columns” on page 362. To unlock previously locked items: 1.
9 Working with Bins Selecting Offline Items in a Bin Offline items are clips, subclips, or sequences that are missing some or all of their original media files or that have never been captured. To identify offline items, do one of the following: t Select Bin > Select Offline Items. t Click the Bin Fast Menu button, and then select Select Offline Items. The bin highlights all items that are missing media files.
Bin Procedures 4. Select the clip or sequence, and select Bin > Select Media Relatives. The system highlights all related objects in all open bins. Example of finding media relatives. In the bin on the right, objects are highlighted if they relate to the sequence selected in the bin on the left. Selecting Sources Used by an Object in a Bin The Select Sources command identifies all the sources used by a particular object.
9 Working with Bins 3. Select Bin > Select Unreferenced Clips. A message informs you that unreferenced clips highlight in open bins only (items in closed bins do not display). 4. Click OK. All unreferenced clips highlight in the open bins. Working with Bin Columns The topics in this section describe how to work with the columns of information that appear in the bin when you are in Text view. For more information on Text view, see “Using Text View” on page 341.
Working with Bin Columns To hide or delete a column: 1. Do one of the following to hide a column: t Click the column heading in a bin, and then select Bin > Hide Column. t Right-click a column heading and select Hide Column. The column disappears from the view, and surrounding columns close to fill the space. 2. Do one of the following to delete a column: t Click the column heading in a bin, and then select Edit > Delete. t Click the column heading in a bin, and then press the Delete key.
9 Working with Bins Adding Customized Columns to a Bin In addition to the standard column headings, you can add your own column headings to describe information about clips and sequences. For example, you might want to add a column heading to describe what kind of shot (close-up, wide shot, master shot, extreme or close-up) is used in a clip. To add a new custom column: 1. Click an empty area to the right of the current headings in the headings box. 2.
Working with Bin Columns 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 in the Bin Column Selection dialog box 3. Click OK. Only the metadata headings selected appear in the bin. n When you use AMA and metadata column headings, Avid recommends that you do not create custom bin views.
9 Working with Bins Moving Within Column Cells You can use the keyboard shortcuts described in the table to move from cell to cell in bin columns: Shortcut Description Tab Moves the pointer to the cell in the next column. You can continue to press the Tab key to move through the cells to the right until the cell in the last column highlight. The next time you press the Tab key, the cell in the first column highlights. Shift+Tab Moves the pointer left to the cell in the previous column.
Working with Bin Columns Displaying Timecodes in a 24p or 25p Project When you work with 24p and 25p projects (PAL with pulldown), you can add timecode columns to bins or the Media tool to enter and display starting timecodes in several timecode formats for master clips, subclips, and sequences. n For information to display timecodes in the Timeline and the Tracking Information display, see “Displaying Timecode Tracks in the Timeline” on page 661 and “Displaying Tracking Information” on page 495.
9 Working with Bins Frame Counting for Timecodes The table shows the frame count for each timecode available for your Avid editing application. The timecodes are listed as 24 for 24 fps, 25 for 25 fps, 25P for 25 PAL with pulldown, 30 for 30 fps (the count skips six frames to fit 30 frames into 24 fps), 30NP for 30 fps with no pulldown, and 60 for 60 fps.
Modifying Clip Information The following conditions apply to modifying clip information: • When you modify a clip’s information, related objects automatically update 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. • You cannot change sequence data even though it appears in your bin.
9 Working with Bins c When you modify tape names and timecodes, the modification affects any key numbers you enter for the selected clips. The following table describes all bin column headings available in Avid editing applications, including information on which bin columns you can modify after you have captured footage. Depending on the model of your Avid editing application, you might not see all column headings. Bin Column Heading Description Name Heading always appears in the bin.
Modifying Clip Information Bin Column Heading Cadence Description Type of pulldown present on the source NTSC tapes when in a 23.976 or 24p project. Modifiable after capture (Ctrl+click and choose from the menu). All clips with the same tape name change according to your selection. Camera Camera used to film this clip. This feature is used in multicamera shoots. Camroll Camera roll containing this clip. Used for 24p projects, 25p projects, and matchback projects only.
9 Working with Bins Bin Column Heading Description Format The format of a clip or sequence which you determine by the project type, such as 30i NTSC or 1080i/59.94. This is useful if you have both SD and HD clips in the same bin. FPS Play rate: the number of frames that display each second. The default is 29.97 for NTSC and 25 for PAL for video. The play rate is also 24 or 23.98. Frame Displays the same frame that displays when you select Frame view. See “Using Frame View” on page 346.
Modifying Clip Information Bin Column Heading Description KN Start Starting key number for the clip. Modifiable after capture only for 24p, 25p, and matchback projects. If you alter the starting key number, you also alter the KN End to maintain the duration. This causes discrepancies with any auxiliary timecode information that you enter manually. Labroll Labroll containing the clip. Lock Specifies whether the clip is locked from deletion.
9 Working with Bins Bin Column Heading Pullin Description Telecine pulldown of the first frame of the clip (pulldown phase). Pullin can have the values A, B, X (matchback only), C, or D. For 24p projects and matchback projects only. (NTSC only) Modifiable after capture only for 24p projects and matchback projects. You can only alter pullin data imported from a telecine-generated list directly before you capture or after you unlink.
Modifying Clip Information Bin Column Heading Description TC 30NP 30-fps timecode with no pulldown (frames 00 through 29). Modifiable after capture with no restrictions. Track Formats Multichannel audio tracks for master clips and audio clips. Tracks All tracks used by this media object. Transfer Frame-counting field for sources that you prepped for transfer.
9 Working with Bins 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. The timecode data highlights, as displayed in the following example. 3. Click the cell again to enter text. If the pointer does not change to an I-beam, you might be selecting a column that cannot be directly modified. 4. Type the new information, and press Enter (Windows) or Return (Macintosh).
Modifying Clip Information 5. Select an option or type information into the text boxes. For more information, see “Modify Command Options” on page 377. 6. Click OK. The modification takes effect. Modify Command Options 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.
9 Working with Bins Type of Modification Options Description Increment Timecode Start or End Changes either the start or end timecode. If you increment the start timecode automatically, it modifies the end timecode by the same amount. You can only alter start timecodes after capture. Timecode text box Lets you enter custom incremental timecode. Start or End Changes either the start or end timecode. If you decrement the start timecode, it automatically modifies the end timecode by the same amount.
Working with Film Information in Bins Type of Modification Options Description Set Multichannel Audio Lets you assign multichannel formats to audio tracks. For more information, see “Working with Multichannel Audio Tracks” on page 748. Mixed, Mono, Stereo Copying Information from Another Cell in a Custom Bin Column To copy information from another cell in a custom column: 1.
9 Working with Bins Tracking Frames Based on File Name Bins can display a digital file name for each frame in addition to key numbers, ink numbers, and other reference numbers. Tracking frames with the frame number is useful when using the film scanning process where each frame is an independent file. It is also useful when working with effects and animation processes that are dependent on a frame-based counting scheme. You can include the frame number when you generate a cut list using FilmScribe.
Working with Film Information in Bins To specify the gauge of the film: t Ctrl+click the cell, and then select one of the following film sizes and perf count or frame count: - 35mm, 4 perf - 35mm, 2 perf - 35mm, 3 perf - 35mm, 8 perf - 16mm, 40 perf - 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.
9 Working with Bins To select an edgecode type: t Ctrl+click the cell, and select the edgecode type that matches the edgecodes on the film.
Working with the SuperBin To open bins in the SuperBin: 1. Enable the SuperBin. 2. Click the Bins tab in the Project window. 3. Click a bin name. The bin opens in the SuperBin. The SuperBin icon appears in the upper left corner, and the title is SuperBin: bin name. When you enable the SuperBin, single-click a bin name to open it within the SuperBin. If you double-click the bin name, the bin opens in its own window. SuperBin button (left) and Close button (right) in the SuperBin.
9 Working with Bins To move a clip or sequence into the SuperBin: t Drag the clip or sequence from an open bin window into the bin displayed in the SuperBin. The clip or sequence moves into the SuperBin. To move a clip or sequence out of the SuperBin: 1. Click the Bins tab in the Project window. 2. Drag the clip or sequence from the SuperBin onto a bin icon in the Project window. The clip or sequence moves into the bin in the Project window, and the bin opens in its own window.
Creating a Storyboard Creating a Storyboard To create a storyboard: 1. Synchronize picture and sound, convert audio timecode, and modify clip data. 2. Set the bin display to show the media objects for the clips you want in your storyboard. 3. Delete, move, copy, and sort clips to narrow down the clip selection. 4. Select Frame view to display your storyboard in the bin. 5. Rename clips to include additional information such as numbered ordering. 6.
9 Working with Bins 4. (Option) Accept the default or deselect “Show clips created by user” if you want to hide all objects except those created by the system. 5. (Option) Select “Show reference clips” to automatically display objects that are referenced by sequences in the bin, whether those clips were previously in the bin or not. 6. Click OK. The bin displays objects according to your specifications.
Sifting Clips and Sequences 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. Click the Column or Range to Search menu, and select a column heading to which you want to apply the criterion. 5. Type additional sift criteria, and make additional column selections as necessary.
9 Working with Bins If you 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. Example of a bin after a custom sift by timecode. The detail of the Custom Sift dialog box (top) shows the query used for sifting, and the bin (bottom) shows only those 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.
Sifting Clips and Sequences The table lists all columns associated with explicit ranges and their corresponding menu choices. Bin Column (Explicit Ranges) Column or Range to Search Menu Item Start, End Start to End Range Mark In, Mark Out Mark In to Out Range KN Start, KN End KN Start to End Range KN Mark In, KN Mark Out KN Mark In to Out Range The table lists all columns associated with implicit ranges and their corresponding menu choices. The Duration column determines the end of these ranges.
9 Working with Bins 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. The criterion “contain” appears in the Criterion menu. If you try to change this criterion, no information appears in the Column or Range to Search menu. 5. Click OK. The bin displays those clips that encompass the timecode (or keycode) number that you entered.
Working with Restricted Material To ignore the warning for the rest of the editing session and continue with editing or output: t Click the “Don’t warn again” button. Restriction warnings for the current clip or any other clip do not display. When you quit your Avid editing application and then open it, you see the warning again the first time you display or output restricted material.
9 Working with Bins Printing Bins To print entire bins: 1. Make sure your printer is correctly set up. 2. Click the Brief, Text, Script, or Frame tab of the bin to select the view you want to print. 3. Select File > Page Setup. The Page Setup dialog box opens, reflecting the specific options for your printer. 4. Select the appropriate options. 5. Click OK (Windows) or Print (Macintosh). 6. Select File > Print Bin. The Print dialog box opens, reflecting the specific options for your printer. 7.
10 File Based Media - AMA You can link, import, or export clips and sequences from many third-party volumes or third-party files 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, reader, or drive), from a CD or DVD, from a folder on your system, or from a virtual volume (a server connected to your system).
10 File Based Media - AMA XDCAM and XDCAM EX Media The Sony® XDCAM™ decks and camcorders use an optical disk with either a capacity of 23.3 or 50 GB to store recorded media. The XDCAM devices record media in high-resolution MPEG IMX™, DVCAM™, and XDCAM HD formats or corresponding low-resolution or compressed (proxy) media (MPEG-4).
XDCAM and XDCAM EX Media XDCAM and XDCAM EX Formats and Resolutions Number of Audio Channels (maximum) Resolution/Bit Rate Frame Rate/Raster XDCAM HD: 1080i/59.94, 1080i/50, 1080p/23.976, 2 or 4 720p/50, 720p/59.94, 1440 x 1080, 2 or 4 1280 x 720 (25/35mb) 2 or 4 2 or 4 XDCAM HD 17.5 Mbits XDCAM HD 25 Mbits XDCAM HD 35 Mbits XDCAM HD 50 Mbits (24-bit audio) 1080i/59.94, 1080i/50, 1080p/23.976, 8 1080p/25, 1080p/29, 720p/59.94, 720p/50, 1920 x 1080, 1280 x 720 XDCAM EX 25Mbits 1080i/59.
10 File Based Media - AMA Working with XDCAM HD Media Your Avid editing application supports linking of both low-resolution (proxy) and high-resolution XDCAM HD media. XDCAM HD media is recorded in one of the following resolutions: • XDCAM HD LP (long play) (17.
XDCAM and XDCAM EX Media Connecting the XDCAM or XDCAM EX Device Use an IEEE-compliant 1394 (i.LINK) port on your computer to connect the XDCAM device to your system, or use a USB port on your computer to connect the XDCAM EX device to your system. The XDCAM interface is configured to use the SBP2 protocol so you can access the XDCAM device as a disk volume on your system.
10 File Based Media - AMA 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. This removes the XDCAM EX device from your system. 3. To use the card again, unplug and then plug-in the XDCAM EX device from your system using the USB cable.
P2 Media P2 Media Panasonic’s P2 equipment records DV, DVCPRO, and DVCPRO 50 media on compact, solid-state memory cards (P2 cards). Avid editing applications support editing of media directly from these memory cards, without the need to capture. You can also write your sequence back to the P2 card. The following are recognized as P2 cards by your Avid editing application: • Panasonic P2 cards in an attached reader or camera or in a laptop PC Card slot. • Synthetic P2 cards.
10 File Based Media - AMA 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 Examples of MXF audio and video files contained in the Audio and Video folders. Top: four audio tracks for a single clip.
P2 Media Installing the Panasonic P2 Drivers Before you use a Panasonic P2 device, load the appropriate drivers. Your P2 device should include a CD that includes the driver. To install Panasonic P2 drivers: t n Follow the instructions included with your P2 equipment. 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.
10 File Based Media - AMA 4. Insert a P2 card into each slot. Each P2 card displays as a single lettered drive on the Windows desktop. 5. Open 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.
P2 Media 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. The drives are no longer available to your Avid editing application and you can safely eject the P2 card from the reader on your Windows or Macintosh system.
10 File Based Media - AMA Changing P2 Cards in the Card Reader You can change (“hot-swap”) cards while you work 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 work in an Avid Unity workgroup environment, you can share sequences that contain P2 clips in an Avid Unity workspace.
P2 Media Spanned Clips and P2 Spanned clips are clips that extend from one card to another. Avid supports working with spanned P2 clips in your Avid editing application. The following illustration shows how clips can span multiple cards. Example of spanned P2 clips. The white rectangles represent P2 cards and the gray rectangles represent clips. The first and third clips span multiple cards.
10 File Based Media - AMA • P2 and XDCAM EX spanned media covers multiple drives, but the bin displays only one drive letter. The drive letter in the bin might be any of the drives, but is usually the highest lettered drive where the media exists. • If necessary, copy all spanned clips to another drive to ensure a clip’s integrity before you swap out the cards. Canon XF Media The Canon XF305 and Canon XF300 camera records MPEG-2 media onto compact flash cards.
Canon XF Media Canon XF Files and Folders Canon XF video and audio media files record in MXF format. Each card stores the video and audio files in: n • (Windows) drive:\CONTENTS\CLIPS • (Macintosh) Macintosh HD/CONTENTS/CLIPS AMA does not recognize clips if the folder names in the selected path contain double-byte characters (DBCS). AMA recognizes folders with the directory path that includes ASCII alphanumeric characters.
10 File Based Media - AMA 3. Navigate to the actual flash card and select the CONTENTS folder. 4. Do one of the following: t Copy and paste the CONTENTS folder to the folder on the other drive. t Click the CONTENTS folder and drag it to the folder on the other drive. 5. Eject the flash card. GFCAM Media The Ikegami GFCAM HDS-V10 is a tapeless camera/recorder that uses flash memory instead of video tapes as a recording medium.
GFCAM Media Resolution/Bit Rate n n n Raster/Frame Rate Number of Audio Channels (maximum) 1080p/23.98 pulldown and 720p/23.98 pulldown record at 59.94fps and are only compatible with 1080i/59.94 and 720p/59.94 projects. 1080p/29.97 records as PSF at 59.94fps and is only compatible with 1080i/59.94 projects. 1080p/25 and 720p/25 record as PSF at 50fps and are only compatible with 1080i/50 and 720p/50 projects.
10 File Based Media - AMA Connecting the GFPAK Device You connect the GFPAK directly through an industry-standard USB 2.0 port on your computer. Use a cable to connect the GFPAK to a Windows system or a Macintosh system. The GFPAK mounts as individual media drives on your desktop and then link to your Avid editing system through AMA. Spanned Clips and GFCAM GFCAM allows gapless recording over several GFPAKs, however, each GFPAK handles the contents as a separate clip.
RED Media Working with Shot Marks and Check Marks with GFCAM Media GFCAM products use Shot Marks and Check Marks to store metadata about media clips. Shot Marks allow GFCAM cameras to mark events such as clip start points or audio clipping. Press the RET button on the GFCAM device while you record or playback to set a Shot Mark. For a description of Shot Marks, see your GFCAM documentation. In the AMA method, Shot Marks are brought over automatically and appear as locators in your Avid editing application.
10 File Based Media - AMA n Avid supports the use of the REDRocket Accelerator card for transcoding, rendering and mixdown at half or full debayer settings. Playback is not supported. We do not use the video output connections on the card. The card is not supported on 32-bit Windows operating systems.
RED Media Each clip folder (.RMD) is at the root directory. In each of these folders is the .RDC folder which contains the video, audio, and metadata files: • (Windows) drive:\camera+reel_date.RMD\camera+reel_clip_date+random number.RDC • (Macintosh) Macintosh HD/camera+reel_date.RMD/camera+reel_clip_date+random number.RDC AMA detects folders named with RMD and RDC and files named .R3D.
10 File Based Media - AMA To copy the REDFlash cards to another drive: 1. On the drive, set up a folder for each card or drive you want to copy. Avid recommends that you do not place the media folder at the top level of the drive. 2. Give each folder a unique name that identifies the card or drive. The name does not have to be the same as the actual drive or card name. 3. Navigate to the actual drive or card and select the contents of the folder.
RED Media To change the RED source settings: 1. Link the RED clip through the AMA Link to Volume option. See “The Avid Media Access (AMA) Workflow” on page 427 and “Linking Media with AMA” on page 430 for information on linking. 2. Right-click the RED clip in the bin and select Set Source Settings. The Source Settings dialog box opens. The clip displays in the video area.
10 File Based Media - AMA 4. Set the appropriate options: 416 Option Description Color Space Choose from: Camera RGB: as close to RAW REC.709: SMPTE standard color space for HD REDcolor: newest, more accurate color science from RED REDSpace (default): based on the camera’s RGB but more saturated Gamma Curve Lets you override the gamma curve. Choose from: REC.709: a REC.709 gamma curve with a linear portion at black and a gamma at 2.
RED Media Option Description Chroma Denoise Choose from Off (default), Minimum, Milder, Mild, Strong, or Maximum. OLPF Controls the optical low-pass filter. Choose from Off (default), Low, Medium, or High. The system ignores this setting when you use REDRocket. Exposure Allows adjustment to the clip exposure. Click and drag the slider from -7.00 to 7.00. Default is 0.00. Brightness Adjusts the overall brightness of the image. Lifts blacks without affecting the white level.
10 File Based Media - AMA 5. Click Apply. The changes apply to your clip. You can continue to make additional changes. If the clip is in the Source viewer, the changes are reflected in the Source viewer and in the Client monitor (if you have one attached). If you click Cancel after you click Apply, the Set Source Settings window closes with the changes you made. 6. Click OK to save your change and close the window. The system updates the bin column metadata with the new parameters.
RED Media Applying a Source Setting To apply a source setting to a RED clip: 1. Right-click a RED clip in the bin (or Shift-click multiple clips), then choose Set Source Settings. The Set Source Settings window opens and your clip displays in the viewer. 2. Select a setting (template) from the Source Settings menu. Source Settings vary depending on the files or templates loaded on your system.
10 File Based Media - AMA Understanding the Source Settings Histogram The histogram in the Source Settings window helps you visualize the distribution of color values in an image. You can use the histogram to adjust the Source Settings of your AMA media more precisely while avoiding clipping and color imbalance. Example of a Source Settings histogram. The histogram plots color values on the horizontal axis and the percentage or proportional number of pixels on the vertical axis.
RED Media Adjusting the Source Settings Histogram You can adjust the Source Settings Histogram in two ways. You can toggle drawing a histogram for an individual color, and you can zoom the vertical axis. To adjust the Source Settings Histogram: t Right-click anywhere inside the histogram graph, and then select one of the following options. Option Result Red Green Blue Enables or disables the histogram display for the selected color.
10 File Based Media - AMA Preparing your RED Clip for Transcode, Mixdown, or Render If you want to take a RED clip and offline it to another application, you can create a different resolution RED file, depending on your requirements. This changes the speed and quality of the clip, which could affect the playback performance. The higher the video quality the slower the process (transcode, mixdown, render). The lower the video quality the faster the process.
QuickTime Media QuickTime Media To link QuickTime media through the AMA method, you first need to create a QuickTime movie from a third-party application or through the Avid editing system. The third-party applications that supports creating a QuickTime movie include Adobe AfterEffects® and Final Cut Pro. This is done through the QuickTime Export dialog box which uses the Avid QuickTime Codecs. These codecs automatically install on your Avid editing system.
10 File Based Media - AMA MXF Media Material Exchange Format (MXF) is a wrapper or container format which encapsulates media and rich production metadata into a single file, which is useful for media storage and exchange. It is an open technology that can is implemented by different manufacturers. MXF is designed to be flexible enough for use in all stages of content creation, from acquisition, to authoring, to distribution.
MXF Media MXF Formats and Resolutions The following table lists the formats and resolution by vendor that have been qualified with the MXF plug-in: Company Resolution/Bit Rate Raster/Frame Rate Number of Audio Channels (maximum) Omneon, Rhozet D10 SD 30i 4 or 8 Sony XDCAM HD 1080i/59.94, 1080i/50, 4 1080p/23.976, 1440 x 1080 4 4 4 4 1080i59, 1080i50 XDCAM HD 17.5 Mbits XDCAM HD 25 Mbits XDCAM HD 35 Mbits HDV (25 Mbits CBR) XDCAM HD 50 Mbits 1080i/59.94, 1080i/50, 1080p/23.
10 File Based Media - AMA Company Resolution/Bit Rate Raster/Frame Rate Canon DVCPRO 50: DV 50 SD NTSC 30i and PAL 25i MPEG IMX: MPEG 30 MPEG 40 MPEG 50 SD NTSC 30i and PAL 25i SD NTSC 30i and PAL 25i SD NTSC 30i and PAL 25i Sony MPEG-4 (proxy media) SD NTSC 30i and PAL 25i 4 or 8 Canon XF MPEG-2 HD 50 and 35Mbits 1920 x 1080, 1280 x 720 25Mbits 1440 x 1080 Ikegami MPEG-2 HD LongGOP 50 Mbits Sony, Ikegami n Ikegami 426 Number of Audio Channels (maximum) 4 4 or 8 4 1080i/59.
The Avid Media Access (AMA) Workflow The Avid Media Access (AMA) Workflow Avid Media Access (AMA) is a plug-in architecture that lets you link directly to clips from a third-party volume (for example, a P2, XDCAM or GFCAM device) or to a file based media clip (for example, QuickTime or MXF) into a bin without storing the media directly on your system. AMA lets you be more productive by browsing and editing directly from the device or volume.
10 File Based Media - 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 check for and download additional or updated AMA plug-ins, click the link to www.avid.com. To set up AMA: 1. In the Project window, click the Settings tab. 2. Double-click AMA. The AMA Settings dialog box appears. 3. Click the Volume Mounting tab. 4. Select “Enable AMA Volume Management.
The Avid Media Access (AMA) Workflow 6. If you remount a volume, deselect the option “When mounting previously mounted volumes, do not check for modifications to the volume,” and the system checks the modification date of the device or drive against the last time the clips were linked. If the date is the same, the clips come back online. If the date is different, the system links the clips again, and links any new clips added to the volume. This option is off by default.
10 File Based Media - AMA Understanding Linking with AMA Linking lets you point to media on a device or point to the media directly on your system. The media physically resides on your system or it can reside on an external device. The device can be a camera, a card reader, an optical disk, a virtual volume on your desktop or on a server. The media points to the most recent source.
The Avid Media Access (AMA) Workflow Depending if you are using an existing bin or creating a new bin, the Bin Selection dialog box opens. 3. Select Bin Selection options. Option Description Single Bin Based On Selected Folder Places all linked clips into one default bin. n Single Bin Named Lets you create a new bin and type in a new bin name. Places all linked 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.
10 File Based Media - AMA To manually link clips from a file with AMA: 1. Select File > Link to AMA File(s). You can also right-click a bin and select Link to AMA File(s). n The system ignores the settings you have selected in the AMA Volume Mounting settings. 2. If there is no active bin, a dialog box appears asking you to select a bin. The Select file(s) for AMA linking dialog box opens. 3. From the AMA Plugin Filter menu, select the type of file.
The Avid Media Access (AMA) Workflow Working with AMA Multiple Resolution Media If you choose to link to low-resolution media, you can link to any combination of proxy or high-resolution audio or video media. For instance, you can link to the most compressed (proxy) video and the highest quality audio. Disks can take some time spinning up to link the high-resolution media, so linking to the low-resolution media saves you time.
10 File Based Media - AMA 4. Click the appropriate resolution for your video in the AMA Link Preference section, and click OK. If a particular resolution is not available, it will be grayed out. 5. Insert the disk into the device. 6. Select Bin Selection options from the Bins tab. For information on bin selection options, see “Linking Media with AMA” on page 430. 7. Select File > Link to AMA Volume. The Browse for Folder dialog box opens. 8. Navigate to the clips, and then click OK.
The Avid Media Access (AMA) Workflow Switching Between Multiple Resolution Media Once you link to the low-resolution or high-resolution media and complete your edits, you can easily switch from low to high and high to low-resolution media. When you switch to a different resolution, the system replaces the clip in the bin with the new clip and resolution. The steps below highlight switching from low-resolution to high-resolution media. You can also switch from high-resolution to low-resolution.
10 File Based Media - AMA Consolidating Multiple Resolution Media When you are ready to move your media to shared storage, you can link to your resolution and consolidate at the same time. The steps below highlight consolidating high-resolution media. You can also consolidate low-resolution media. For information on why you should consolidate, see “Consolidating Media” on page 459 To consolidate high-resolution media: 1. In the Project window, click the Settings tab. 2. Double-click AMA.
The Avid Media Access (AMA) Workflow Relinking to AMA Files After you link AMA QuickTime files into your sequence, you have the option to make changes (in a third party applications, such as Adobe After Effects) to that file. If you change the filename or change the location of the file, the best way to link that clip back into your sequence is through the relink option. Relinking to an AMA file allows you to link to a different file.
10 File Based Media - AMA The AMA Plug-in Log File The Avid system creates an AMA plug-in log file when you link clips. The log file records errors and information about the clips. If you experience any problems while you link clips or if you receive an error message, check the AMA log file to get more information about the error (for example: a corrupt file or a bad filename). You can view the log file from the following location on your system: • (Windows) drive:\Program Files\Avid\Media Composer\Avid F
The Avid Media Access (AMA) Workflow Virtual Volumes and AMA Bins If you select Volume Name in the AMA Bin Settings tab, the system names the bin the same name as the virtual volume drive name. If you continue to use the same virtual volume to link other media through AMA, the system continues to place the linked media in the same bin.
10 File Based Media - AMA To delete files on a local drive in your Avid editing application: 1. In a bin, select the clips you want to delete. 2. (Option) Right-click and select Unlock Bin Selection. 3. Press the Delete key. The Delete dialog box opens. 4. Select Delete master clips and Delete associated media files. 5. Click OK. Workflows for Editing with AMA The following topics include high-level procedures of a typical workflow you might use when you edit with a particular media type and AMA.
Workflows for Editing with AMA A typical workflow is as follows: 1. The Sony XDCAM and XDCAM EX AMA plug-in should be installed on your system. 2. For XDCAM, install the appropriate Sony XDCAM drivers. You do not need drivers for XDCAM EX. 3. 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.
10 File Based Media - AMA Workflow for Editing XDCAM Multiple Resolution Clips with AMA The following steps describe a typical workflow for editing XDCAM multiple resolution clips with AMA. n Do not mix AMA and traditional workflows. Either use AMA when you work with an XDCAM device or use the traditional import/batch import workflow. You should be aware of the following: • Playback performance from an optical disk is very slow.
Workflows for Editing with AMA 11. Navigate to the XDCAM clips, and then click OK. The clips appear in the bin or bins depending on the bin options you selected, they highlight in yellow. 12. Edit the sequence. 13. Right-click the bin and select Modify AMA Resolutions to relink your low-resolution to high-resolution media. 14. To consolidate your media, see “Consolidating Multiple Resolution Media” on page 436.
10 File Based Media - AMA 5. (Option) Rename the clips to organize your material. 6. Consolidate or transcode your sequence or clips. The media consolidates to the destination you set in the Media Creation dialog box. Consolidating your media helps when you work with multiple P2 cards. If a card is removed from the reader, consolidating lets you view your sequence with all the media online.
Workflows for Editing with AMA n For information on consolidating your sequence, see “Consolidating Media” on page 459. For information on transcoding your sequence, see “Using the Transcode Command” on page 465. 6. Remove the flash card. Workflow for Editing GFCAM Clips with AMA A typical workflow is as follows: 1. The GFCAM AMA plug-in should be installed on your system. 2. Insert the GFPAK. Your Avid editing system links the GFCAM clips automatically into a bin. The media itself remains on the disk.
10 File Based Media - AMA A typical workflow is as follows: 1. The RED AMA plug-in should be installed on your system. 2. Attach the RED drive or insert a REDFlash card. Your Avid editing system links the RED clips automatically into a bin. The media itself remains on the disk. The clips point directly to the high-resolution media on the disk. All metadata information displays as columns in the bin. n If you use multiple cards and you remove one of the cards, your media displays offline. 3.
Workflows for Editing with AMA A QuickTime AMA workflow is as follows: 1. The Avid QuickTime AMA plug-in should be installed on your system. 2. Create a QuickTime movie with a supported codec in Adobe AfterEffects or Apple’s Final Cut Pro. Avid supports the Same as Source and Custom export settings options when you export with Avid QuickTime codec. n See Adobe and Apple documentation for information on how to create a QuickTime movie. 3. Move the created .mov file onto your Avid editing system. 4.
10 File Based Media - AMA 12. Render or export the newly changed QuickTime movie out of AfterEffects or FCP to the same folder location as the original file. Accept all overwrite prompts. Once the changed QuickTime movie is exported or rendered, refocus or open (if FCP or AfterEffects are on the same system) your Avid editing application. The updated clip appears in your bin (and sequence) and replaces the old clip. If the clip is in the Source or Record monitor, it also will update. 13.
11 Managing Media Files When you capture footage, the system creates digital media files on the media drives connected to your system. In addition to the bins where you organize the clips that reference these media files, your Avid editing application provides tools for directly managing these media files.
11 Managing Media Files Working with Media Files in an Avid Interplay Environment If you are using your Avid editing system in an Avid Interplay environment, you can use Avid’s media asset manager, the Avid Interplay Engine, to share media files between systems.
Using Avid Editing Systems in an Avid Unity LANshare Workgroup Using Avid Editing Systems in an Avid Workgroup Environment When you work with Avid Interplay, you belong to a workgroup that allows you open a bin with assets stored in the Interplay database. To read and write media to the database you first need to mount a workspace.
11 Managing Media Files To enable the client to recognize LANshare workspaces: 1. Open a bin. 2. Double-click PortServer in the Settings list of the Project window The Port Server Settings dialog box opens. 3. Select “Auto-connect to LANshare at Launch.” 4. Click Connect, and then click OK. The dialog box closes, and auto-connect is set.
Mounting and Unmounting Drives This is useful in several circumstances: n c • If you work with optical drives for backup and retrieval of low-resolution material, you can unmount drives and mount them as needed to avoid cluttering the desktop during normal use. • If you work with an extensive array of fixed-storage drives, which might involve many partitions divided among several projects, you can selectively mount and unmount drives according to use.
11 Managing Media Files n If you receive an error message that prevents you from unmounting a drive, it might be that you have Avid Media Access (AMA) enabled. AMA does not require you to mount and unmount drives. AMA is on by default. To turn off AMA (and unmount your drive), see “Selecting the AMA Settings” on page 428. Using the Media Tool The Media tool is your window into the captured video and audio data files stored on your media drives.
Using the Media Tool n • Media Tool database and display options are saved as User settings. When you close the Media tool, the view you are in (Brief, Frame, Script, or Text) is saved and any customizations of columns are saved. • You have the option of saving a custom view of the Media tool. Any view created in the Media tool is available from all bins and all custom bin views are available in the Media tool from the Views menu.
11 Managing Media Files Opening the Media Tool To open the Media tool: 1. Select Tools > Media Tool. The Media Tool Display dialog box opens. 2. Select the media drives from which to load by doing one of the following: t In the Media Drive(s) list, select individual media drives. t Click the All Drives button. The Media tool loads the media database only for the drives you select. The more drives you select, the more memory is required for the Media tool to open. 3.
Using the Media Tool 4. Select Master Clips, Precompute Clips, Media Files, or any combination of the three. 5. Click OK. The Media tool opens. Example of media objects in the Media tool. Top to bottom: a master clip, a media file, and a precompute clip. Deleting Media Files with the Media Tool You can use the Media tool to delete selected media files without harming the related master clips, subclips, and sequences.
11 Managing Media Files To delete selected media files: 1. Select Tools > Media Tool. 2. Select one or more media files (audio, video, or both) or master clips whose media files you want to delete. 3. Do one of the following: t Select Edit > Delete. t Press the Delete key. The Delete Media dialog box opens. 4.
Consolidating Media Option Description Audio mixdown file (A) After deletion, the section of the sequence with the mixdown is silent. 5. Click OK. A dialog box opens, asking you to confirm the deletion. 6. Click Delete. The selected media files are deleted. Consolidating Media When you consolidate media files, your Avid editing application finds the media files or portions of media files associated with selected clips, subclips, or sequences.
11 Managing Media Files Master Clips When you consolidate a master clip, your Avid editing application creates exact copies of the media files. If you link the original master clip to the new files, your Avid editing application creates a master clip with the file name extension .old that remains linked to the old files. If you maintain the link between the original master clip and the old media files, your Avid editing application creates a new master clip with the file name extension .
Using the Consolidate Command Sequences When you consolidate a sequence, your Avid editing application copies only the portions of media files edited into the sequence and creates new master clips for each clip in the sequence. The file name extension .new is attached to the master clips, along with incremental numbering beginning with .01. The sequence is not renamed but is automatically relinked to the new media files. Consolidate finished sequences to: n • Create backup files.
11 Managing Media Files n If you have any compressed audio (MP2 audio) in the clip or sequence you selected to consolidate or transcode, a message appears informing you that selected items contain MP2 audio and cannot be consolidated or transcoded. You should relink this MP2 audio to an uncompressed audio format. If you do not relink to an uncompressed audio format, the selected clip or sequence with the MP2 audio is skipped. The Consolidate/Transcode dialog box opens. 4.
Using the Consolidate Command 6. Select the appropriate options. Option Description Video, audio and data on same drive(s) Select to store the consolidated media files on the same target drive. Deselecting this option lets you select separate drives for the audio, video and data media files. Handle length n frames If you are consolidating subclips or sequences, type a handle length for the new clips, or accept the default: leave it at 60 frames (NTSC), 50 frames (PAL), or 24 frames (progressive).
11 Managing Media Files Option Description (Continued) Target Audio Sample Bit Depth Select either 16 bit or 24 bit. Convert Audio Format Select this option to convert the audio to the target audio format. Target Audio Format Select either OMF (WAVE), OMF(AIFF-C), or MXF (PCM) audio format. See “Audio Projects Settings: Main Tab” on page 1198. 7. Click Consolidate in the lower right corner. The Copying Media Files dialog box opens. 8.
Using the Transcode Command c Do not make copies of media files from the Windows desktop or the Macintosh desktop while your Avid editing application is running. Also, do not keep duplicate copies of media files online; either delete the originals, take the backups offline, or store the backups in a folder with a different name. Using the Transcode Command The Transcode option in the Consolidate/Transcode dialog box lets you create new clips and new media files that use a different resolution.
11 Managing Media Files To use the Transcode option: 1. Select a clip or sequence in a bin. 2. Select Clip > Consolidate/Transcode. n If you have any compressed audio (MP2 audio) in the clip or sequence you selected to consolidate or transcode, a message appears informing you that selected items contain MP2 audio and cannot be consolidated or transcoded. You should relink this MP2 audio to an uncompressed audio format.
Using the Transcode Command 3. Select Transcode in the upper left corner. 4. In the Target Drive(s) area, select a drive or drives. 5. In you are an Interplay environment, with Dynamic Relink enabled, select whether or not to create new master clips for the transcoded media. For more information, see “Understanding How Clips are Associated with Multiple Resolutions” on page 1119. The Create new clips check box in the Consolidate/Transcode dialog box 6.
11 Managing Media Files Option Description (Continued) Create new clips In an Interplay environment, with Dynamic Relink enabled, select this option to create new master clips for the transcoded media. If you do not select this option, the existing master clip is associated with both the original media file and the transcoded media file. For more information, see “Understanding How Clips are Associated with Multiple Resolutions” on page 1119.
Loading the Media Database Loading the Media Database The media database is a catalog of master clips and precomputes stored on a media drive. One use of the media database by your Avid editing application is to display master clips and precomputes in the Media tool. n The information in this topic applies only to media on local drives or on unmanaged shared storage drives. The information does not apply to shared storage managed by Avid Interplay. For more information, see the Interplay documentation.
11 Managing Media Files Refreshing Media Directories Each media folder (OMFI MediaFiles and Avid MediaFiles) includes database files for the media in that folder. The Refresh Media Directories command reexamines all the media folders (directories) on the system and determines whether any of the files are out of date and need to be rebuilt. If so, it tells your Avid editing application to rebuild the files.
Backing Up Media Files To delete all unreferenced clips and media files: 1. Select the sequence in the bin. 2. Select Bin > Select Sources. All source clips for the sequence are highlighted in the bin. c Motion effects are not counted as references by the sequence. If you want to keep motion effects, Ctrl+click (Windows) or Shift+click (Macintosh) any motion effects to add them to the selection. 3. Click the bin containing the highlighted clips to activate it. 4. Select Bin > Reverse Selection.
11 Managing Media Files Finding a Related Media File The Reveal File command lets you select a clip in a bin and automatically open its related media file. This command is useful if you want to delete, move, or label the media file. To find a related media file: 1. Select the clip in a bin for which you want to find the media file. The clip is highlighted. 2. Select File > Reveal File.
Relinking Media Files Relinking Media Files Sometimes, after you consolidate or move material between systems, the clips or sequences lose their links to the original media files. When a clip becomes unlinked, it displays the message “Media Offline.” If appropriate media exists online, you can use the Relink command to reestablish the link. n In an Avid Interplay environment, relinking through the Relink dialog box is limited to non-master clips (subclips and sequences).
11 Managing Media Files 3. Select options.
Relinking Media Files Option Description All other items Relinks non-master clips (sequences, subclips, group clips, and other clips) to the appropriate media Relink only to media from the current project Restricts relinking to the current project. Selected items in ALL open bins Allows you to select multiple clips across multiple bins. Allow relinking to offline items Allow relinking to offline elements: Relinks to clips that are offline.
11 Managing Media Files 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 477.
Relinking Media Files Relinking by Resolution You can relink to clips of a specific resolution. n In an Avid Interplay environment, you can use dynamic relinking to easily switch between resolutions. For more information, see “Using MultiRez and Dynamic Relink” on page 1113. To relink a clip by resolution: 1. Select the object or objects in the bin that you want to relink. 2. Select Clip > Relink. The Relink dialog box opens. 3. Select Relink Method > Specific Resolution. 4.
11 Managing Media Files Relinking to Selected Clips You can also use the Relink command for connecting subclips or sequences to selected master clips and subclips. To relink to selected master clips and subclips: 1. Move the subclips or sequences that you want to relink into the bin containing the clips. 2. Select the clips targeted for relinking. 3. Select Clip > Relink. The Relink dialog box opens. 4.
Unlinking Media Files To relink consolidated subclips or sequences: 1. Select the new master clips for a consolidated subclip or sequence (the clips have the file name extension .new), and unlink them. For information on unlinking, see “Unlinking Media Files” on page 479. 2. Select Clip > Relink. The Relink dialog box opens. 3. Select “Relink offline master clips to online media files” to relink master clips to media files that share similar database information. 4.
11 Managing Media Files To unlink master clips from their current links: 1. Select the master clips to unlink. 2. Depending on your operating system, do one of the following: t (Windows) Ctrl+Shift+Right-click the clips and select Unlink. t (Macintosh) Using a multi-button mouse: Press and hold Cmd+Shift and Right-click the clips and select Unlink, or select Clip > Unlink from the main menu.
Archiving and Restoring Media Files to Videotape n The media files experience generation loss when the media is archived and restored because the target videotape format might include some compression. The archiving process divides the archive into multiple archive sequences based on the lengths of the available videotapes. The archiving to videotape process adds handles to the new clips that let you reedit the sequence after you restore the media files from the videotape.
11 Managing Media Files 5. Select the clips and sequences to archive from the Archive bin by doing one of the following: t Select Edit > Select All to select all the clips and sequences in the bin. t Ctrl+click (Windows) or Shift+click (Macintosh) to select specific clips or sequences. 6. Select Clip > Archive to Videotape. The Archive to Videotape dialog box opens. 7. Select the appropriate options.
Archiving and Restoring Media Files to Videotape Option Description Archive entire master clips Select this option if you want to archive entire master clips. For Sequences: Archive all clips in a group edit Select this option if you selected a sequence that contains group clips and you want to archive the media for all the clips in the group. 8. Click OK. The Tape Lengths dialog box opens. The Archive Length area displays the calculated length of time required for archiving the media files.
11 Managing Media Files 10. Click OK. The Digital Cut tool opens and becomes the active window. 11. Follow the instructions displayed in the message boxes to complete the archiving process. A set of archive sequences is created in the Archive bin, and the source media is output to the videotape. One archive sequence is created for each tape. When needed, the system prompts you for another blank tape. The tapes are requested in the order that they appear in the Tape Lengths dialog box.
Sequence and Clip Information Summary 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. The Restore from Videotape dialog box opens. 8. (Option) If you are repeating the restore process, select “Restore only those items for which media is currently unavailable.” Otherwise, deselect this option. 9. Click OK.
11 Managing Media Files Example 2: Finding Specific Effects You use the Effect Summary and Effect Location List to find a particular effect. When you output the summary to a text editor, you can search the report to find all occurrences of the particular effect. In addition, you can type the start or end timecode value for each occurrence into the Source/Record monitor to go to the start of the effect in the Timeline.
Sequence and Clip Information Summary To generate a summary report: 1. Do one of the following: t From a bin, right-click a sequence and select Sequence Report. You can select multiple sequences for generating reports. t With a sequence loaded in a monitor, right-click the monitor and select Sequence Report. The Sequence Report dialog box opens. 2. (Option) Do the following: t If you selected specific tracks, click Enabled Tracks Only. t If you set In and Out points, click Use Marks.
11 Managing Media Files 4. Click Generate Report. The Save Summary Output File As dialog box opens. 5. Use the default file name or rename the report and choose a folder to save the report to, click Save. If you select more than 8 sequences, a dialog box asks if you want to generate sequence reports for all selected items. The application writes the report to a text file and opens a text editor.
Sequence and Clip Information Summary Summary Option Suboption Create Clip Summary or Create Source Summary Description Depending on the criteria you selected, a Clip Summary displays the number of clips found, type of clip, track, offline information, clip name, and clip Mob ID. A Source Summary displays the number of tape-based sources found, project name, tape name, tape ID, and tape Mob ID. It also displays a list of import paths for any imported clips, such as graphics.
11 Managing Media Files 490
12 Viewing and Marking Footage Before you begin editing, you can review your footage, add locators and comments to clips, mark IN to OUT points, and create subclips. By viewing and marking your material in advance, you can concentrate on editing and refining your sequence at a later time without having to pause and set marks each time you load a new clip.
12 Viewing and Marking Footage Viewing Method Description In bins You see pictorial images of the clips in your bins by using Frame or Script view and can play the clips in the bin. For more information, see “Using Frame View” on page 346 and “Using Script View” on page 348. In the Source monitor You can load clips and sequences into the Source monitor to view and mark or subcatalog shots for use in a sequence that you build in the Timeline.
Customizing the Composer Window and Monitors Customizing the Composer Window and Monitors The Composer window is central to the editing process, providing all the essential controls for viewing, tracking, marking, and editing source and record footage. The Composer window includes the Source and Record monitors. All monitors in your Avid editing application use a display aspect ratio that matches the aspect ratio for the project. For HD projects, this is always 16:9.
12 Viewing and Marking Footage Resizing the Composer Window and Monitors You can resize the monitors that display your footage in a variety of ways. You can: • n Resize any monitor to provide more area for displaying the Timeline or other windows If you are working with a multi-track Timeline, you might want to change the screen resolution to display more information on the screen. See your Windows or Macintosh documentation.
Customizing the Composer Window and Monitors To hide or display the video in a monitor: t Right-click the monitor, and select Hide Video. The video disappears or reappears. When the video is hidden, the Hide Video command has a check mark beside it. Displaying Tracking Information Tracking information consists of various formats used to identify clips, audio and video tracks, individual frames, or footage durations while you work.
12 Viewing and Marking Footage To display tracking information: 1. Load a clip or sequence into the monitor. 2. Click in the information display area in either the first or second row of information above the monitor to open the Tracking Information menu. 3. Select the type of tracking information you want to display.
Customizing the Composer Window and Monitors Panes in the Tracking Information Menu The Tracking Information menu has three panes. You can select an option from pane 1, pane 2, or pane 3 to be displayed above a monitor. The following table describes the contents of the three panes: Pane Description Pane 1 Lets you select a format for the tracking information. In the Record monitor, you set select a format for either the Sequence tracking information or the Source clip tracking information.
12 Viewing and Marking Footage Pane Description (Continued) Pane 1 example when you select Source > V1 Pane 2 Lists Source or Sequence timecode options, such as master timecode (Master), duration of the entire clip (Duration), IN to OUT duration (In/Out), absolute timecode (Absolute), and time remaining (Remain). The format type that you select from pane 1 determines the tracking format that is displayed.
Customizing the Composer Window and Monitors Tracking Format Options The following table describes the tracking format options. Option Description Master Displays master timecode at present location. Duration Displays total duration of the sequence. In/Out Displays duration between IN and OUT points. Absolute Displays absolute time duration at present position. Remain Displays time remaining at present position.
12 Viewing and Marking Footage Using the Info Window The Info window displays statistical information about clips and sequences. You can open the Info window from the Source monitor, the Record monitor, a pop-up monitor, a bin, or a Script window. The Info window updates the information automatically. You can cut, copy, and paste information from the Info window, but you cannot edit or change any information within the window. To display information from the Record monitor: 1.
Using the Timecode Window To display information from a bin: 1. Select a clip or sequence in a bin. You can use any bin view, and you can Ctrl+click to select multiple media objects. 2. Do one of the following: t Press Ctrl+I (Windows) or Command+I (Macintosh). t Right-click the clip or sequence and select Get Info. The Info window opens. Only fields with data are displayed. If you select more than 8 media objects, a dialog box asks if you want to open information windows for all selected items.
12 Viewing and Marking Footage 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. Example of a 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.
Activating and Deactivating the Client Monitor Display n If you do not have a Client monitor connected, you can still view the video through the camera eyepiece or through a monitor attached to a deck when outputting to an external camera or deck. For details on playing video to a DV device, see “Playing Back to a DV Device” on page 519.
12 Viewing and Marking Footage n You cannot activate or deactivate the Client monitor display if you are using your Avid editing application in software-only mode. If you do not have an Avid input/output hardware device attached to your system, or if you have a device attached but have switched to software-only mode by using the DNA/1394 button, the Toggle Client Monitor button has a gray monitor icon and is disabled. Clicking the button has no effect.
Selecting the Video Display Settings 3. Select or modify the options for video display and click OK. n The options available vary depending on the model of your Avid editing application. For information about all options in the dialog, see “Video Display Settings” on page 1282. Some of these settings apply to playback and how effects are processed.
12 Viewing and Marking Footage Playing Video to a Full-Screen Monitor The Full Screen Playback option lets you view your video on a full-screen monitor. To enable full screen playback: 1. Make sure your system is properly set up for full-screen monitor play. For more information, see “Understanding Full Screen Playback Options” in the Help. 2. If you are using Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, make sure that it is disabled by clicking the DNA/1394 button in the Timeline.
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.
12 Viewing and Marking Footage To leave the Tool palette open and move it to another location: 1. Click the Fast Menu button in the Composer window or on a pop-up monitor. 2. Click the location where you want the Tool palette to be displayed. 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.
Loading and Clearing Footage Loading and Clearing Footage You can use several methods to load individual or multiple clips or sequences into monitors. You can also use the Clip Name menus to display or clear clips and sequences from the monitors. n n You can adjust settings to optimize playback performance in the monitors. For more information, see “Video Quality Options for Playback” on page 521 and “Setting the Video Quality for Playback” on page 524.
12 Viewing and Marking Footage t Drag the single clip or sequence, or the selected set of clips or sequences, into the Source monitor or the Record monitor. t Alt-drag (Windows) or Option-drag (Macintosh) a single clip into the Record monitor. The clip will appear at the position of the position indicator in the Record monitor.
Controlling Playback 2. Select a different clip name from the menu. The selected clip replaces the current clip in the monitor display. n To see the list of clips or sequences sorted in the order in which they were loaded into the monitor, press the Alt key (Windows) or Option key (Macintosh) while opening the menu. Clearing Clips from Monitors You can use the Clip Name menu located above each monitor to clear clips from a monitor.
12 Viewing and Marking Footage n n When viewing sequences in the Source monitor or the Record monitor, you can play only video and audio tracks that are currently monitored in the Track Selector panel.For more information, see “Understanding the Track Selector Panel” on page 690. If you try to play a sequence and the outline of the monitor flashes, another window is covering the monitor. Click the monitor to bring it forward, or move the window that is covering it.
Controlling Playback To access frames in or move through loaded footage, do one of the following: 1. If you want to use the position indicator in the Timeline to view footage, do one of the following: t Deselect the segment tools on the Timeline palette, or click the Smart tool toggle bar to deselect all edit tools on the Timeline palette. t Position the mouse pointer over the Timeline ruler or the Timecode (TC1) track to move through the sequence. 2.
12 Viewing and Marking Footage Playback Control Buttons You can use the buttons that appear below the Source and Record monitors and in the pop-up monitors to play and step through your footage. You can also use additional buttons available in the Command palette to control playback. You can remap Command palette buttons onto some existing button locations (for example, in the Tool palette) or to the keyboard.
Controlling Playback Button Primary Default Location Function (Continued) Step Backward button Monitors Moves the footage one frame backward. • Step Forward button Monitors Press and hold the Alt key (Windows) or Option key (Macintosh) while clicking the button to move 10 frames (NTSC and PAL) or 8 frames (24p) backward. Moves the footage one frame forward.
12 Viewing and Marking Footage To use single-field step: 1. Click the Step Forward One Field button or the Step Backward One Field button. A number 2 displays in the upper right corner of the monitor to indicate you are parked on field 2 of a frame. (The absence of the number 2 indicates you are parked on field 1 of the frame.) Subsequent single-frame steps are based on this field. 2. Continue to click the Step Forward One Field or Step Backward One Field button to view each field of a frame.
Controlling Playback The following table describes the default keyboard mappings for basic playback control for a keyboard used in the United States: Keys Function • Start and stop playback Left quote or tilde key (above Tab key) • Tab key • 5 key • Space bar 1, 2, 3, and 4 keys • 1 key—moves the footage 10 frames backward (NTSC or PAL) or 8 frames backward (progressive formats) • 2 key—moves the footage 10 frames forward (NTSC or PAL) or 8 frames backward (progressive formats) • 3 key—move
12 Viewing and Marking Footage To shuttle through the footage using the J-K-L keys on the keyboard: 1. Do one of the following: t Load a clip or sequence into the Source or Record monitor. t Open a pop-up monitor. t Select a clip in a bin in Frame view. 2. Use the following keys to shuttle at varying speeds: 518 t Press the L key to move forward through the footage at normal speed.
Playing Back to a DV Device To slow or change play direction one speed at a time: t Press Alt (Windows) or Option (Macintosh) while you tap the J or L key. Play slows or changes direction one speed at a time from the speed at which you are currently playing. -8x -5x -3x -2x -1x 0 1x 2x 3x 5x 8x For example, you are shuttling backward with the J key at 2x normal speed. Press and hold Alt and tap the L key once. Play slows to backward at normal speed (1x speed).
12 Viewing and Marking Footage Depending on your Avid input/output hardware, you might need to switch between the hardware and a 1394 port on your computer from within your Avid editing application. For more information, see “Selecting a DV Device” on page 244. n On a Windows system with an Avid Adrenaline or an Avid Mojo, the DV device needs to be attached to a port on an optional IEEE-1394 card installed on a bus separate from the one used by the Adrenaline or Avid Mojo.
Video Quality Options for Playback 4. (Option) If you are in an SD project, right-click the Video Quality Menu button, and then select Realtime Encoding. n - If you select Realtime Encoding, you are in real-time effects mode. The media in your sequence is encoded to the format selected in the Video Quality menu. Enabling Realtime Encoding is helpful if you have a faster processor because it lets you bypass rendering many of your effects to disk.
12 Viewing and Marking Footage The first of the following tables describes the video quality options. The second of the following tables lists the options available for each configuration. Video Quality Name and Icon Description Full Quality Processes and plays the full image raster for the project. Uses a bit depth of 8 bits. This option provides the highest video playback quality by processing every image pixel. In interlaced projects, this option processes the full width of every line in both fields.
Video Quality Options for Playback Configuration Software-only (no input/output hardware), Avid Mojo, Avid Mojo SDI Avid Adrenaline with DNxcel HD video board Available Options (single camera editing) Available Options (MultiCamera Mode) Full Quality Full Quality (SD only) Draft Quality Draft Quality (SD only) Best Performance Best Performance (SD and HD) Full Quality 10-bit (Effect Mode only) Full Quality (SD only) DNxHD Native Draft Quality (SD only) Draft Quality Best Performance (SD and HD
12 Viewing and Marking Footage Setting the Video Quality for Playback To set the video quality for playback: 1. If you are using Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following, depending on how your external device is connected: t Click the DNA/1394 button above the Timeline to display either DNA or 1394. t Select Special > Device, and then select Avid DNA or IEEE 1394. 2.
Marking and Subcataloging Footage Marking IN and OUT Points You can mark IN and OUT points in your footage to indicate selected material, for example, the portion of a clip that you want to edit into a sequence. You can also easily clear or move these marks. You can mark IN and OUT points for your clips while in the bin, which provides several advantages: • You can quickly build a sequence by splicing the marked clips into place one after another.
12 Viewing and Marking Footage In the monitor, a Sawtooth icon appears on the left to indicate the mark IN frame. Sawtooth icon in the frame, and marked IN point, in the monitor 4. Continue moving through the material. 5. Mark an OUT point by doing one of the following: t Click the Mark OUT button under the monitor to mark an OUT point and stop playback. t Press the Mark OUT key when marking a clip in a bin. By default on United States keyboards, the Mark OUT key is the O key.
Marking and Subcataloging Footage To set a new IN point: t Click the Mark IN button or press the Mark IN key when you reach a different frame. To set a new OUT point: t Click the Mark OUT button or press the Mark OUT key when you reach a different frame. To move a mark icon: t Press the Alt key (Windows) or the Option key (Macintosh), drag the mark icon to a new location, and release the mouse button.
12 Viewing and Marking Footage Creating Subclips When you mark footage with IN and OUT points, either you can save the entire clip along with the new marks, or you can create subclips based on the marks you set to break up longer master clips into smaller segments of selected footage. This procedure is similar to creating a pull reel of the selects or circle takes of your best footage before editing. Subclips do not directly reference the original media.
Marking and Subcataloging Footage Create Subclip icon in the monitor The Create Subclip icon changes to an icon of a hand pointing at a frame during the drag, and then becomes a Subclip icon when you release the frame in the intended bin. t Click the Make Subclip button in the Edit tab of the Command palette. Your Avid editing application creates the subclip and places it in the active bin. t Press the Alt key (Windows) or the Option key (Macintosh) while you click the Make Subclip button.
12 Viewing and Marking Footage Marking Audio Clips You can mark audio and video separately for an edit by using the Audio Mark buttons. This feature is useful for creating an overlap edit for an audio clip. You can map the Audio Mark buttons from the Edit tab of the Command palette. For information on mapping buttons, see “Understanding Button Mapping” on page 114. To mark IN and OUT points on audio tracks: 1. Load a clip or sequence into a monitor. 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 lets you 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 114.
12 Viewing and Marking Footage 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. Example of a locator 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 532.
Using Locators The following illustration shows the Locator edit entry window. Locator edit entry window. Top: a comment in the comment area. Bottom: button 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.
12 Viewing and Marking Footage 4. Click the Play button, and every time you want to add a locator, press the key to which you mapped the Add Locator button. 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.
Using Locators To keep the Locator edit pane from opening: 1. Select Tools > Locators. The Locators window opens. 2. Select Disable Locators Popup from the Fast menu. The Locator edit pane now does not open even if you double-click a locator. Finding Locators To quickly go to a frame with a locator while editing: t Search for a particular comment by selecting Edit > Find.
12 Viewing and Marking Footage To automatically copy source locators as you edit: 1. Double-click Composer in the Settings tab of the Project window. The Composer Settings dialog box opens. 2. Click the Edit tab. 3. Select Copy Source Locators. 4. Click OK. 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.
Using Locators Using the Locators Window The Locators window lets you quickly add comments, go to locator marks, copy and paste locators, export and import locators, delete locators, and print a list of locators in the currently loaded clip or sequence. Many features of the Locators window are similar to those of the Bin window. 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.
12 Viewing and Marking Footage Viewing Locators in the Locators Window The Locators window is monitor specific. If you have selected the Source monitor, the Locators window displays the locators for the clip in the Source monitor. If you have selected the Record monitor, the Locators window displays the locators for the sequence in the Record monitor. To view locators in the Locators window: 1. Load the sequence containing the locators. 2.
Using Locators To display the frame associated with a locator: t Right-click, and select Show Images. To display a timecode column, a footage column, or a frame number column in the Locators window: t Right-click, and select Display > Frame Number, Timecode, or Footage. To display XML and Trigger columns: t Right-click, and select Show MetaSync. To sort locators: 1. Click the heading of the column that you want to sort. 2.
12 Viewing and Marking Footage To export locators: 1. From the Locators window, right-click 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. With a sequence loaded in the Record monitor, right-click and select Locators. 2.
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.
12 Viewing and Marking Footage 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 Printing the Contents of the Locators Window You can print the complete contents or the current view of the Locators window. n If you select Show Images to display the frame associated with each locator and you want to print the frames, you must use the procedure for printing the current view of the Locators window. Printing the complete contents does not print the frames. To print the current view of the Locators window: 1. Make sure your printer is correctly set up. 2.
12 Viewing and Marking Footage 9. Select the Print options. 10. Click OK (Windows) or Print (Macintosh). The system prints the locator information displayed the Console window. Disabling the Locator Edit Window If you want to add locators without including comments, you can modify the behavior of the Locator edit window so that it does not open each time you create a new locator. This lets you add locators quickly and then edit locator information later.
Finding Frames, Clips, and Bins Using Timecode to Find a Frame You can cue a loaded clip or sequence to a specific frame by typing timecode values with the numeric keypad on the right side of the keyboard. In addition, you can cue backward or forward from the current location in the clip or sequence by a specified number of minutes and seconds, or feet plus frames, by using positive or negative frame-offset values.
12 Viewing and Marking Footage Example of timecode entry with the numeric keypad. The timecode appears in the monitor. In this example, the interface displays master timecode. Use one of the following formats: Format Description SMPTE timecode Use two digits each for the hours, minutes, seconds, and frames. For example, type 01230200 to enter 01:23:02:00. Current timecode To find a timecode that starts at the same hour, minute, or second as the current timecode, type only the last digits.
Finding Frames, Clips, and Bins To cue a frame using frame offset timecode: 1. Click the monitor that is displaying the clip or sequence that you want to search. 2. (Option) If you are using a notebook computer or a keyboard that does not have a dedicated numeric keypad, press and release the left Control key twice quickly. This lets you enter timecode using standard keys on the keyboard, such as the number keys and the Enter key (Windows) or Return key (Macintosh). 3.
12 Viewing and Marking Footage Searching for a Clip or Sequence You can use the Find feature to search for a clip or sequence loaded in the Source monitor or the Record monitor using: • Clip names • Locator text • Text displayed in the Timeline • Comment text To do a text search of a loaded clip or sequence using the Find feature: 1. Load the clip or sequence into the monitor. 2. Select Edit > Find. The Find Text dialog box opens. 3. Type part or all of the text for which you are searching.
Finding Frames, Clips, and Bins Using Match Frame The Match Frame feature lets you locate the source clip for the frame currently displayed in either the Record monitor or the Source monitor. This feature is useful when you want to relocate and reedit source material, such as subclips and master clips. Match framing loads the source clip into the Source monitor, cues to the matching frame in the source clip, and marks an IN point. Any original IN and OUT points are removed from the source clip.
12 Viewing and Marking Footage 4. Do one of the following: t Click the Match Frame button. The source clip is loaded into the Source monitor, and any previous IN or OUT points are removed. A new IN point is marked at the matching frame. t Alt+click (Windows) or Option+click (Macintosh) the Match Frame button. The source clip is loaded into the Source monitor, and any previous IN or OUT points are maintained.
Finding Frames, Clips, and Bins Selecting Tracks for Matching Frames Track selection determines the match frame. If you select a video track, your Avid editing application m matches a frame from the video. If you enable several tracks, your Avid editing application matches the frame from the highest selected track level, in descending order: V1, A1, A2, and so on. You can match frame a single track without having to turn off all other tracks.
12 Viewing and Marking Footage Locating a Master Clip from a Subclip in a Sequence You can use the Match Frame and Find Bin buttons together to find the original clip in the bin for a subclip that was edited into a sequence. n For this operation, you must have the monitors in the two-monitor display and the Match Frame button must be mapped below both the Source and Record monitors. To locate a master clip from a subclip: 1. Cue to the subclip in the sequence. 2.
Sequence and Clip Information Summary Sequence and Clip Information Summary You can generate a report to display information about the contents of a sequence. For example, you can generate a list of the types of effects in your sequence or the location of a particular effect. 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 path locations of imported clips contained in your selection.
12 Viewing and Marking Footage Creating a Summary of Effects and Source Information Before you use the Sequence Report dialog box to create a summary of effects, source information, or clip information, you might want to do the following: n • Determine if you want the report to cover specific tracks or a section of the sequence between In and Out points.
Sequence and Clip Information Summary The Sequence Report dialog box opens. 2. (Option) Do the following: t If you selected specific tracks, click Enabled Tracks Only. t If you set In and Out points, click Use Marks. If you want to run a report on the entire sequence regardless of tracks or marks, do not select either of these options. 3. Select the Summary Info options you want to include in your report. For information on report options, see “Summary Information Options” on page 556. 4.
12 Viewing and Marking Footage Summary Information Options The following options allow you to select which information to include in the sequence report. 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.
Sequence and Clip Information Summary 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.
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13 Creating and Editing Sequences This chapter introduces you to procedures that you use to build a sequence, as described in the following topics: • Entering Source/Record Mode • Creating a New Sequence • Making a First Edit • Creating an Instant Rough Cut • Undoing or Redoing Edits • Editing Additional Clips into the Sequence • Mixing Frame Rates and Field Motion Types • Mixing Frame Sizes and Aspect Ratios • Refreshing Sequences to Use Current Clip Attributes • Lifting, Extracting, and
13 Creating and Editing Sequences • Creating Video and Audio Leaders • Using MetaSync to Synchronize Metadata Entering Source/Record Mode Source/Record mode is the default editing mode. It includes the screens and controls used for the Source and Record monitor. Use Source/Record mode to create new sequences from source clips. To enter Source/Record mode from another mode: t Click the Source/Record Mode button.
Creating a New Sequence To create a sequence with the New Sequence command: 1. Do one of the following: t Select Clip > New Sequence. t Right-click in either the Timeline or the Source/Record monitor, and select New Sequence. One of the following occurs: - If just one bin is open or you activate a bin, the new sequence appears in that bin. It also appears in the Record monitor and in the Timeline, with the generic title “Untitled Sequence n.
13 Creating and Editing Sequences The Sequence Report dialog box opens. Start timecode text box (left) and Start key number text box (right, for 24p or 25p projects only) in the Sequence Report dialog box 2. Type a new name in the Name text box. 3. Drag the pointer across the start timecode (Starting TC) to select it, and type a new timecode. You need to type only the first colon (non-drop-frame timecode) or semicolon (drop-frame timecode). For example, type 01:000000 for 01:00:00:00.
Creating a New Sequence To change the start timecode of a sequence in a bin: 1. In the bin, click the start time for the sequence in the Start column. 2. Type a new timecode. Track Display for New Sequences When you create a new sequence with the New Sequence command and no material is loaded in the Source monitor, the Timeline displays a default set of tracks—the master timecode track (TC1), at least one video track (V1), and at least two audio tracks (A1 and A2).
13 Creating and Editing Sequences The default settings are: • Auto-create New Tracks: Whenever you edit new source material from the Source monitor, the system automatically creates any new tracks in the sequence that match enabled tracks on the source side. • Auto-enable Source Tracks: Whenever you load new source material into the Source monitor, the system automatically enables all existing source tracks.
Making a First Edit 3. Do one of the following: t Move the position indicator for the sequence to the point where you want to add the filler. t Mark an In point at the point in the sequence where you want to add the filler. 4. Click the Splice-in or Overwrite button to edit the filler into the sequence. Splice-in button (left) and Overwrite button (right) For more information, see “Performing an Insert or Splice-in Edit” on page 569 and “Performing an Overwrite Edit” on page 570.
13 Creating and Editing Sequences For example, with a talking head you might select tracks V1 (picture) and A2 (sound) if the voice was recorded on that track. You would deselect track A1, that might have unwanted wild sound picked up from a second microphone or no sound at all. As another example, if you lay down a music track first, you would select track A1 or A2 depending on where the music was recorded, and deselect V1. 4.
Creating an Instant Rough Cut Creating an Instant Rough Cut As an alternative to creating a new sequence by editing clips one at a time, you can create a rough cut by creating a storyboard in the bin, and then load these clips directly into the Timeline. For additional information on editing directly from the bin into the Timeline, see “Bin Editing into the Timeline” on page 688. To create a rough cut from a bin: 1. In the bin, sort the clips in the order in which you want them to appear in the sequence.
13 Creating and Editing Sequences Undoing or Redoing Edits You can undo or redo up to 100 previous actions listed in the Edit menu. You can undo or redo a just completed command, or you can search through a submenu to undo or redo all commands leading back to a particular command. Undo and Redo commands in the Edit menu. Top: the Undo/Redo command for the previous edit. Bottom: the Undo/Redo List command.
Editing Additional Clips into the Sequence To undo or redo every edit and function back to a particular command: t Select Edit > Undo/Redo List, and then select a command.
13 Creating and Editing Sequences To perform an insert edit: 1. Load a clip into the Source monitor. 2. Mark an In point and an Out point. 3. Mark an In point in the sequence as follows: n a. Move the position indicator for the sequence to the point where you want to splice the clip into the sequence. b. Click the Mark In button, or press the Mark In key. If you do not mark an In point, the system splices the new clip into the sequence at the current location of the position indicator. 4.
Editing Additional Clips into the Sequence Performing a Replace Edit The Replace Edit button (blue) replaces a clip in the sequence (video, audio, or both) with new source material, while maintaining the original In and Out points of the previous edit. 4 1 2 3 1 2 4 A replace edit. Clip 4 replaces clip 3 and maintains the IN and OUT points for the original edit. n By default, the Replace Edit button is located on the Edit tab of the Command Palette.
13 Creating and Editing Sequences Enabling Single-Mark Editing Single-mark editing lets you establish a single mark, and then use the location of the position indicator to determine the second mark when making the edit. You can use this procedure in several ways to save steps: • You can mark an In point in the Source monitor and then perform a splice-in, overwrite, or replace edit without marking an Out point.
Mixing Frame Rates and Field Motion Types How Your Avid Editing Application Handles Mixed Rate Clips Motion Adapter Effects Your Avid editing application uses Motion Adapter effects to handle: • Clips that have a different frame rate from the project’s frame rate • Clips with field motion that need adjustment to be compatible with the project • Clips with 2:3 pulldown or strobe frames Motion Adapter effects allow mixed rate clips to play at the project’s frame rate and to have the correct field moti
13 Creating and Editing Sequences User Interface Summary for Mixed Rate Clips Illustration Description In the Timeline, several visual indicators highlight mixed rate clips. For more information, see “Viewing Mixed Rate Clips in the Timeline” on page 575. In the Motion Effect Editor, you can view the parameter values for a Motion Adapter effect, and adjust the render type. To make further adjustments, you need to promote the Motion Adapter effect to a Timewarp effect.
Mixing Frame Rates and Field Motion Types Viewing Mixed Rate Clips in the Timeline Mixed rate clips that are unrendered always appear with a green dot that represents the Motion Adapter effect, the green dot appears on mixed rate clips edited into a sequence. If you use the Toggle Source/Record button to view the Timeline for a mixed rate clip loaded in the Source monitor, you also see the green dot on that clip. Mixed rate clips also display with their original frame rate appended to the clip name.
13 Creating and Editing Sequences The illustration shows the Motion Adapter effect in the Motion Effect Editor, with the Type list and the Promote button active, and other parameters inactive. n In some circumstances, the Adaptive Deinterlace Source option is active in the Motion Effect Editor for a Motion Adapter effect. Adaptive deinterlacing is a processing option that can improve the look of interlaced source material that is being converted to progressive frames.
Mixing Frame Rates and Field Motion Types To promote a motion adapter to a Timewarp effect 1. Move the position indicator to the mixed rate clip that uses the motion adapter you want to adjust. 2. Click the Motion Effect button. The Motion Effect Editor opens. 3. Click the Promote button. The motion adapter is promoted to a Timewarp effect and all standard Timewarp effect parameters are available. 4. Adjust the Timewarp parameters as necessary to create the motion that you want for the clip.
13 Creating and Editing Sequences When you change the Field Motion attribute of a clip, it updates if it is loaded in a Source or pop-up monitor, and new edits into a sequence from the clip use the new Field Motion attribute value. However, edits that you made from that clip before you change the Field Motion attribute continue to use the old value.
Mixing Frame Rates and Field Motion Types Considerations When Working with Mixed Rate Clips Playback of Mixed Rate Material with Different Frame Sizes When your mixed rate sequence includes clips of different frame sizes, consider using the High-Quality Scaling for Real-Time Decode setting. This setting improves image quality during playback of mixed-format sequences where material requires resizing. For more information, see “Video Display Settings” on page 1282.
13 Creating and Editing Sequences older than 10.3, or an older Media Composer application. You can also use transcoding for general clip conversion tasks such as removing 2:3 pulldown from 29.97i sources (to generate 23.976 sources), or generating NTSC material from a PAL source. Once the transcode process completes, you can edit with the clips directly, or you can batch capture or import if you have access to original sources at the new rate.
Mixing Frame Sizes and Aspect Ratios Working with Locators on Mixed Rate Material You should be aware of the following when you work with locators on mixed rate material: • Depending on the frame rates of your clips and your project, you might not be able to add a locator at the exact location of the position indicator. For example, if you add a locator to a 30 fps clip in a 720p/59.94 project, you can move the position indicator to a location that does not match a frame in the clip.
13 Creating and Editing Sequences You need to ensure that your project’s format settings are set correctly so that clips are reformatted properly. For more information, see “Creating a New Project” on page 48 and “Changing the Aspect Ratio for an SD Project” on page 582. When you change a format setting, for example, the aspect ratio for an SD project, all clips currently edited in a sequence immediately adapt to the new format. You do not need to re-edit any clips in your sequences.
Mixing Frame Sizes and Aspect Ratios Modifying the Reformat Attribute for a Clip Your Avid editing application uses the Reformat attribute of a clip to resize and reposition the clip so that it conforms to the current frame size and aspect ratio specified in the Project Settings. When you create a clip or subclip, the Reformat attribute is automatically set to Stretch. If you are using AMA to link to clips, then the default is set to Center Keep Size. You can modify this Reformat attribute at any time.
13 Creating and Editing Sequences To set the Reformat value for an individual clip or subclip: 1. Open the bin containing the clip or subclip you want to modify. For more information, see “Opening and Closing Bins” on page 73. 2. Click the Text tab. 3. (Option) If it is not already visible, display the Reformat bin heading. For more information, see “Using Text View” on page 341. 4. Click the Reformat field for the clip or sub-clip, and select an option.
Mixing Frame Sizes and Aspect Ratios Option Description Stretch Scales the clip to match the width and height dimensions of the sequence. If the clip’s aspect ratio does not match the sequence’s aspect ratio the image is distorted (stretched or squeezed). The illustration shows an example where a 4:3 clip is placed in a 16:9 sequence. The clip is stretched horizontally to accommodate the width of the sequence.
13 Creating and Editing Sequences Option Description Center crop, preserve aspect ratio Scales and crops the clip to be the smallest size possible while filling the entire frame. The resulting image is centered in the frame. The illustration shows two examples. When you edit a 16:9 clip into a 4:3 sequence (left), the resulting segment is cropped at the sides. When you edit a 4:3 clip into a 16:9 sequence (right), the top and the bottom of the segment are cropped.
Lifting, Extracting, and Copying Material To refresh a sequence, do one of the following: t Load the sequence into the Record monitor and then, with either the Composer window or the Timeline window active, select Clip > Refresh Sequence > refresh command. t Right-click the sequence in the bin, and then select Refresh Sequence > refresh command.
13 Creating and Editing Sequences Extracting removes selected material from a track in the sequence and closes the gap left by its removal. When you extract material, you shorten the duration of the track or sequence. Comparison of Lift and Extract operations. Lifting material (left) leaves a gap that is replaced with black filler, and the length of the sequence remains the same. Extracting material (right) closes up the gap that the material previously occupied, and the sequence becomes shorter.
Lifting, Extracting, and Copying Material To copy material to the Clipboard: 1. Mark In and Out points at the start and end of the material in the sequence that you want to copy. 2. Select the tracks containing the material. The system performs the function on selected tracks only. For more information on track selection, see “Understanding the Track Selector Panel” on page 690. 3. Click the Copy to Clipboard button.
13 Creating and Editing Sequences To place a marked section of the sequence into the Clipboard at any time: t Click the Lift, Extract, or Copy to Clipboard buttons. Left to right: Lift, Extract, and Copy to Clipboard buttons To keep the Clipboard contents throughout a session, do one of the following: t Click the Clip Name menu above the Source monitor, and select Clipboard Contents. The contents appear as a clip in the Source monitor, and the name “Clipboard Contents.
Adding Comments to Sequence Clips Adding Comments to Sequence Clips When you add comments to sequence clips, they appear in the Timeline or in lists that you create, such as an EDL or a cut list. Comments can include instructions for color correction or for adjusting an effect. To add comments to the clips in a sequence: 1. Click one of the Segment buttons (located in the Timeline palette), and highlight the clip to which you want to add a comment in the Timeline.
13 Creating and Editing Sequences To play a sequence: 1. Click the Video Track Monitor icon located on the uppermost video track to display all video tracks and effects during playback. 2. Click the Audio Track Monitor button to ensure proper playback of the audio tracks. 3. Click the Data Track Monitor button to ensure proper playback of the data track. You can only monitor and view the data on a client monitor capable of handling ancillary data.
Playing Back a Sequence Playback Performance Tips As you edit, you might find the playback performance of your Avid editing application diminishing as the sequence grows in length and layers. This happens when you use a great deal of system memory for playback of large and complex sequences. The following are a few tips for improving playback performance: • Check the number of media objects in use for your project in the Memory window (see “Using the Info Tab” on page 88).
13 Creating and Editing Sequences 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. Understanding Sync Breaks Sync breaks occur when a frame-accurate relationship between two clips or between the audio and video tracks within a single clip is offset during editing. Your Avid editing application provides several features to avoid, track, and remove sync breaks.
Understanding Sync Breaks Tips for Avoiding Sync Breaks One way to avoid breaking sync is to maintain the duration of the track when you add or remove material. The following table provides tips on how to do this in different circumstances: Task Tips Add material to a track Use the Overwrite or Replace functions instead of Splice-in. For more information on overwrite and replace editing, see “Performing an Overwrite Edit” on page 570 and “Performing a Replace Edit” on page 571.
13 Creating and Editing Sequences Tips for Fixing Sync Breaks Working Mode While trimming Tips • Sync lock any additional tracks that are synced to the track you are trimming. Otherwise, you might restore sync in one track and break it in the others. For more information, see “Understanding Locking and Sync Locking” on page 696. • Do not perform a dual-roller trim. • Do not perform the trim on the Out point (A-side transition) of the out-of-sync segment.
Understanding Sync Lock To restore frames to sync while Trimming: t Perform one or more single-roller trims on the out-of-sync tracks. Trim the exact number of sync-break frames displayed in the Timeline to reverse the break. For more information on performing trims, see “Working with Trim Edits” on page 715. To fix sync in Source/Record mode: t Add new material or extract material from the out-of-sync track. Add or extract the exact number of offset frames displayed in the Timeline.
13 Creating and Editing Sequences There are several unique aspects to sync locking: • You control sync lock by the Segment Drag Sync Locks option in the Edit tab of the Timeline Settings dialog and the Sync Lock icons in the Timeline. For more information on sync locking tracks, see “Maintaining Sync with Segment Edits” on page 683. • When trimming, sync lock applies only to single-roller trims because dual-roller trims do not break sync.
Understanding Sync Lock Syncing with Locators You can add locators to material in the Timeline to track and adjust breaks in sync between any number of tracks. You can place locators anywhere in the sequence and you can add specific notes. For more information on using locators, see “Using Locators” on page 530. 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.
13 Creating and Editing Sequences To adjust the sync break: 1. Measure the sync break: a. Move the position indicator to the leftmost locator and click the Mark In button. b. Move the position indicator to the other locators, and click the Mark Out button. 2. Check the In to Out duration of the marked section. To restore sync: 1. Find the point at which the sync was lost. 2. Use the appropriate edit function to add or remove frames, as described in “Fixing Sync Breaks” on page 596.
Ganging Footage in Monitors Ganging Footage in Monitors The Gang function does not combine tracks into a synced relationship but locks monitors in sync so that you can move through footage in two or more monitors simultaneously. This function is convenient when you view and mark the sequence and source material simultaneously, based on syncing of the position indicators in each monitor. You can gang the Source monitor and any number of pop-up monitors with the Record monitor.
13 Creating and Editing Sequences Sync Point Editing Sync Point editing lets you overwrite material onto your sequence so that a particular point in the source material is in sync with a particular point in the sequence. For example, you can sync an action in the source video with an audio event, such as a musical beat in the Record monitor, and then edit it so that the action occurs on the beat.
Autosyncing Clips Autosyncing Clips When you capture footage that includes both audio and video, your Avid editing application automatically establishes sync when it creates clips in the bin. Autosyncing applies to audio and video clips that you capture separately, usually from two separate sources. Autosyncing creates a new subclip that displays sync breaks in the Timeline as though the audio and video were captured simultaneously. Example of sync break information in the Timeline.
13 Creating and Editing Sequences Creating an Autosynced Subclip To create an autosynced subclip: 1. Highlight two or more clips in the bin. 2. Select Bin > AutoSync. The Sync Selection dialog box opens. 3. Select an option, based on the following: 604 Option Description Film TC/Sound TC Use this option if you sync clips with matching film and sound timecode recorded in the field. This option appears dimmed if you are not in a 24p or 25p project.
Understanding AutoSequence 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. n In a 35mm 4 perf or 35mm 3 perf project type, you can "perf slipped" the subclip up to a 1/4 frame in either direction for even tighter sync.
13 Creating and Editing Sequences • The system removes and ignores points in the clips. A message box provides you with a choice to continue and remove the points or to cancel the operation. • Synchronized sequences are named from the Tape Name column for tape-based media and the Source File column for file-based media. Adding Audio or Video to Original Videotape Using AutoSequence c If you add audio only, make sure the video tracks are not enabled when you begin recording a digital cut.
Resyncing Subframe Audio Resyncing Subframe Audio When you work with a 24p or 25p project (35mm, 4-perf or 35mm, 3-perf only), you can adjust the sync between the audio and video portions of subclips at the subframe or perforation level (1/4-frame adjustments for 4-perf and 1/3-frame adjustment for 3-perf) for more exact sync. When you perform a subframe resync, you can obtain a closer relationship between audio samples and film frames than the relationship established in the film-to-tape transfer process.
13 Creating and Editing Sequences Resyncing Audio for a Selected Subclip To resync audio for a selected subclip: 1. Load the subclip into the Source monitor. 2. Use one of the audio scrub techniques described in “Using Audio Scrub” on page 754 to locate the closing slate frame. 3. Click Slip Left One Perf or Slip Right One Perf button to move the audio sync either backward or forward in 1-perf increments. Each click of the perf button performs the sync adjustment. 4.
Creating Video and Audio Leaders The following examples illustrate two typical scenarios. Setting One Mark In this example, you set only the mark In on the source side. By default, your Avid editing application 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.
13 Creating and Editing Sequences 3. Name this clip Head Leader or Tail Leader when you save the title. 4. Create a subclip from an appropriate length of the clip, according to your chosen specifications. 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 530. c.
Using MetaSync to Synchronize Metadata Using MetaSync to Synchronize Metadata Avid MetaSync gives editors the tools to synchronize metadata with traditional video and audio content. With MetaSync, you can insert pointers to metadata directly into the Timeline and modify the timing and duration of the enhanced material. The metadata, in turn, points to additional content, such as files from a script writing program, closed captioning, HTML files, database records, machine controls, or remote commands.
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14 Script-Based Editing The following topics provide information about working with script-based editing: • Understanding Lined Scripts • Script Integration — Lining in the Digital Realm • Understanding the Script Window • Working with the Script Window • Working with Script Text • Working with Page or Scene Numbers and Searching in a Script • Linking Clips to a Script • Interpolating Position for Script Integration • Working with Slates in the Script Window • Working with Takes in the Sc
14 Script-Based Editing A traditional lined script is created by hand at the time of shooting. The following is an example of a scene from a lined script. 33/1 33A/1 33A/2 33B/133B/2 33B/3 33C/1 33C/2 Each vertical line drawn through the scene represents a single take from the moment the director says “Action” to the moment the director says “Cut.” Each scene might require several camera angles and positions, with one or more takes, all of which are lined and identified alphanumerically.
Understanding Lined Scripts The following table summarizes the lining techniques and numbering system shown in the example. 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.
14 Script-Based Editing Script Integration — Lining in the Digital Realm Script integration in your Avid editing application enhances the traditional lined script system described in “Understanding Lined Scripts” on page 613. Unlike the traditional lining of a script, digital script integration usually happens after the shoot. For example, the assistant editor uses the notes of the continuity person as the basis for script integration.
Script Integration — Lining in the Digital Realm 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.
14 Script-Based Editing The following is an example of an audiovisual script for a news magazine piece imported into the Script window, with the basic features of script integration applied. Left to right: narration track synced to the script, B-roll shots ready to be loaded and cued (color indicates preferred shots), music cuts linked to appropriate sections of the script. Understanding the Script Window You begin the script integration process by importing a script into a project.
Working with the Script Window You can also specify the text encoding of the script from the Script menu. This ensures that diacritical marks and multibyte character sets appear correctly in your script. Script Window Behavior The Script window behaves in many respects like a bin: • When you make changes in the Script window, an asterisk (Windows) or a diamond (Macintosh) appears in the title bar to indicate that the changes are not yet saved.
14 Script-Based Editing To set Script settings: 1. Double-click Script in the Settings list in the Project window. The Script Settings dialog box opens. 2. Make the changes to settings that you need, and then click OK. For information on the settings, see “Script Settings” on page 1277. To import a new script: 1. Place the script file in a local or network directory that is available to your Avid editing system. c The imported script must be in text format.
Working with the Script Window To select text encoding: t Select Script > Text Encoding, and then select one of the following: Option Description None Your Avid editing application uses your system’s default encoding. Select this option when the text was created on a system with the same system character set you are currently using. Use this option for non-Latin-based encoding where UTF-8 was not used.
14 Script-Based Editing To adjust the left margin of an imported script: 1. Select Script > Left Margin. The Left Margin dialog box opens. 2. Type a new margin size (in pixels) in the text box, and click OK. The Script window reflects the new setting. 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 To select a single line of script: t Click anywhere in the line to highlight it. To select several lines of script, use one of the following methods: t Lasso the first line of the selection, drag through the text, and release the mouse button when you finish lassoing the lines you want to select. As you drag, a box outlines your selection. After you release the mouse button, the text is highlighted.
14 Script-Based Editing To cut or copy lines of script and then paste them: 1. Select the lines. 2. Select Edit > Cut or Edit > Copy. 3. Select the line below the location where you want to insert the text. 4. Select Edit > Paste. If you select only one line at the insertion point, a message box asks if you want to replace the selected line. If you select more than one line at the insertion point, no message box opens.
Working with Page or Scene Numbers and Searching in a Script Working with Page or Scene Numbers and Searching in a Script Script integration provides a number of search tools you can use during the preparation phase, during editing, or during screenings. You can use page or scene numbers, or you can conduct a full-text search. When you add page and scene numbers to the Script window, you gain the ability to search for them during preparation of the script and during editing.
14 Script-Based Editing Top left: new scene number. Top right: new page number. Bottom: Scene and page number indicators in the status bar. To change a page or scene number: 1. Select the beginning line of the scene or page. 2. Do one of the following: t Click the Add Scene or the Add Page button in the Script window toolbar. t Select Script > Add Scene or Script > Add Page. A dialog box opens. 3. Type a new number for the scene or page, and click OK. 4.
Working with Page or Scene Numbers and Searching in a Script To search for a page or scene number: 1. Select Script > Go To Page or Script > Go To Scene. You can also click in the page or scene display in the status bar at the bottom of the Script window. The Go To Scene/Page dialog box opens. 2. Type the number of the scene or page, and click OK. The Script window scrolls to the page or scene, and the first line is highlighted.
14 Script-Based Editing Linking Clips to a Script You can link clips to the script by hand, or, if your Avid editing application includes the ScriptSync feature, you can use ScriptSync to automatically link clips to the script. For more information about ScriptSync, see “Marking with ScriptSync” on page 641. 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.
Interpolating Position for Script Integration A slate frame appears above the text, with one or more of the takes covering the scene as lines. 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.
14 Script-Based Editing 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. You can: • Select one or more slates. Selecting multiple slates is especially useful when you are adding or deleting color or off-screen dialog indicators across takes, as described in “Working with Takes in the Script Window” on page 633. • Resize slates in the same way that you resize frames in the bin in Frame view.
Working with Slates in the Script Window To hold slates on screen, do one of the following: t Select Hold Slates Onscreen in the Script Settings dialog box before you open the Script window. For more information, see “Script Settings” on page 618. t Select Script > Hold Slates Onscreen. To hide or show the slate frames, do one of the following: t Select or deselect Show Frames in the Script Settings dialog box before you open the Script window.
14 Script-Based Editing To move a slate, do one of the following: t To move a slate horizontally, drag it to the left or the right. If necessary, resize the Script window by dragging the size box. t To move a slate vertically without moving the position of the take lines in the script, drag it up or down. The take lines remain fixed over the text to which they have been previously linked.
Working with Takes in the Script Window To delete a slate: 1. Select all the takes in the slate by pressing the Shift key and clicking the tab for each take. 2. Press the Delete key. The Delete dialog box opens. 3. Select Delete Takes, and click OK. The slate and all its takes are deleted from the script. n c When you delete slates and takes from the Script window, the captured source clips remain in the source bins. You cannot undo the deletion of slates.
14 Script-Based Editing To select takes, do one of the following: t Click any take tab to select it. The outline of the take changes to red, indicating that the take is active. t Double-click any line in the take to select the take and load it into a monitor. t Shift+click additional takes in the same slate or across slates to select them. Selecting multiple takes is especially useful when you add or delete color or off-screen dialog indicators.
Working with Takes in the Script Window 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. To change the representative frame that appears in the slate for a take: 1. Select the Takes tab in the Script window. 2. Press the appropriate arrow keys or step keys on the keyboard to advance the footage displayed in the slate forward or backward to the frame you want.
14 Script-Based Editing To change the length of a take line: 1. Press the Ctrl key (Windows) or the Command key (Macintosh). Notice the movement icon that appears when you place the pointer at either end of the take. 2. Click the end mark or beginning mark of a take, and drag it until you reach the correct line in the script. 3. Ctrl+drag (Windows) or Command+drag (Macintosh) the opposite end of the take to a new location, if necessary. 4. Repeat the procedure for other takes in the slate as necessary.
Script Marks To apply color to takes: 1. Select Script > Color > color. 2. Select the region of the script that covers the range within the take or takes that you want to highlight with color. 3. Select one or more takes. 4. Click the Set Color button in the Script window toolbar. The color appears only in the highlighted script region of the selected takes. You can switch the indicators on or off by clicking the button repeatedly. To remove one or more color indicators: 1.
14 Script-Based Editing Placing Script Marks Manually To place script marks manually: 1. Map the Add Script Mark button from the Other tab in the Command palette to a user-customizable palette or to the Keyboard palette. For more information, see “Mapping User-Selectable Buttons” on page 116. 2. Double-click in the Script window at the intersection of a take and the line of dialog that you want to mark.
Script Marks 4. When the playback reaches the selected line of dialog, click the Add Script Mark button or press the Add Script Mark key. The line is marked in the Script window with a small horizontal bar, and play stops. 5. Repeat these steps to add more script marks. Using Real-Time Screening and Marking The Script window provides controls for automating the process of screening and placing script marks for a single take or across multiple takes. To use real-time screening and marking: 1.
14 Script-Based Editing Example of real-time screening and marking: several takes are selected for automatic playback, and the 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.
Script Marks Marking with ScriptSync Some Avid editing applications include the ScriptSync feature. 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.
14 Script-Based Editing 3. Select Script > ScriptSync. The ScriptSync dialog box opens. 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 642 Depending on the language you select, the Acoustic model (Broadcast or Telephony) that Nexidia uses changes. Only one model applies per language. Broadcast has a higher resolution and can be more accurate than Telephony in some cases.
Script Marks Option Description Skip text in parentheses ‘()’ or brackets ‘[]’ Select this option if parenthetical expressions in your script are not spoken. 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.
14 Script-Based Editing Loading and Playing Marked Segments Once you place marks syncing lines in your script to points in the source clips, you can quickly load and cue takes for selected lines of dialog. You can load a single take, or you can load all the coverage for any given range of lines. To load the marked segment of a take: t Double-click the script mark at the line of dialog that you want to cue.
Finding Clips and Script To delete a script mark: 1. Click once on a script mark to select it. 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.
14 Script-Based Editing Editing From the Script Window To use the Script window most effectively during an editing session, make sure the Script window is fully prepared, including preferred takes, alternative takes (indicated with colors), and script marks for matching lines of text to sync points in the clips. Consider using the Single Mark Editing option, which lets you skip several steps by performing edits on-the-fly while playing back clips (without marking OUT points).
Editing From the Script Window Assembling a Rough Cut From the Script Window To quickly assemble a rough cut from the Script window: 1. Open the Script window for the current cut. 2. Double-click the first preferred take to load it into the Source monitor. Your Avid editing application automatically marks and cues to the IN point. 3. Play the take until the appropriate OUT point is reached, and stop play. 4. Click the Splice-in or the Overwrite button to make the first edit.
14 Script-Based Editing Splicing a Script Range You can splice clips linked to ranges of script directly from the Script window into the sequence. To use this feature with accuracy, you should carefully add script marks to the ranges of script during the screening and marking phase. For more information, see “Script Marks” on page 637. To splice a range: 1. Mark an IN point or place the position indicator at the location in the sequence where you want to splice in the segment. 2.
15 Using the Timeline Your Avid editing application represents each edit and effect on a timeline to help you track and manipulate the elements of your sequence. The Timeline continuously updates as you work, displaying icons and information that you can customize in various ways. The Timeline also has its own set of editing tools for creating and revising edits and transitions across multiple tracks. The audio and video tracks in the Timeline play in the Record monitor.
15 Using the Timeline Customizing Timeline Views You can customize your view of the Timeline to display a variety of information about your sequence as well as the clips and transitions it contains. You can do the following: • Use options in the Timeline Fast menu to change the display in a variety of ways For more information, see “Using the Timeline Fast Menu” on page 652 and “Timeline Fast Menu Options” on page 653.
Customizing Timeline Views Examples of Customized Timeline Views The following table describes several examples of custom timeline views that you might find useful while editing: Purpose Description Effects Editing If you are editing complex visuals with multiple tracks and effects, you can display Effect contents, Effect and Dissolve icons, Clip Frames, and Clip Transition Durations within enlarged video tracks in the Timeline.
15 Using the Timeline Purpose Description (Continued) Editing for online If you are editing offline with plans to generate an EDL and finish the sequence in an online videotape suite, you can track detailed clip and dupe-reel information by displaying and enabling Dupe Detection. Basic trimming If you are fine-tuning and trimming simple edits at the early stages of a project, you can view the sequence in Heads and Tails view to see a display of the first and last frame of every clip.
Customizing Timeline Views Timeline Fast Menu Options The following table describes the options available in the Timeline Fast Menu. Selected options have check marks next to them in the menu. You can select some options only from submenus. Option Description Default Setup Returns Timeline display settings to the system default settings; see “Managing Customized Timeline Views” on page 669.
15 Using the Timeline Option Description (Continued) Track Color Displays a palette for changing the color of the tracks in the Timeline; see “Changing the Timeline Background or Track Color” on page 659. n Background Color A track must be selected in the Timeline for the Track Color command to appear. Displays a palette for changing the color of the background in the Timeline; see “Changing the Timeline Background or Track Color” on page 659.
Customizing Timeline Views Enlarging and Reducing Timeline Tracks You can enlarge or reduce the height of one or more tracks to improve visibility and display more information within the tracks. To enlarge or reduce the height of tracks: 1. Select the tracks in the Timeline that you want to resize. For more information, see “Selecting Tracks” on page 691. 2. Do one of the following: t Select Edit > Enlarge Track or Edit > Reduce Track.
15 Using the Timeline When working in a MultiRez environment, you can also use colors to track available resolutions. You can control which types of clip coloring to enable, and customize the colors themselves. Clip color options are saved when you save a customized Timeline View, so you can set up several coloring schemes and then switch between them. For more information, see “Managing Customized Timeline Views” on page 669.
Customizing Timeline Views To display clip colors in the Timeline: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Select one or more of the following: Option Description Resolution Tracking Colors clips to indicate the availability of particular resolutions in a MultiRez environment. For more information, see “Using Clip Coloring to Show Available Resolutions” on page 1143. This option is only available if you are working in a MultiRez environment.
15 Using the Timeline Option Description Mixed Rates Colors clips whose frame rates do not match the sequence frame rate. A different color is available for each frame rate. SD/HD Colors clips that do not match the video definition type of the project format — in an HD project this option colors the SD clips, while in an SD project this colors the HD clips.
Customizing Timeline Views To reset the display colors for the Resolution Tracking, Offline, Mixed Rates, and SD/HD options: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Click Default Colors. The Offline, Mixed Rates, and SD/HD color swatches reset to their default colors. Changing the Timeline Background or Track Color To change the background color of the Timeline: 1. Deselect all the tracks in the Timeline.
15 Using the Timeline To assign a local clip color: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Select Timeline Local, and then click OK. 3. Select one of the segment tools in the Timeline palette, and select a clip you want to color. 4. Do one of the following: t Select Edit > Set Local Clip Color > color to select a standard color. t Select Edit > Set Local Clip Color > Pick to select a custom color from the Windows Color dialog box.
Customizing Timeline Views To remove a local clip color: 1. Select one of the segment tools in the Timeline palette, and select the clip whose color you want to remove. 2. Select Edit > Set Local Clip Color > None. The assigned local color no longer appears in the clip in the Timeline. Displaying Timecode Tracks in the Timeline When you are working with 24p or 25p projects (PAL with pulldown), you can display separate tracks for 24, 25, 25P, and 30 timecodes in the Timeline.
15 Using the Timeline Setting the Playback Option for the Timeline You can control how the Timeline displays during playback by setting a preference in the Timeline Settings dialog box:. n • The Timeline display can page to the next section of your sequence when the position indicator gets to the end of the visible section of the Timeline as you play.
Customizing Timeline Views Using the Full-Screen Timeline As an alternative to constantly scrolling through the Timeline window or resizing tracks to get a view of the material, you can resize the Timeline window to full-screen display. You can also enlarge the tracks to view complex audio or video layers in greater vertical detail. A Timeline with reduced tracks wraps around to show more of the sequence.
15 Using the Timeline The Timeline Palette Your Avid editing application provides a quick way to edit sequences in the Timeline without having to enter a specific editing mode such as Trim mode.
Customizing Timeline Views Icon Tool Description Overwrite Trim Creates a single-roller trim and adds a black segment to fill the duration of trimmed frames. Ripple Trim Creates a single-roller trim with no sync lock and maintains the duration of all other clips. Keyframe Selection Lets you select and move audio keyframes in the Timeline. Trim Mode Allows you to enter traditional Trim Mode without selecting a trim tool. Source/Record mode Enters Source/Record mode.
15 Using the Timeline When you combine functions on the Timeline palette, you modify how the mouse pointer functions in the Timeline: • When you select the Lift/Overwrite or Extract/Splice-in button, the mouse pointer changes to a segment edit pointer for either Lift/Overwrite or Extract/Splice-in edits. If you select both buttons, the segment edit depends on which region of the segment in the Timeline that you activate. For more information, see “Working with Segments” on page 676.
Customizing Timeline Views The Track Control Panel Timeline tracks include a Track Control panel that provides features useful when you edit audio tracks. The Track Control panel arranges components in two rows of tools, and it allows you to do the following: • Show or hide waveforms and clip gain, auto gain, and auto pan displays on individual tracks (see “Displaying Audio Waveforms” on page 759 and “Displaying Gain and Automation Pan Values” on page 761).
15 Using the Timeline To show the Track Control panel, do one of the following: t Click the Timeline fast menu and select Track Control Panel. To hide the Track Control panel, deselect Track Control Panel. t Click the Track Control Panel button above the Timeline. Track Control panel, with the Track Control Panel button above the Timeline Displaying Source Material in the Timeline You can display source material in the Timeline.
Customizing Timeline Views Displaying the Timeline Top Toolbar You can display a top toolbar in the Timeline for easy access to editing buttons. You can also map additional buttons to the Timeline top toolbar. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 116. To show the Timeline top toolbar: 1. In the Project window, double-click the Timeline Setting. The Timeline Settings dialog box opens. 2. Select Show Toolbar in the Display tab. 3. Click OK.
15 Using the Timeline To name a Timeline view or to change a view’s name: 1. Click the View Menu button, and select Save As. The View Name dialog box opens. 2. Type a name for the view, and click OK. 3. Press and hold the Alt key (Windows) or Option key (Macintosh) while you click the View Menu button to display the list of saved view names, each appended with the Replace command. 4. (Option) If you want to replace a Timeline view, select a view name from the list that you want to replace.
Navigating in the Timeline To map a Timeline view button: 1. Select Tools > Command Palette. 2. Click the More tab. Timeline View buttons in the More tab of the Command Palette 3. Select Button to Button Reassignment. 4. Click a Timeline view button (T1 – T8), and drag the button to a location on another palette (for example, the Tool palette) or the Keyboard settings window. For more information, see “Mapping User-Selectable Buttons” on page 116. The Timeline view button appears in the new location.
15 Using the Timeline The following illustration shows the Timeline window. Timeline window: (left to right) Timeline palette, Track Control panel, Position indicator, with the Timeline bottom toolbar under the Timeline (left to right: Timeline Fast Menu, Focus, Toggle Source/Record in Timeline, Video Quality, DNxHD Native, Step In, Step Out, Scale bar Timeline scroll bar).
Navigating in the Timeline An advantage of the position bar is that when you focus on only a portion of the sequence, both the Timeline and Record monitor’s position bars show a highlighted region around the position indicator. This represents the range of material displayed in the window. Position indicators with highlighted regions in the monitor and in the Timeline Switching to the Timeline Position Bar To switch to the Timeline position bar: 1.
15 Using the Timeline Zooming and Focusing in the Timeline You can change your view of the Timeline to focus in on particular information in the following ways: • You can use the scale bar to stretch and contract the Timeline area centered around the position indicator. This lets you either zoom in to focus on a specific area of your sequence or zoom out to display your whole sequence. This feature is especially useful when you have a lengthy sequence with many edits.
Navigating in the Timeline To zoom in the Timeline using the Zoom In and Zoom Back commands: 1. Click the Timeline Fast Menu button, and select Zoom In. The pointer arrow changes to a selection bar. 2. Position the pointer at either the start or end of the place you want to zoom in on, and drag to select the section. When you release the mouse button, the material inside the Zoom In box expands to fill the Timeline window. 3.
15 Using the Timeline To snap to the head of transitions: t Press the Ctrl key (Windows) or Command key (Macintosh) as you drag either the position indicator or any selected segments. To snap to the tail of transitions: t Press Ctrl+Alt (Windows) or Command+Option (Macintosh) as you drag either the position indicator or any selected segments.
Working with Segments Guidelines for Segment Editing General Guidelines • Moving a selection with an Extract/Splice-in edit deletes transition effects on either side of the selection. If the selection includes multiple segments around a transition effect, moving the segments preserves transition effects inside the selection. • You can track the audio while moving segments by pressing the Caps Lock key to enable audio scrub. For more information, see “Using Audio Scrub” on page 754.
15 Using the Timeline Selecting and Deselecting Segments You can select segments for moving or editing by activating tools on the Timeline palette and then clicking segments in the Timeline, or you can lasso one or more segments. You can also select linked clips when you enable Link Selection. For more information, see “Linked Clips” on page 679. You can then continue to select or deselect additional segments.
Working with Segments To deselect one or more selected segments, do one of the following: t To deselect an entire track, click the Track button in the Track Selector panel. For example, if you lasso segments on V1, V2, and A1, you can click the V2 and A1 Track buttons to leave only the segment on the middle track, V1, selected. t Click one of the segment tools on the Timeline palette, and then Shift+click specific segments on any track.
15 Using the Timeline • When two or more video tracks from the same clip overlap in the Timeline and sync is broken with the linked audio segments, link selection links to the video segment with the smallest sync break point. • When you move a linked clip independently of the tracks to which it is linked so it no longer vertically overlaps the linked segments, the link relationship is broken.
Working with Segments To select segments on enabled tracks using the multiple segment selection buttons: 1. Move the position indicator to the first or last segment you want to select. 2. Select Tools > Command Palette, and click the Edit tab. 3. Do one of the following: t Click the Select Left button to select segments under the position bar and all segments to the left. t Click the Select Right button to select segments under the position bar and all segments to the right.
15 Using the Timeline Four-frame display. The two outer frames indicate ending and beginning frames of clips before and after the segment. The two inner frames represent the start and end frames of the segment. The offset counter is highlighted. When you drag the segments, the original highlighted segment remains in place, while a “ghost” segment enclosed in a dotted white box moves along with the pointer until you release it at a new edit point.
Working with Segments To suppress the four-frame display: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens. 2. Deselect the Show Four Frame Display option in the Display tab, and click OK. 3. Select one of the segment tools on the Timeline palette. The mouse pointer arrow changes to a large red or yellow arrow when inside the Timeline, depending on where you position the pointer or which segment tool you click. 4.
15 Using the Timeline In the following example, an audio segment in track A2 is moved. The new location for the audio segment has filler added to the video track. All segments remain in sync. Top: before segment drag sync lock, showing the segment that will move. Bottom: after segment drag sync lock, showing the moved segment and filler added after the move (left), and the filler left in the original location (right). Moving Segments with Drag and Drop You cannot move segments to locked tracks.
Working with Segments If you select multiple segments on the same track, they must be adjacent segments (horizontally contiguous). You can select black filler segments. 3. Release the mouse button. If you used the Extract/Splice-in method, the system extracts the selected segment from its old position, closes the gap left by its removal, and then splices the material back into the sequence at the newly selected location.
15 Using the Timeline To delete segments quickly: 1. Do one of the following: t Select both of the segment tools on the Timeline palette, and then position the mouse pointer over the top of the segment (for Lift/Overwrite operations) or the bottom of the segment (for Extract/Splice-in operations). t Select one of the segment tools on the Timeline palette.
Working with Segments 2. Click one or more segments to highlight a section of the sequence. 3. Click the Mark Clip button. The system marks an In point at the start and an Out point at the end of the selected segments. If you selected more than one track, the In and Out points mark where the edit points across tracks line up. Cutting, Copying, and Pasting in the Timeline You can use the shortcut keys for cutting, copying, and pasting segments selected in the Timeline.
15 Using the Timeline To set the default tool used for segment editing: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens, displaying a list of your current Timeline settings. For more information, see “Timeline Settings” on page 1278. 2. Click the Edit tab, and select one of the following: t Segment Insert for Extract/Splice-In edits t Segment Overwrite for Lift/Overwrite edits 3. Click OK.
Working with Multiple Tracks 3. Drag a clip from the bin into the Timeline. You can edit only one clip at a time. The pointer changes to the selected segment icon, and the interface changes to the four-frame monitor display. As you drag, a white outline of the clip indicates the segment position. 4. When you find the right placement for the clip, release the mouse button. The Timeline reflects the new edit.
15 Using the Timeline Occasionally, effects editing involves a procedure known as nesting. Nesting involves stepping into existing tracks to reveal added layers for combining multiple images and digital video effects. When you apply an effect, you can step out to view and render the effect as one segment on the track. You can nest up to 24 additional tracks within each track. n For more information on nesting techniques, see “Nesting Effects” in the Help.
Working with Multiple Tracks The source side of the panel displays only those tracks available for the clip currently loaded. For example, a clip that has audio captured only for track A1 does not display an A2 track in the Track Selector panel. The record side of the panel displays only those tracks currently in use for the sequence. When you edit source material with a track selected that does not yet exist on the record side, by default the track appears on the record side after the edit takes place.
15 Using the Timeline To select one or more tracks, do one of the following: t Click the Track button of any inactive track to select the track. t Drag a lasso around multiple tracks to select them at once. t With the Timeline active, select Edit > Select All Tracks to select all tracks on the record and source sides. t Click the Cycle Picture/Sound button in the Edit tab of the Command palette to cycle among selected video tracks, audio tracks, data track, or all tracks.
Working with Multiple Tracks Monitoring Audio You can monitor up to 16 audio tracks at a time. The following characteristics apply to audio track monitoring: • The system pans odd-numbered mono tracks to the left speaker and even-numbered mono tracks to the right speaker by default. Stereo tracks include channels for the left and right speakers, with the stereo mix panned to the center.
15 Using the Timeline Monitoring and Soloing Tracks The Track Monitor buttons allow you to choose which tracks to monitor in the Source monitor, the Record monitor, and the speakers. You can monitor a single track or monitor multiple tracks at the same time. You can also isolate, or solo, an individual track for monitoring without having to deselect other tracks.
Working with Multiple Tracks To deselect solo monitoring: t Click the Track Monitor button or the Solo button again. Patching Tracks When working with multiple tracks, you can encounter a circumstance in which you must edit source audio or video onto a track other than the parallel track displayed in the Track Selector panel. To edit the source material onto another record track above or below it, you must patch the source track to the targeted record track.
15 Using the Timeline Audio patch from a source track to an audio record track (left) and the new source track order identifying the patch (right). n After you patch tracks, it is helpful to display the destination track of the clips in the Timeline. Select Clip Text > Clip Tracks from the Timeline Fast menu to display the destination track. To undo a patch: 1. Click in the Record monitor or Timeline. 2. Select Special > Restore Default Patch, or manually repatch to the previous track.
Working with Multiple Tracks n For more information on using the sync lock feature in Trim mode, see “Understanding Sync Lock” on page 597. The Sync Lock and Lock buttons of the Track Selector panel display different icons for sync-locked and locked tracks. For more information on applying the locks, see “Locking and Sync Locking Tracks” on page 697.
15 Using the Timeline To sync lock tracks, do one of the following: t Click a Sync Lock button to activate the Sync Lock icon for each synchronized track. t Click the Sync Lock All button to switch sync lock on and off for all tracks. To resume editing on individual tracks: t Click a Sync Lock button or the Sync Lock All button to remove the Sync Lock icon.
Working with Multiple Tracks To add a new track to a sequence and customize its numbering: 1. Press and hold the Alt key (Windows) or Option key (Macintosh) and select the type of track you want to add: t Select Clip > New Video Track. t Select Clip > New Audio Track Mono. t Select Clip > New Audio Track Stereo. t Select Clip > New Meta Track. t Select Clip > New Data Track. The Add Track dialog box opens. 2.
15 Using the Timeline To remove a custom track name: 1. Right-click the Track Selector button, and select Rename Track. The Comments window opens. 2. Click Remove. The track name returns to the default track name, such as V1. To delete one or more tracks from a sequence: 1. Click one or more Track Selector buttons to select the tracks you want to delete. 2. Press the Delete key. The Delete Track(s) dialog box opens. 3. Click OK. The tracks are deleted.
Working with Multiple Tracks Stereo track A4 (left) split into mono tracks A4 and A5 (right). When the Avid editing application splits a stereo track to two mono tracks, it changes some audio properties of the track: • Removes stereo track effects such as RTAS plug-in effects. • Converts stereo AudioSuite plug-in effects to mono effects. • Applies any existing gain automation to the resulting mono tracks.
15 Using the Timeline Backtiming Edits Backtiming an edit is effectively the reverse of the process you normally use for marking footage: instead of marking from the In points forward, you mark according to the Out points. For example, you might have a track of audio (music or voice) that ends at a specific point, and you want to synchronize a video clip to end on a particular clip. You can backtime the edit to match the end points of the tracks.
In to Out Highlighting in the Timeline 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 on selected tracks in the Timeline. Marked region highlighting in the Timeline This visual guide helps you monitor track and segment selection more carefully when mixing or applying effects across multiple tracks and segments.
15 Using the Timeline To edit in Heads view or Heads Tails view: 1. Click the Track buttons to select the tracks to be edited. 2. Click the Timeline Fast Menu button, and select View Type > Heads or Heads Tails. The Timeline changes to one of the following displays. Heads view (top) and Heads Tails view (bottom) in the Timeline. Heads view shows the Head frame for each clip. Heads Tails view shows both the head and tail frames for each clip. 3.
Working with Add Edits (Match Frames) To edit using the Top and Tail commands: 1. Load a sequence into a monitor. 2. Select the track or tracks you want to edit, and deselect all other tracks. 3. Move the position indicator to the location where you want to perform an edit. 4. Do one of the following: t Click the Top button to extract footage from the start of the clip or segment to the position indicator.
15 Using the Timeline To add a match-frame edit: 1. Move the position indicator to the selected frame. 2. Select the tracks where you want to add the edit. 3. Click the Add Edit button. The edit appears in the sequence with an equal sign to indicate a match frame. n By default, the match-frame indicator is white. If a change in level occurs, the match-frame indicator changes to red. To add an edit to filler clips at the position indicator: 1. Move the position indicator to the selected frame. 2.
Dupe Detection Dupe Detection When you edit offline with plans to generate an EDL, the Dupe Detection feature lets you 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.
15 Using the Timeline Methods for Changing Handle Length in Dupe Detection In 35mm film editing (using the single-strand method), one extra frame, known as the safety frame, provides tabs for the negative cutter to use when cutting two segments of film together. However, this frame is always lost during the negative conform. 1 2 3 Example of a splice on a safety frame. Frames 1 and 3 are still usable, but frame 2 has been cut in the middle and is lost.
Editing with the Film Track Adding specific handle lengths to dupes (as they appear both in the sequence and in film lists) has the following advantages: • In 35mm single-strand conforming — Editors can better track duplicate frames and provide the negative cutter with more than one safety frame to avoid losing specific frames.
15 Using the Timeline To display the film track: t Click the Timeline Fast Menu button, and select Show Track > Film. A row of film frames appears at the top of the Timeline. The film track displays as many representative frames as possible within the window. Film track in the Timeline. 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.
Tracking Color Frame Shifts To enable color-frame tracking while editing: 1. Double-click Composer in the Settings list in the Project window. The Composer Settings dialog box opens. 2. Click the Color Framing menu in the Edit tab, and select the appropriate option: t For NTSC video, select 4-field. t For PAL video, select 8-field. 3. Click OK to complete the setting selection. To correct color-frame interruption as you edit: 1. Note any edits that cause the green lights to blink.
15 Using the Timeline Finding Black Holes and Flash Frames You can use the Find Black Holes and Find Flash Frames commands to help you quickly find parts of your sequence that you might want to delete from the final sequence: Black holes are segments of the sequence consisting of one or more frames of filler. Flash frames are clips with an extremely short duration — for example, fewer than 10 frames. To find black holes: 1. Click the Timeline to activate it. 2. Select the tracks you want to search. 3.
Printing the Timeline To find the next flash frame: t Select Clip > Find Flash Frames again. Printing the Timeline To print the Timeline: 1. Click the Timeline to activate it. 2. Select File > Print Timeline. The Print dialog box opens. The name of the printer and details of the dialog box vary, depending on your facility. 3. Select the Print options. 4. Click OK (Windows) or Print (Macintosh). Your Avid editing application prints the current view of the Timeline.
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16 Working with Trim Edits Basic editing of a sequence initially produces a rough cut, which is loosely defined as a series of straight-cut edits with many rough edges and few effects. After creating a rough cut, you can use trim edits to fine-tune the transitions between each clip or between whole segments. You can also trim edits as you build a sequence rather than create a rough cut first.
16 Working with Trim Edits Trimming with the Timeline Palette You can perform trim edits by using the trim tools on the Timeline palette. This lets you create trims quickly in your sequence which you can later fine-tune by using the advanced functionality of trimming.
Understanding Trim Displays Understanding Trim Displays Different trim displays provide unique sets of controls for fine-tuning edits with various trim procedures. You can perform many of the same functions from any of these trim displays, such as removing and adding frames or slipping and sliding segments. For information about accessing these modes, see “Trim Settings Overview” on page 720.
16 Working with Trim Edits Quick Trim Display If you display only the Record monitor (for example, as you review the final version of a sequence), you can use Quick Trim display for making quick adjustments to transitions in your sequence. Like Small Trim display, Quick Trim display replaces the Record monitor with smaller displays of outgoing and incoming frames. Quick Trim display — replaces Record monitor in single monitor view.
Setting Small Trim Display Big Trim Display Big Trim display replaces the Source and Record monitors with displays of outgoing and incoming frames. Big Trim display also shows transition playback loop parameters. Big Trim display — replaces both monitors in two-monitor view. Outgoing frames appear on the left and incoming frames appear on the right. Bottom, left to right: Playback loop parameter controls, frame offset counters, and Trim buttons.
16 Working with Trim Edits Trim Settings Overview You can customize how trimming works from the Trim Settings dialog box. The Trim Settings dialog box has two tabs: Features and Play Loop. The Play Loop feature continuously replays the last trim you performed for review purposes. You can learn about specific Trim settings as follows: • For setting some default behavior for trimming, see “Dual-Roller Trimming” on page 728.
Selecting Trim Sides The trim edit buttons also appear on the Smart Tool tab of the Command palette, so you can map them to the keyboard, a toolbar, or the Tool palette. For more information on mapping buttons, see “Mapping User-Selectable Buttons” on page 116. As you move the pointer back and forth across a transition, notice that the roller icon changes from an A-side roller (facing left), to a dual roller, to a B-side roller (facing right) to indicate the type of trim.
16 Working with Trim Edits Single trim rollers: Overwrite trim selected (left), Ripple trim selected (center), Dual-roller trim selected (right) • Your Avid editing application highlights one or both of the frame counter indicators below the monitors to reflect the active trim sides: A-side, B-side, or both. The number indicates the frames added to or subtracted from the transition. When you clear your trim selections, the trim tools remain active.
Selecting Trim Sides t t Use one of the keyboard shortcut keys to select both sides of a transition relative to the position indicator: Shortcut Key Selection U Nearest transition A Previous transition S Next transition Use the Trim Counter frame indicators located below the monitors. Click the A-side or B-side of a frame indicator to select single-roller trimming, or Shift+click both frame indicators to select dual-roller trimming.
16 Working with Trim Edits Selecting Video Tracks for Trimming When you click the outgoing (A-side) or incoming (B-side) monitor with a transition selected for trimming, or the A-side or B-side of a transition in the Timeline, all trim rollers are set to the selected side. You can modify this behavior to select only the video tracks for trimming.
Overwrite Trimming To quickly add multiple transitions to the currently selected transitions: t Press and hold the Shift key, and lasso the additional transitions. You can select and trim two heads or tails simultaneously, in any combination, for each track in the sequence. All selected transitions are trimmed the same number of frames. This lets you save time and, in some cases, maintain sync by performing a single-trim procedure across multiple tracks and transitions.
16 Working with Trim Edits To perform and overwrite trim: 1. Do one of the following: t Select the Overwrite Trim tool on the Timeline palette, and then click a transition to select it for trimming. Shift+click to select multiple clips aligned at the same transition. t Select the Overwrite Trim tool on the Timeline palette, and then lasso the transitions in the Timeline. Draw the lasso by clicking at a point above the top track in the Timeline and dragging to surround the transitions.
Ripple Trimming You can lasso transitions in the Timeline to select more than one transition for trimming. This method is useful when you need to select multiple transitions staggered across parallel tracks (overlap cuts) for simultaneous trimming. If you enable link selection, clicking a transition also selects transitions on linked segments (see “Selecting Linked Clips” on page 680). To perform a ripple trim: 1.
16 Working with Trim Edits Dual-Roller Trimming Using a dual-roller trim allows you to move the transition point between segments without changing the duration of the sequence. This adds frames to one side of the transition and subtracts them from the other side. There are several ways to select a transition for dual-roller trimming. Which method you use depends on your editing workflow.
Refining Trims t Click the Go to Previous Edit or Go to Next Edit button. By default, the system selects the nearest transition in either direction of the selected track for dual-roller trimming. If the transitions are a straight cut, the system selects all selected tracks. If the nearest transition is an overlap edit with staggered transition points, the system selects the next transition where all selected tracks have transitions at the same point.
16 Working with Trim Edits t Use the numeric keypad at the right side of the keyboard, as follows: - To move the transition a specific number of frames, type a plus sign (+) or minus sign (–) and the number of frames (from 1 to 99), and then press Enter. If the number of frames exceeds 99, type an f after the number to indicate frame count. For example, to enter 200 frames, type 200f and press Enter.
Trimming On-the-Fly 2. Click the Play Loop button. The system enters a playback loop. This loop begins at a preroll point before the transition and ends at a postroll point. 3. Modify the length of the preroll, postroll, and transition effect duration by clicking the appropriate timing text box and typing a new value. Preroll length text box (top left), postroll length text box (top right), and transition effect duration text box (bottom).
16 Working with Trim Edits To trim on-the-fly: 1. Click either the outgoing (A-side) or incoming (B-side) monitor to play in real time during the trim. 2. Select one or more transitions for overwrite trimming, ripple trimming, or dual-roller trimming. For more information, see “Selecting Trim Sides” on page 721. 3.
Trimming During a Playback Loop Trimming During a Playback Loop An alternative method for trimming is to view the transition continuously in a playback loop and use the keyboard to adjust the transition in 1-frame or 10-frame (8-frame for 24p) increments until you achieve the trim you want. You can perform this procedure using single-roller or dual-roller trims. To trim during a playback loop: 1. Select a transition for trimming. For more information, see “Selecting Trim Sides” on page 721. 2.
16 Working with Trim Edits Creating Overlap Edits You can use an overlap edit (or L-edit) to smooth a transition by giving the viewer the illusion that the audio or video is shared between two adjacent clips. Example of an audio overlap edit. After the trim, the audio for Clip B is extended so that it overlaps the beginning of the video for Clip C. To create an overlap edit: 1.
Extending an Edit Extending an Edit Use an extend edit to perform dual-sided (A-side and B-side) trims on selected tracks. An extend edit lets you quickly create a split edit without selecting trim sides at a transition. It also lets you establish the exact frame that you want to trim to by using the position indicator. You can extend edits backward or forward in the Timeline. In either case, like a dual-roller trim, extend edits always maintain sync relationships. To perform an extend edit: 1.
16 Working with Trim Edits Maintaining Sync While Trimming Because single-roller trims (A-side or B-side) can change the duration of the track being trimmed, any relationships that exist with other tracks downstream of the trim lose sync.
Slipping or Sliding Segments 2. Perform single-roller trims as necessary, with the following results: - When you trim the A-side of a transition forward, all other segments locked in sync move forward with the trim. If the transitions are staggered, this action might split one or more of the segments at the sync point established by the position indicator, leaving filler.
16 Working with Trim Edits The type of trim you perform (slip or slide) determines which frames update: • In slip trimming, the two inner monitors for the head and tail frames of the clip change because this adjusts only the contents of the clip. It does not affect the frames that precede and follow the clip. 1 2 3 4 2 3 4 5 Example of a one-frame slip to the right. The head and tail frames of the segment change by one frame. The material before and after the segment remains fixed.
Slipping or Sliding Segments Selecting Segments for Slip or Slide Trimming To select segments for slip or slide trimming by dragging a lasso: 1. In Source/Record mode, select a segment for slipping or sliding. 2. Drag a lasso from right to left around a segment (two or more transitions). Your Avid editing application enters 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.
16 Working with Trim Edits Performing a Slip or Slide Trim To slip or slide a shot: 1. After selecting the segments, as described in “Selecting Segments for Slip or Slide Trimming” on page 739, 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.
Trimming in Two Directions Trimming in Two Directions You can select non-contiguous transitions in the Timeline and perform a trim simultaneously on all selected transitions. This allows you to trim segments without altering the duration of the sequence in cases where you cannot perform a simple dual-roller trim.
16 Working with Trim Edits Using the Transition Corner Display The Transition Corner Display is a trim editing interface that shows six frames you can use as reference points when trimming a transition effect. Transition Corner display. Left: the two frames on which the transition effect starts. Center: the two frames between which the cut point defines the transition. Right: the two frames on which the transition effect ends.
Using the Transition Corner Display To trim a transition using the Transition Corner Display: 1. Select a transition effect for trimming by doing one of the following: t Position the mouse pointer over the transition you want to trim so the pointer changes to a dual-roller icon, and click the transition. t Lasso the effect in the Timeline from right to left.
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17 Working with Audio You edit audio by using many of the same techniques and tools you use to edit video. Your Avid editing application also provides several unique features that facilitate audio editing, such as audio scrub, waveform displays, and tools for adjusting and mixing audio levels and pan between speakers as well as the frequency ranges of segments.
17 Working with Audio • Using the Audio EQ Tool • Recording Voice-Over Narration Overview of Audio Tools The following table describes the general purpose of each audio tool in your Avid editing application: Audio tool Description Audio Mixer tool This tool adjusts pan and volume levels on clips or whole tracks within a sequence. For more information, see “Using the Audio Mixer Tool” on page 770.
Overview of Audio Tools To access one of the audio effect tools: t Select Tools > tool name. To switch to another tool when one of the audio tools is already open: t Click the Effect Mode Selector menu, and select the new tool. To keep more than one tool open at the same time: t Select Tools > tool name, or click the Effect Mode Selector menu and Alt+click (Windows) or Option+click (Macintosh) a new tool.
17 Working with Audio 3. Select User Bit Timecode to read timecode stored in the user bits of the LTC. If you do not select this option, the system reads the LTC timecode. c Information contained in the user bits of the LTC must be timecode only. Other data stored in the user bits does not appear in your Avid editing application. 4. Click the Audio Timecode Source menu, and select the audio track containing the timecode. A1 is the default. 5.
Working with Multichannel Audio Tracks You use the Modify command to set or change the multichannel formats for your audio tracks. For example, this lets you create a stereo track from two associated mono tracks or to split a stereo track into two separate audio tracks. You can set the multichannel format for multiple master clips at the same time.
17 Working with Audio 5. Click the Format buttons to cycle through the available options until you find the appropriate format: Option Description Mixed tracks Does not modify the audio track formats. The Mixed Format Tracks button appears only when you select more than one clip and the clips contain both mono and stereo tracks. Mono tracks Sets the paired audio tracks to two mono tracks. Stereo track Sets the paired audio tracks to one stereo track. 6. Click OK.
The Track Control Panel The Track Control Panel Timeline tracks include a Track Control panel that provides features useful when you edit audio tracks. The Track Control panel arranges components in two rows of tools, and it allows you to do the following: • Show or hide waveforms and clip gain, auto gain, and auto pan displays on individual tracks (see “Displaying Audio Waveforms” on page 759 and “Displaying Gain and Automation Pan Values” on page 761).
17 Working with Audio Using the Track Control Panel The Track Control panel displays two rows of tools. If you reduce the size of the Timeline tracks, you might not see the Track Control panel tools. For more information on resizing Timeline tracks, see “Enlarging and Reducing Timeline Tracks” on page 655.” To show the Track Control panel, do one of the following: t Click the Timeline fast menu and select Track Control Panel. To hide the Track Control panel, deselect Track Control Panel.
The Track Control Panel To solo an audio track: t Click the Solo button in the Track Control panel for the track you want to solo. The Solo button turns green, and Mute buttons on all other audio tracks turn orange. Solo button (green) and Mute buttons (orange) in the Track Control panel To turn off soloing for the track: t Click the Solo button again. To turn off the solo feature for all audio tracks: t Alt+click (Windows) or Option+click (Macintosh) the Solo button on any track.
17 Working with Audio To make an audio track inactive using the Audio Mixer tool, do the following: t In the Audio Mixer tool, right-click the Track Selector button and select Disable Track Monitoring. You can right-click the Track Selector button again and select Enable Track Monitoring to restore monitoring to the track. To make all audio tracks inactive, do the following: t Alt+click (Windows) or Option+click (Macintosh) any Audio Track Monitor button in the Track Control panel.
Using Audio Scrub Selecting Tracks for Audio Scrubbing By default, all monitored audio tracks are selected for scrubbing. However, as the play speed increases during audio scrubbing, some monitored audio tracks are dropped. You can select up to two tracks to ensure they play during scrubbing, even if the system has to drop some tracks. The following table shows how many tracks you can scrub at the varying speeds of play.
17 Working with Audio To monitor audio with three-button play: 1. Select the correct track, and adjust the playback volume as necessary. 2. Play the audio by using the three-button variable speed playback procedures described in “Playing Footage with the J-K-L Keys (Three-Button Play)” on page 517.
Using Audio Scrub The Audio Settings dialog box opens. n The Play Buffer Size in Samples option and the Tool Buffer Size in Samples option appear only if your Avid editing application is not using Avid input/output hardware (software-only). 2. Click in a text box and type a new number of outgoing or incoming frames on the source side, the record side, or both. The new parameters take effect. Performing Digital Audio Scrub Step Buttons.
17 Working with Audio 4. When you find the correct frame, mark the location, trim the transition, or perform any other function you choose. When you sample incoming frames (with the default scrub parameters, for example), the system places the position indicator at the head of the last sampled audio point. When you sample outgoing frames, the system places the position indicator at the tail of the last sampled audio point.
Audio Displays in the Timeline Displaying Audio Waveforms Audio waveforms in the Timeline display a sample plot of the entire amplitude of the track. This is the same as the sample voltage values seen on an analog oscilloscope waveform. You can display waveform plots for all audio tracks in the Timeline or you can select individual tracks for waveform display. Audio waveform plots can slow your navigation through the Timeline.
17 Working with Audio 3. (Option) Maximize the visibility of your waveform display using one of the following procedures: t Continue to expand or shrink your view of the Timeline by using the scale bar, spreading out the waveform plots to show detailed variations in the audio levels. t To enlarge the height of selected audio tracks and subsequently the waveform display, press Ctrl+L (Windows) or Command+L (Macintosh).
Audio Displays in the Timeline Displaying Gain and Automation Pan Values You can view the clip gain and the automation gain values in the Timeline at the same time. You can also view automation pan values by selecting Auto Pan from the Timeline Fast menu. n You cannot display Auto Gain and Auto Pan values at the same time in the Timeline.
17 Working with Audio Identifying Sample Rates by Color To apply a color coding to a sample rate: 1. Load a sequence with multiple sample rates into the Timeline. 2. Do one of the following: t To display waveforms for all tracks, click the Timeline Fast Menu button, and select Audio Data > Waveform. t To display waveforms for a single track, click the Waveform button in the Track Control panel. 3. In the Project window, double-click Audio Project. The Audio Project Settings dialog box opens. 4.
Audio Displays in the Timeline To display the Audio meters in the Timeline: t Click the Meter Menu button, and select Show Audio Meters. The Audio meters display in the Timeline. Audio meters display in the Timeline. Left to right: Master Volume button, Tracks indicators, In/Out Toggle buttons, Meter menu button When you load a sequence in the Timeline and press the Play button, the Audio meter displays the audio levels of the audio tracks in your sequence.
17 Working with Audio To adjust the volume control (software-only models): 1. From the Timeline, click and hold the Master Volume button. Master Volume button (left) and Audio Meter menu button (right) in the Timeline If you do not see the Master Volume button, click the Audio Meter menu button, and then select Show Audio Meters. The Master Volume button displays with the Audio Meters. The Volume Control slider appears. 2.
Displaying Audio Formats in Bins To turn the volume for audio tracks back on: t Click the Mute button to deselect it. 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 > Choose Columns. The Bin Column Selection dialog box opens. 2.
17 Working with Audio n Track Channel A1 Left (L) A2 Right (R) A3 Center front (C) A4 Low Frequency Effects (LFE) A5 Left Rear (LR) A6 Right Rear (RR) The Direct Out channel map affects the audio on the desktop monitors and the output to your tape deck. You may need to reset the channels prior to a Digital Cut to preserve a required channel order on the output tape.
Working with Surround Sound or 5.1 Audio (Avid Nitris DX and Avid Mojo DX Only) Setting Up the Analog Audio Output for Surround Sound (Avid Nitris DX and Avid Mojo DX Only) Depending on the Avid input/output hardware attached to your system, you can have two balanced TRS audio outputs labeled Monitor and four balanced XLR audio outputs labeled Analog. The TRS outputs are always left and right speakers. You can configure the XLR outputs in the Output tab of the Audio Project Settings dialog box.
17 Working with Audio Setting Up the Audio Output with HDMI (Avid Nitris DX and Avid Mojo DX Only) Avid supports two ways to configure your audio output, either 2-channel stereo speaker setup or 6-channel surround sound setup. To achieve the 6-channel surround sound setup, connect your audio output through an High-Definition Multimedia Interface (HDMI) connection. HDMI carries both video and audio in an uncompressed, all-digital signal.
Adjusting the Play Buffer Size for Audio (Software-only Models) 5. Depending on your setup, select Use as Output to Tape Deck or Use as Desktop Surround Monitors. When you select Use as Output to Tape Deck, LFE and Center are swapped from the recommended track order. n If your HDMI device cannot play six channels of audio or if the 5.1 option in the Direct Out tab is not selected, the option to Use as Desktop Stereo Monitors does not appear. 6.
17 Working with Audio Using the Audio Mixer Tool The Audio Mixer tool has three modes that let you perform the following tasks: Mode Task Description Clip Gain and Pan Lets you adjust the overall volume and pan values for a clip, in a bin or in the Timeline. For more information, see “Using Clip Gain and Pan Mode” on page 778. Automation Gain and Pan Lets you adjust and record volume and pan changes within a clip in the Timeline. For more information, see “Using Automation Gain and Pan” on page 787.
Using the Audio Mixer Tool Audio Mixer Tool Controls The following illustrations and tables identify the controls of the Audio Mixer tool in Clip Gain and Pan mode, including controls common to all three modes. The elements described in the following tables appear in all Audio Mixer modes unless otherwise noted. For specific information on Automation Gain and Pan mode, see “Using Automation Gain and Pan” on page 787. For specific information on Live Mix mode, see “Using Live Mix Mode” on page 794.
17 Working with Audio Element Description (Continued) 6 Number of Mix Panes Lets you display four or eight panes. For more information, see “Resizing the Audio Mixer Tool” on page 774. 7 Display/Hide Sliders Lets you switch between hiding and displaying the Volume Level sliders. button 8 Which Set of Tracks Lets you select which enabled tracks to display in the mix panes. When you display to Display in Mix 8 panes (with the Number of Mix Panes button), Grp 1 displays tracks 1-8.
Using the Audio Mixer Tool 7 1 2 3 8 4 5 6 Bottom part of Audio Mixer tool Element Description 1 Track Solo and Lets you solo or mute selected tracks. The values persist when you switch to another Track Mute buttons group, switch to another Audio Mixer mode, and when you close the Audio Mixer tool. For more information, see “Using the Track Solo and Track Mute Buttons” on page 774. 2 Track Selection Menu buttons Lets you enable tracks for mixing audio.
17 Working with Audio Resizing the Audio Mixer Tool You can change the number of mix panes that display in the Audio Mixer tool, or hide the volume level sliders altogether. Both of these customizations can reduce the amount of space that the Audio Mixer tool occupies. You can continue to adjust levels by typing values when the sliders are hidden. To switch between displaying four tracks and eight tracks: t Click the Number of Mix Panes button.
Using the Audio Mixer Tool You can also use the buttons above each fader on the external fader controller or mixer to solo or mute an individual audio track as follows: • FaderMaster Pro™ has one button that you can use to solo or mute an individual audio track during Automation Gain recording: - Press the button above the fader once to switch between solo and on. - Press the button above the fader twice quickly to switch between mute and on.
17 Working with Audio The position indicator lights are especially useful for the FaderMaster Pro because you must position the faders close to the track volume before you start recording. Otherwise, you might create an unwanted jump in the volume when you move the faders during a recording. n Your Avid editing application does not record values from a fader on the FaderMaster Pro until you move the fader. Then it reads the current position of the fader and adjusts the volume accordingly.
Audio Gain Staging and an Audio Editing Workflow n If you have an AudioSuite plug-in and an Audio EQ effect applied to the same effect, only the Audio EQ effect icon displays. The AudioSuite plug-in still applies even though the icon is not visible. 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.
17 Working with Audio This workflow also applies to using AudioSuite and RTAS plug-ins because some 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. For more information, see “Using the Audio Mixer Tool” on page 770.
Using Clip Gain and Pan Mode Adjusting Clip Gain and Pan for Audio Tracks To adjust clip gain and pan for audio tracks: 1. Load a clip or sequence, and activate the appropriate monitor: t To adjust a track in a source clip, click the Source monitor to make it active. To view a source clip’s tracks in the Timeline, click the Toggle Source/Record in Timeline button. t To adjust a track in a sequence, click the Record monitor to make it active. 2.
17 Working with Audio 6. With the Audio Mixer tool active, use any playback method (such as the J-K-L keys on the keyboard) to play, shuttle, or step through the audio to check for necessary volume or pan adjustments. The keyboard can control either the Source or Record monitor, depending on which monitor was active when you opened the Audio Mixer tool. Switch your selection by clicking the appropriate monitor. 7. Decide whether to raise or lower the volume.
Using Clip Gain and Pan Mode 8. Decide if you want to adjust pan values. To adjust the pan values in a mix pane, do one of the following: t Click the Pan Value display to reveal the pop-up slider, and then drag the slider to a new position. t Alt+click (Windows) or Option+click (Macintosh) the Pan Value display for MID. If the sequence is playing, play stops when you make an adjustment. n You can adjust volume while playing the clip.
17 Working with Audio The following table describes the Audio Mixer tool Fast menu commands for Clip Gain and Pan mode: Command Description Set Level on Track, Set Pan on Track Applies the same pan or volume levels currently set in the Audio Mixer tool to all segments in the marked regions of the tracks. Adjust Pan/Vols on Track Opens a dialog box for making incremental adjustments to all current settings across segments in the marked regions of selected tracks.
Using Clip Gain and Pan Mode To restore the previous settings: t Click the Bypass button or the Clip Gain button again. Adjusting Volume While Playing a Clip Gain Effect You can use the Audio Loop Play button to change the volume on an existing Clip Gain effect while you play the clip. The Audio Loop Play button appears in several of the audio effect tools and is also a mappable button in the Play tab of the Command palette.
17 Working with Audio 3. Adjust the volume as necessary. 4. Click the Audio Loop Play button to stop. Your Avid editing application automatically saves your changes as part of a Clip Gain effect. Improving Response Time When Adjusting Volume If there is no Clip Gain 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.
Using Clip Gain and Pan Mode To modify the way the system interprets pan during playback: t Set the default pan values in the Audio Settings dialog box, which you access from the Settings list in the Project window. By default, the mono audio tracks for clips alternate with track 1 on the left speaker and track 2 on the right speaker for monitoring and output. The All Tracks Centered option instructs the system to center the pan of all tracks between the two speakers for monitoring and output.
17 Working with Audio Isolating Clip Portions for Audio Adjustment When making audio level and pan adjustments, your Avid editing application looks at either an individual clip in the Source monitor, a segment in the sequence, or entire tracks. To change level or pan settings in an area not defined by a discrete clip or group of clips, use the Add Edit function to define your own custom area. To isolate clip portions for adjustment: 1.
Using Automation Gain and Pan Using Automation Gain and Pan Automation gain and pan lets you change the volume or pan values of a segment by adding and manipulating automation gain or automation pan keyframes in the Timeline. The following illustration shows an expanded audio track containing gain keyframe information. Example of the graphic representation of keyframes and gain ramps in the Timeline. Gain values in decibels are highlighted on the left.
17 Working with Audio 3. (Option) Expand the audio track by doing one of the following: t Press and hold Ctrl+L (Windows) or Command+L (Macintosh). t Press and hold the Ctrl key (Windows) or the Option key (Macintosh) while dragging in the Track Selector panel. When the pointer changes to a cross, drag the cross to expand or shrink the track. If you expand the audio tracks enough, you can display volume data. The following illustration shows the expanded audio track with volume data. 4.
Using Automation Gain and Pan 5. Adjust the automation gain or automation pan keyframes by doing one of the following: t Click a keyframe and drag it up or down to increase or decrease the gain or pan at that point. If there is a point at the same position on another enabled track, it moves also. When you move the keyframe up or down, the corresponding Volume Level slider or Pan Value slider in the Audio Mixer tool also moves.
17 Working with Audio Automation Gain and Pan Mode This topic describes controls in the Audio Mixer tool that are active only in Automation Gain and Pan mode. In Automation Gain and Pan mode, record controls are available, as shown in the following illustration and described in the table.
Using Automation Gain and Pan You can do the following: • Use sliders in the Audio Mixer tool to adjust volume or pan values while you play the clip, as described in “Using the Audio Mixer Tool for Automation Gain and Pan” on page 791. For additional information, see “Audio Mixer Tool Fast Menu: Automation Gain and Pan Mode” on page 792 and “Using Keyboard Shortcuts with Audio Keyframes” on page 794.
17 Working with Audio 6. Move the blue position indicator to the section of audio that you want to adjust and mark In to Out points. 7. Click the Record button or press the B key to start recording your actions. 8. Listen to the audio and do one of the following: t Adjust the Audio Level sliders in the Audio Mixer tool as necessary. t Click the Pan Value display in the Audio Mixer tool and adjust the slider. 9. Click the Record button again to stop recording.
Using Automation Gain and Pan The following table describes the Audio Mixer tool Fast menu commands for Automation Gain and Pan mode: Command Description Filter Automation Gain on Track Removes approximately 50 percent of the automation gain keyframes in the marked region. If you press and hold the Alt key (Windows) or the Option key (Macintosh) while selecting the menu item, the system removes all keyframes in the selected area, except for the minimum and maximum peaks.
17 Working with Audio Using Keyboard Shortcuts with Audio Keyframes You can map the Fast Forward and Rewind buttons on your keyboard to speed your editing of audio keyframes. For more information, see “Mapping User-Selectable Buttons” on page 116. n The Audio Mixer tool must be active when you use the Fast Forward or Rewind keys. To use the Fast Forward and Rewind keys when editing automation gain or automation pan keyframes: 1. Click the Audio Mixer tool to make it active. 2.
Using Live Mix Mode The following illustration shows the Audio Mixer tool in Live Mix mode. Entering Live Mix Mode To enter Live Mix mode: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Live Mix Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Live mode setting. The Audio Mixer tool changes to Live Mix mode.
17 Working with Audio Using Live Mix Mode with an External Controller To use the 002 or Command|8 as a control surface in Live Mix mode: 1. Connect and configure the control surface. For more information, see “Using the 002 and the Command|8” on page 835. 2. Double-click Controller Settings in the Settings list and make sure that the Controller, Port, and Gain Controller Port options identify the controller you are using. The following illustration shows the controller settings for the 002. 3.
Using Live Mix Mode The following illustration shows the layout of the 002 and identifies the controls discussed in this section. Layout of the 002. Top: Console/channel view section (contains a pan knob for each track). Bottom left: Fader section. Bottom right: Transport and Navigational controls section (the Mix button is highlighted within this section).
17 Working with Audio The following illustration shows the layout of the Command|8 and identifies the controls discussed in this section. Layout of the Command|8. Top: Console/channel view section (contains a pan knob for each track). Bottom left: Fader section. Bottom right: Transport and Navigational controls section (the Mix button is highlighted within this section). 4. Enter Live Mix mode in the Audio Mixer tool (see “Entering Live Mix Mode” on page 795). 5. Play and listen to the audio. 6.
Using Live Mix Mode Using Live Mix Mode Without an External Controller You can use Live Mix mode without an external controller but you cannot change the volume or pan sliders in real time. To use the controls in the Audio Mixer tool: t Move the volume sliders or change the pan settings, and then play the audio. When you play the audio, the system uses your new settings without saving any automation gain information.
17 Working with Audio The following table describes the Audio Mixer tool Fast menu options in Live Mix mode: Command Description Set Live Mix to Default Sets the active tracks to 0 dB and does not modify any existing automation gain keyframes. Set Live Mix to Automation Sets the Live Mix mode settings to match the gain and pan settings where each track crosses the Position bar in the Timeline.
Using Live Mix Mode Live Mix Mode Example The following illustration shows the Live Mix mode settings on two tracks in the Timeline. Track A1 is at 0 dB, and the volume of track A2 is set to -45. The Live Mix mode settings are not represented in the Timeline, but you can hear the difference when you play the audio. Live Mix level settings at 0 dB and -45 dB The following illustration shows a sequence in the Timeline with Automation Gain applied.
17 Working with Audio The following illustration shows the result after choosing Set Live Mix to Automation In/Out from the Audio Mixer Fast menu. The portion of the Timeline between the In and Out on Track A1 is changed to 0 dB and the same portion of Track A2 is changed by -45 dB to match the Live Mix settings. The system adds automation gain keyframes at the In and Out points and creates ramps from the In and Out points to the new value.
Fading and Dipping Audio To apply a fade or crossfade: 1. Move the position indicator to a transition. 2. Click the Quick Transition button (which appears by default in the second row of buttons below the Record monitor or in the Timeline top toolbar). The Quick Transition dialog box opens. 3. Click the Add menu, and Select Dissolve. Only dissolves work with audio tracks. 4. Click the Position menu, and select the location for the dissolve. 5.
17 Working with Audio 7. (Option) Click the Target Drive menu, and select a media drive other than the default. 8. (Option) If you have In and Out points marked in your sequence, the Quick Transition dialog box contains the following two options: n - Apply to All Transitions (In -> Out) - Skip Existing Transition Effects The Skip Existing Transition Effects option is useful when you want to add a number of dissolves to a sequence that already has transition effects.
Audio Sample Rate Conversion Audio Sample Rate Conversion The following options are available for audio sample rate conversion: • You can perform sample rate conversion on a clip or sequence, as described in “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 805. • You can perform sample rate conversion as part of a Transcode operation. See “Using the Transcode Command” on page 465. • You can perform sample rate conversion as part of a Consolidate operation.
17 Working with Audio To change the sample rate for a sequence or an audio clip: 1. Select one or more sequences or audio clips in the bin. 2. Select Clip > Change Sample Rate. The Change Sample Rate dialog box opens. 3. Choose from the following options: Option Description Sample Rate Lets you choose between 32 kHz, 44.1 kHz and 48 kHz. The broadcast standard for most high-end video postproduction houses is 48 kHz. Choose the rate based on the requirements of your facility.
Mixing Down Audio Tracks 4. Select Special > Audio Mixdown. The Audio Mixdown dialog box opens. The Source Tracks area lists the source audio tracks and the Range area lists the start and end timecodes for the section of audio you have selected to mix down. 5. Select Mono or Stereo, and select the target track to which you want to mix down the audio. A mono mixdown goes to the next available mono track in the Timeline, and a stereo mixdown goes to the next available stereo track.
17 Working with Audio Splitting Stereo Tracks to Mono Tracks You can split a stereo audio track in the Timeline into separate mono tracks if you want to edit separate audio channels or if you need to export a sequence either to an older version of the Avid editing application or to Avid Pro Tools. You can also split a clip or sequence with stereo tracks to mono from a bin. You can split individual stereo tracks to mono, or you can split all stereo tracks in your sequence.
Using the Audio EQ Tool When the Avid editing application splits a stereo track to two mono tracks, it changes some audio properties of the track: • Removes stereo track effects such as RTAS plug-in effects. • Converts stereo AudioSuite plug-in effects to mono effects. • Applies any existing gain automation to the resulting mono tracks. • Applies any existing pan automation to the resulting mono tracks, panning odd-numbered tracks to the left and even-numbered tracks to the right.
17 Working with Audio To access the Audio EQ tool, do one of the following: t Select Tools > Audio EQ. t If one of the Audio tools is already open, click the Effect Mode Selector menu, and select EQ. The Audio EQ tool opens. Audio EQ Tool Features This topic describes the basic buttons and menus on the Audio EQ tool as well as the EQ-specific items on the tool.
Using the Audio EQ Tool Button n Description If you enable more than one track in the Timeline, the tracks are designated by plus signs (+) indicating the effect is applied to more than one track. 7 Display/Hide EQ Graph Lets you display or hide the Parametric Curve display. 8 Enable/Disable Lets you enable or disable the current EQ effect. When the button is yellow, EQ Effect the effect is enabled. (The button text “In” stands for “Inline.
17 Working with Audio 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 “Audio EQ Examples” on page 817. • The second band is the parametric midrange.
Using the Audio EQ Tool The following illustration shows the Audio EQ tool with the frequency response curve displayed and identifies the related areas of the tool. Example of shelf, parametric midrange, and turnover point information in the Audio EQ tool. The current value for all EQ parameters is 0 dB. Top: buttons that display turnover points (for the low shelf and high shelf curve) and bandwidth (in this case, 2 octaves) around the center point of the parametric curve.
17 Working with Audio 5. Click and hold the Track Selection Menu button in the Audio EQ tool, and select a track to be adjusted. Track Selection Menu button in the Audio EQ tool. The Track Selector panel in the Timeline updates to reflect your selection. If you enable multiple tracks in the Timeline, plus signs (+) appear next to the enabled tracks in the Audio EQ tool. 6. 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. Examples of an EQ effect icon in the bin and in the Timeline To save EQ settings in a bin: t Drag the effect icon in the Audio EQ tool to a bin.
17 Working with Audio Removing Audio EQ Effects with the Fast Menu You can remove audio EQ effects with the Audio EQ Tool Fast menu or with the Remove Effect button. The Audio EQ Tool Fast menu lets you remove EQ effects from one track or all enabled tracks and provides access to a number of predefined EQ templates. For a description of predefined audio templates, see “Using Audio EQ Templates” on page 820.
Using the Audio EQ Tool Removing Audio EQ Effects with the Remove Effect Button To remove an Audio EQ effect: 1. Move the position indicator to the effect in an active track. 2. Do one of the following: t In Source/Record mode, click the Remove Effect button. t In Effect mode, press the Delete key. Audio EQ Examples The following procedures are examples of two different ways to use the Audio EQ tool to remove excess bass from an audio track.
17 Working with Audio To compensate for the loss of bass by adjusting the low shelf: 1. Use the 2-octave midrange setting to create a wide midrange. 2. Move the midpoint of the parametric curve to 88 Hz (Windows) or 90 Hz (Macintosh). 3. Boost the midrange of the parametric curve to +7.7 dB.
Using the Audio EQ Tool To isolate the frequency: 1. Use the ¼-octave influence range. 2. Set the midrange EQ parameter to –15 dB. 3. Use the EQ Range slider to move the midpoint of the parametric curve until it isolates the bass frequency. In this case, the bass frequency to de-emphasize is approximately 80 Hz. Once you locate the frequency you want, you can adjust it as needed.
17 Working with Audio Using Audio EQ Templates Your Avid editing application provides a set of predefined audio EQ templates. The EQ templates are designed to fix problems that you often encounter with audio clips. For example, Tape Hiss Filter rolls off frequencies above 4 kHz. NTSC Hum Buster cuts the bass on frequencies that often cause hum on NTSC systems. The templates are accessible from the Fast menu in the Audio EQ tool. You can also add your own custom EQ templates to the Fast menu.
Using the Audio EQ Tool 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. For more information, see “Using The Console Window” on page 118.
17 Working with Audio To add an EQ template to Site_EQs_Bin: 1. Open the bin containing your EQ templates. 2. Select File > Open Bin. A dialog box opens. 3. Navigate to the bin named Site_EQs_Bin.avb in one of the following locations: (Windows) drive:\Program Files\Avid\Avid editing application\ SupportingFiles\Site_Effects (Macintosh) Macintosh HD/Applications/Avid editing application/ SupportingFiles/Site_Effects 4. Double-click the Site_EQs_Bin.avb file. The Site_EQs_Bin window opens. 5.
Recording Voice-Over Narration Recording Voice-Over Narration You can use the Audio Punch-in tool to record audio directly into the Timeline for voice-over narration. Recording voice-over narration directly into your Avid editing application saves you the extra steps of recording the narration to tape first, capturing the narration audio to your Avid system, and then editing the audio clip into the sequence.
17 Working with Audio The following illustration shows the features of the Audio Punch-In tool. The following table describes the features of the tool. 1 2 3 4 8 5 6 9 10 11 12 7 13 14 Audio Punch-In Tool Feature Description 1 Play In/Out button Starts playing with the ability to perform a real-time punch-in. The play loops from the In point to the Out point but stops looping once recording completes. This button blinks bright green while playing.
Recording Voice-Over Narration Audio Punch-In Tool Feature Description 8 Passthrough Mix Tool button Opens the Passthrough Mix tool so you can monitor the audio levels during recording. 9 Preroll and postroll Let you provide audiovisual cues before the recording begins and after it ends. For text boxes preroll, your Avid editing application backs up the position indicator for the prescribed number of seconds. You can hear the audio during preroll.
17 Working with Audio Audio Punch-in Tool Scenarios You can punch-in audio in several ways: • Scenario 1 — Set only an Out point. The position indicator is used as the In point. Set a preroll time. Click the Play In/Out button to loop continuously through the sequence. Click the Record button when you find what you want to punch-in, and then click the Record button again to end recording. • Scenario 2 — Set an In point and an Out point around the material you want to record. Set a preroll time.
Recording Voice-Over Narration To use the Audio Punch-In tool: 1. Load a sequence into the Timeline. 2. Select Tools > Audio Punch-In. The Audio Punch-In tool opens. For information on the buttons and other controls in the Audio Punch-In tool, see “Audio Punch-in Tool Features” on page 823. Audio Punch-In tool. Top, left to right: Play In/Out button, Record button, and Stop button. Center: Input Source menu. Bottom left: Input Channels buttons. Bottom right: Timeline Track menus. 3.
17 Working with Audio 6. Click the Play In/Out button or press the V key. Loop play begins over the entire sequence. If you set an In point and an Out point, loop play begins from the In point to the Out point. The Play In/Out button blinks bright green while playing. 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.
Recording Voice-Over Narration 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 826. 4.
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18 Using External Audio Devices Avid editing applications support the following external fader controllers or mixers for automation gain and pan recording or as control surfaces. n External fader controllers or mixers are optional. You do not need them to perform automation gain or pan recording on an Avid editing system. • 002 (Windows only) and Command|8 — These units support touch-sensitive flying faders. While recording automation gain, the faders automatically move.
18 Using External Audio Devices For more information, see “Using the Yamaha 01V/96 or the Yamaha 01V” on page 851. n The JL Cooper controllers and Yamaha mixing consoles do not support automation pan recording. The following table compares the external fader controllers and mixers.
Using an External Fader Controller or Mixer to Record Automation Gain 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 002, Command|8, or MCS-3000X, the unit passes control of the fader to you.For more information, see “Using the Latch Mode Feature on the 002 and Command|8” on page 844 or “MCS-3000X Buttons” on page 849.
18 Using External Audio Devices 5. Click the Record button to start recording your actions. 6. Depending on the fader controller or mixer, listen to the audio and do the following: t FaderMaster Pro — When you want to start recording volume information, move the corresponding fader. The system does not begin recording until you move a fader. t 002 (Windows only), MCS-3000X, and Command|8 — When you want to start recording volume information, either touch or move the corresponding fader.
Adjusting the Volume or Pan of Individual Keyframes Adjusting the Volume or Pan of Individual Keyframes To edit the volume for individual keyframes using an external fader controller or mixer: 1. Check the color of the position indicator lights. Position indicator lights If the external fader controller or mixer is on and is correctly attached to the system, at least one of the position indicator lights on each enabled track is blue. 2. Click an audio gain keyframe. 3.
18 Using External Audio Devices n Avid does not support the use of the Avid 002 with Avid video editing applications on Macintosh systems. However, you can use the Avid 002 with Avid Pro Tools on Macintosh systems, The following table compares some of the features of the 002 and Command|8.
Using the 002 and the Command|8 The following table describes the connection for each Avid input/output hardware device. In all cases, you also have the option to connect a black burst generator to the Ref/Ref Sync connector on your Avid input/output hardware device. Avid recommends using a black burst generator when performing an audio-only capture.
18 Using External Audio Devices Configuring the 002 or Command|8 Before you configure your 002 (for Windows systems only) or Command|8 with your Avid editing application, install and configure the device as described in the documentation that comes with the 002 or Command|8. n You must start the 002 or Command|8 before you start your Avid editing application.
Using the 002 and the Command|8 Mapping Buttons and Menu Commands for the Avid 002 or Command|8 On Windows systems, you can map the buttons in the 002 Controller Settings dialog box to buttons on the Command palette and to menu commands. The buttons on the 002 (for Windows systems only) and Command|8 can have different functions depending on the modifier key you press. You can either use the keyboard or press one of the Keyboard Modifier switches on the controller surface.
18 Using External Audio Devices The following illustration shows the Command|8 Controller Settings dialog box. Groups of controls in the Command|8 Controller Settings dialog box. Top, left to right: Console View controls, Transport and Navigation controls, Display Controls and Foot Switch. Center: Keyboard Modifier switches. Bottom: Open Command Palette button.
Using the 002 and the Command|8 To map a menu command to a button on a Controller Settings dialog box: 1. Click the Settings tab on the Project window. 2. Double-click Controller Settings. The Controller Settings dialog box opens. 3. From the Controller menu, select either 002 Controller (Windows only) or Command|8. 4. Click Edit Settings. The 002 Controller Settings dialog box or Command|8 Controller Settings dialog box opens. 5. Click Open Command Palette. The Command palette opens. 6.
18 Using External Audio Devices Using 002 or Command|8 Buttons to Change Focus in your Avid Editing Application Interface Many buttons perform different functions depending on which window in the Avid interface is active. For example, if the Timeline is active, pressing Play plays the sequence in the Timeline. If a bin is in Frame view and a clip is selected, pressing Play plays the footage in the clip. n c You cannot assign a function to the F1 key on a Command|8.
Using the 002 and the Command|8 Switching Between the 002 and Command|8 The button mappings for the 002 for Windows systems carry over to the Command|8. The button-mapping dialog boxes for the 002 and Command|8 are set up differently to match the layout of the controllers, but the same settings are used for both controllers.
18 Using External Audio Devices 9. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and select Filter Automation Pan on Track — In/Out. (Click the Track Selection button for a track to enable Filter Automation.) 10. (Option) If you delete too many keyframes, use the Undo command to restore them. 11. Repeat step 9 until you have decreased the number of keyframes to an acceptable level.
Configuring USB-to-MIDI Software for External Controllers Configuring USB-to-MIDI Software for External Controllers Once you have connected a fader controller to your Avid editing system, you can install USB-to-MIDI software and configure the software to recognize your fader controller. For information on connecting a fader controller, see “Connecting Serial and MIDI Port Devices” in the Help.
18 Using External Audio Devices 8. 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. 9. Click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders.
Configuring USB-to-MIDI Software for External Controllers 4. Click OK. 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.
18 Using External Audio Devices 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.
18 Using External Audio Devices 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 lets you easily punch-in and punch-out small sections of automation gain information. The second row from the top contains the Snap Mode buttons. For more information on button locations, see “MCS-3000X Buttons” on page 849. In Snap mode, the fader automatically stops recording as soon as you release the fader.
Using the Yamaha 01V/96 or the Yamaha 01V 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. Now, when you move fader 1, your Avid editing application will receive identical volume information for fader 2. 4.
18 Using External Audio Devices 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.
18 Using External Audio Devices 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.
18 Using External Audio Devices Using a GPI Device with the Audio Punch-In Tool Your Avid editing application can send signals to a V-LAN® VLXi® deck controller and a general-purpose interface (GPI) device that trigger GPI actions. These signals are sent when playback begins and ends, and also when recording with the Audio Punch-In tool begins and ends.
Using a GPI Device with the Audio Punch-In Tool GPI Signal Sequences GPI signal sequences differ, depending on whether or not you are using the Audio Punch-In tool with preroll and postroll. When you use the Audio Punch-In tool without any preroll or postroll, the following occurs: • Record Out is sent when recording begins. • Stop Out is sent when recording (and playback) ends.
18 Using External Audio Devices 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.
Using a GPI Device with the Audio Punch-In Tool To configure the V-LAN VLXi controller and the VLXi-GT GPI: 1. In the Project window, double-click Deck Configuration. The Deck Configuration dialog box opens. 2. Click Add Channel. 3. Click the Channel Type menu, and select VLAN VLX. 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.
18 Using External Audio Devices 6. Click OK. The GPI Settings dialog box opens. 7. Click OK to set the GPI. 8. Click Apply in the Deck Configuration dialog box. 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. To delete a GPI setting: 1.
Using a GPI Device with the Audio Punch-In Tool 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.
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19 Using Audio Plug-Ins This chapter describes how to access and use the audio plug-ins, including the Real-Time AudioSuite (RTAS) and AudioSuite plug-ins that come with your Avid editing application. • Real-Time AudioSuite Plug-Ins • Avid AudioSuite Plug-Ins • Core Avid Audio Plug-Ins Real-Time AudioSuite Plug-Ins Your Avid editing application supports up to five RTAS plug-in inserts on each audio track.
19 Using Audio Plug-Ins Inserting an RTAS Plug-In on a Track in the Timeline You can insert up to five RTAS plug-in track effects (inserts a through e) on an audio track. When you insert a plug-in effect to a track, you select the track where you want to apply the effect, which insert location you want to use on the track, and the specific effect you want to add to your sequence. You can also insert an RTAS plug-in track effect by dragging an RTAS effect template from a bin to your sequence.
Real-Time AudioSuite Plug-Ins To insert an RTAS plug-in using the Effect Palette: 1. In the Project window, click the Effects tab. The Effect Palette appears. 2. Click an RTAS effect category, select the RTAS effect you want, and drag it to the segment or to the RTAS insert button where you want to apply the insert. You can only insert mono effects on a mono track, and stereo effects on a stereo track. The Select Insert dialog box opens. 3.
19 Using Audio Plug-Ins Editing an RTAS Plug-In on a Track in the Timeline After you insert an RTAS plug-in on an audio track, you can access the plug-in controls by using the Track Control panel or the RTAS tool. When you select an RTAS insert button in the Track Control panel or an effect in the RTAS tool, the controls for the plug-in appear in the RTAS tool window.
Real-Time AudioSuite Plug-Ins To edit an RTAS effect: 1. If the Track Control panel is not visible, click the Track Control Panel button or click Timeline fast menu and select Track Control Panel. 2. Click the RTAS insert button for the RTAS effect you want to edit. If a plug-in is inserted on the track, the Select Effect button displays the name of the plug-in and the RTAS tool opens a window associated with the plug-in. The Compressor/Limiter Dyn 3 plug-in window displayed in the RTAS too dialog box.
19 Using Audio Plug-Ins 5. (Option) If you have multiple inserts on a track, do one of the following to change the plug-in controls that display in the RTAS tool: t Click the Select Track or the Select Insert button and select a different insert. t Press the arrow keys to cycle through the available inserts. Up and down arrow keys change the selected track. Right and left arrow keys change the selected insert. 6.
Real-Time AudioSuite Plug-Ins Ordering RTAS Inserts on a Track When you combine RTAS plug-ins on an audio track, the order in which you insert them affects how your Avid editing application applies the effects. This can produce different results for your sequence. Your Avid editing application processes RTAS effects in order from left to right as they appear in the Track Control panel (insert a through insert e).
19 Using Audio Plug-Ins Using RTAS Effect Templates If you apply an RTAS track effect and make a set of adjustments to it, you can quickly recreate the same sound on other tracks in your sequence or project. You can save an RTAS effect with its parameter settings to a bin as an effect template. You can then apply the template to other audio tracks at any time.
Avid AudioSuite Plug-Ins For information on Avid and third-party plug-ins, go to the Avid Web site at www.avid.com. For information on plug-ins that are not supported by your Avid editing application, see “AudioSuite Plug-in Limitations” on page 881. AudioSuite Plug-Ins Installation The installer for your Avid editing application automatically creates a Plug-Ins folder that stores AudioSuite plugins in the following location: (Windows) drive:\Program Files\Common Files\DSM\DAE (Macintosh) Macintosh HD/Lib
19 Using Audio Plug-Ins Applying an AudioSuite Plug-in to a Clip in the Timeline The following illustration shows the default layout of the AudioSuite window.
Avid AudioSuite Plug-Ins 3. (Option) To select multiple tracks, press the Shift key while you select additional tracks from the Track Selection menu. Plus signs (+) mark the additional tracks and indicate that the effect is applied to more than one track. 4. Click the Plug-In Selection menu, and select a plug-in. Your Avid editing application automatically applies the plug-in effect to the track or tracks in the Timeline. It applies stereo effects to stereo tracks and mono effects to mono tracks. 5.
19 Using Audio Plug-Ins 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.
Avid AudioSuite Plug-Ins Rendering AudioSuite Plug-in Effects You need to render all AudioSuite plug-ins before you can play back the effect. If you do not render the effect manually, your Avid editing application automatically renders the effect before it creates an audio mixdown or audio dissolve containing the effect. n When you render an audio effect on an AMA media clip, all audio media files are written as PCM (MXF), regardless of what you set for the audio file format.
19 Using Audio Plug-Ins 1 9 2 10 3 11 4 5 6 7 8 The following table describes the controls in the AudioSuite window. Control Description 1 Clip Selection menu Lets you choose the active clip. It lists the current active clip and other clips you dragged into the AudioSuite window. The window controls change to reflect the active clip. 2 Input Source Track selectors Let you choose the input source tracks for the effect.
Avid AudioSuite Plug-Ins 5 Control Description Status display Provides information about the current state of the DAE (the software that manages the AudioSuite plug-ins) and the currently applied effect. For stereo and multichannel processing plug-ins, the Status display identifies the maximum number of tracks that the plug-in can process. If you initially select more than the maximum, the system automatically disables tracks until it reaches the plug-in’s maximum number.
19 Using Audio Plug-Ins Mono, Stereo, and Multichannel Processing in AudioSuite Plug-Ins AudioSuite plug-ins let you select the following types of processing: • Mono processing only — This option is available for plug-ins that operate on only one mono audio track at a time. The other option (Stereo) appears dimmed. The plug-in applies the effect to each source track individually, in a serial manner.
Avid AudioSuite Plug-Ins Using AudioSuite Plug-ins to Create New Master Clips To create new master clips using the AudioSuite plug-ins: 1. Drag one or more master clips or subclips into the AudioSuite window. Your Avid editing application automatically enters Master Clip Processing mode and expands the AudioSuite window, if necessary. 2. (Option) You can click the Display/Hide Master Clip Controls button to display or hide the controls for processing a master clip.
19 Using Audio Plug-Ins Using AudioSuite Effect Templates When you create a new master clip, your Avid editing application also creates an AudioSuite effect template in the bin. This effect template contains a reference to the original master clip to which you applied the effect. Template names take the following format: • (Windows) Your Avid editing application combines the original clip name with the effect name — for example, Test Audio clip - AudioSuite Plug-In Effect: Normalize.
Avid AudioSuite Plug-Ins 6. If you have not already done so, name the template by clicking the text and typing a name. 7. Close the bin. Your Avid editing application does not save the effect to the bin until you close the bin. 8. Click the AudioSuite Fast Menu button to locate your new template. Using AudioSuite Plug-Ins in Stereo You can use some AudioSuite plug-ins on either mono or stereo tracks.
19 Using Audio Plug-Ins To respond to error messages: 1. Do one of the following: t Select Cancel to stop the rendering process. This lets you open the AudioSuite tool and then start rendering again. t Select Bypass to continue the rendering process. The plug-in effect does not render. In most cases, you should click Cancel and open the AudioSuite window.
Core Avid Audio Plug-Ins Audio Plug-Ins Plug-In Description BF Essential Clip Remover Repairs clipped audio recordings. For more information, see “BF Essential Clip Remover (AudioSuite)” on page 885. Bomb Factory BF76 Provides compression modeled after the 1176 studio compressor. For more information, see “Bomb Factory BF76 (RTAS and AudioSuite)” on page 885. Chorus Provides time-delay and pitch-shift effects, added to the clip to create a multi-layered sound.
19 Using Audio Plug-Ins Audio Plug-Ins (Continued) Plug-In Description Funk Logic Mastererizer Provides low-fidelity sound design capabilities for the creative degredation of audio. For more information, see “Funk Logic Mastererizer (AudioSuite)” on page 904. Gain Same as Normalize, but allows positive or negative gain adjustment. For more information, see “Gain (AudioSuite)” on page 905. Invert Inverts the polarity (phase) of the audio file.
Core Avid Audio Plug-Ins Audio Plug-Ins (Continued) Plug-In Description Time Shift Adjusts both the duration and the pitch of a selected clip. For more information, see “Time Shift (AudioSuite)” on page 920. Trim Attenuates an audio signal from -[Infinity] dB to +6 dB or [Infinity] dB to +12 dB. For more information, see “Trim (RTAS)” on page 924. BF Essential Clip Remover (AudioSuite) The BF Essential Clip Remover repairs clipped audio recordings.
19 Using Audio Plug-Ins Parameter Description Meter Determines how the meter operates. • GR shows the amount of gain reduction • –18 and –24 show the output level (calibrated so that 0VU indicates –18dB FS and –24dB FS respectively) • Off turns off the meter Chorus (AudioSuite) The Chorus plug-in modifies an audio signal by combining a time-delayed, pitch-shifted copy with the original signal. You can use it to thicken and add a shimmering quality to guitars, keyboards, and other instruments.
Core Avid Audio Plug-Ins Parameter Description LFO Width Lets you adjust the intensity of the LFO applied to the delayed signal as modulation. The higher the setting, the more intense the modulation. Use the LFO Waveform selector to select a sine or a triangle wave as a modulation source. Feedback Controls the amount of feedback applied from the output of the delayed signal back into its input. Negative settings provide a more intense effect.
19 Using Audio Plug-Ins The following table lists the Compressor/Limiter III plug-in parameters: Parameter Description Levels panel Phase invert button Inverts the phase (polarity) of the input signal, to help compensate for phase anomalies that can occur either in multi-microphone environments or because of mis-wired balanced connections. Input/Output level meters Show peak signal levels before and after processing.
Core Avid Audio Plug-Ins Parameter Description Compressor/Limiter panel (COMP/LIMIT) Knee Sets the rate at which the compressor reaches full compression once the threshold has been exceeded. As you increase this control, it goes from applying “hard-knee” compression to “soft-knee” compression. Values range from 0dB (hardest response) to 30dB (softest response). With hard-knee compression, compression begins when the input signal exceeds the threshold. This can sound abrupt and is ideal for limiting.
19 Using Audio 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.
Core Avid Audio Plug-Ins D-Verb (RTAS and AudioSuite) 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.
19 Using Audio 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. You can set this parameter to infinity on most algorithms for infinite reverberation times. Pre-Delay Lets you determine the amount of time that elapses between the original audio event and the onset of reverberation.
Core Avid Audio 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.
19 Using Audio 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 Avid Audio 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 Lets you control the balance between the delayed signal and the original signal. If you use 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.
19 Using Audio Plug-Ins EQ (AudioSuite) EQ plug-ins provide a set of high-quality options for adjusting the frequency spectrum of audio material: • 1-Band EQ III • 4-Band EQ III • 7-Band EQ III 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.
Core Avid Audio Plug-Ins 4-Band EQ III Parameters The following table lists the 4-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.
19 Using Audio Plug-Ins Parameter Description Type selectors The HPF, LPF, LF, and HF band sections have type selectors that toggle between the two available filter types for that section, as follows: Q • High-Pass Filter (HPF band) — Attenuates all frequencies below the Frequency setting at the selected slope while letting all frequencies above pass through. • Low-Notch EQ (HPF band) — Attenuates a narrow band of frequencies centered around the Frequency setting.
Core Avid Audio Plug-Ins 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.
19 Using Audio Plug-Ins Parameter Description Type selectors The HPF, LPF, LF, and HF band sections have type selectors that toggle between the two available filter types for that section, as follows: Q • High-Pass Filter (HPF band) — Attenuates all frequencies below the Frequency setting at the selected slope while letting all frequencies above pass through. • Low-Notch EQ (HPF band) — Attenuates a narrow band of frequencies centered around the Frequency setting.
Core Avid Audio Plug-Ins Expander/Gate III — Dynamics III (RTAS and AudioSuite) 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.
19 Using Audio 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.
Core Avid Audio 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.
19 Using Audio Plug-Ins Parameter Description Sum Inputs button When you use the Flanger plug-in in Stereo mode, a Sum Inputs button appears next to the right channel Input Level slider. Clicking the Sum Inputs button sums the source input signals (regardless of whether the input is mono or stereo) before processing them. The source signal then appears in the center of the stereo field, and the processed signal is output in stereo.
Core Avid Audio Plug-Ins Gain (AudioSuite) Gain lets you 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.
19 Using Audio Plug-Ins Lo-Fi Plug-In (RTAS and AudioSuite) Lo-Fi down-processes audio by reducing its sample rate and bit resolution. It is ideal for emulating the grungy quality of 8-bit samplers. The following table lists the Lo-Fi plug-in parameters: Parameter Description Sample Rate The Sample Rate slider adjusts an audio file’s playback sample rate in fixed intervals from 700 Hz to 33 kHz in sessions with sample rates of 44.1 kHz, 88.2 kHz, or 176.
Core Avid Audio Plug-Ins Parameter Description Noise Generator The Noise slider mixes a percentage of pseudowhite noise into the audio signal. Noise is useful for adding grit into a signal, especially when you are processing percussive sounds. This noise is shaped by the envelope of the input signal. The range of this control is from 0 to 100%. When noise is set to 100%, the original signal and the noise are equal in level.
19 Using Audio Plug-Ins Parameter Description Sum Inputs button When you use the Multi-Tap Delay plug-in in Stereo mode, a Sum Inputs button appears next to the Mix sliders. Clicking the Sum Inputs button sums the source input signals (regardless of whether the input is mono or stereo) before processing them. The source signal then appears in the center of the stereo field, and the processed signal is output in stereo.
Core Avid Audio Plug-Ins You can select one of two display options by clicking the corresponding button in the Options area of the plug-in window. Display Option Description Phase Meter The Phase Meter indicates the phase coherency of two channels of a multi-channel signal. The Phase Meter is green when the channels are positively out of phase (values from 0 to +1) and red when the channels are negatively out of phase (values from 0 to –1).
19 Using Audio Plug-Ins You can select the following meter types: Meter Description Peak (Default meter type) Uses the metering scale in DigiRack EQ III and Dynamics III plugins. RMS (Root Mean Square) was used in previous versions of the Avid SurroundScope plugin and uses the same “true” RMS metering scale. n The “true” RMS meter scale is not the same as the AES 17 RMS scale. For a sine wave with a peak value of –20 dBFS, the “true” RMS meter will show a value of –23 dBFS.
Core Avid Audio Plug-Ins Ping-Pong Delay (AudioSuite) The Ping-Pong Delay plug-in modifies an audio signal by adding a controllable delay to the original signal. It is ideal for adding spatialization and creating a characteristic ping-pong echo effect. The following table lists the Ping-Pong Delay plug-in parameters: Parameter Description Gain Adjusts the input volume of the Ping-Pong Delay to prevent clipping or increase the level of the processed signal.
19 Using Audio Plug-Ins Pitch Shift (AudioSuite) The Pitch Shift plug-in lets you adjust the pitch of any source audio file with or without a change in its duration. This powerful function allows sounds to be transposed a maximum of a full octave up or down in pitch with or without altering playback speed. Edit the Pitch Shift parameters by double-clicking and typing in any Destination text box or by dragging a slider to adjust.
Core Avid Audio 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.
19 Using Audio Plug-Ins Parameter Description Rectification • Positive Rectification — This rectifies the waveform so that its phase is 100% positive. The audible effect is a doubling of the audio signal’s frequency. • Negative Rectification — This rectifies the waveform so that its phase is 100% negative. The audible effect is a doubling of the audio signal’s frequency.
Core Avid Audio Plug-Ins Sci-Fi (RTAS and AudioSuite) Sci-Fi is designed to mock-synthesize audio by adding effects such as ring modulation, resonation, and sample & hold, that are typically found on older, modular analog synthesizers. Sci-Fi is ideal for adding a synth edge to a track. The following table lists the Sci-Fi plug-in parameters: Parameter Description Input Level Input Level attenuates signal input level to the Sci-Fi processor.
19 Using Audio Plug-Ins Parameter Description Modulation Type Modulation Type determines the type of modulation applied to the frequency of the selected effect. Depending on the type of modulation you select here, the sliders below it will change to provide the appropriate type of modulation controls. If the Mod Amount is set to 0%, no dynamic modulation is applied to the audio signal. The Effect Frequency slider then becomes the primary control for modifying the sound.
Core Avid Audio Plug-Ins Signal Generator (RTAS and AudioSuite) The Signal Generator plug-in produces audio test tones in a variety of frequencies, waveforms, and amplitudes. The plug-in has the following options: Option Description Frequency Sets the frequency of the signal in hertz. Values range from a low of 20 Hz to a high of 20 kHz. Level Sets the amplitude of the signal in decibels. Values range from a low of –95 dB to a high of 0.0 dB.
19 Using Audio Plug-Ins The Time Compression Expansion plug-in has special parameters that let you enter time compression or expansion values in different formats. They are located in the Source and Destination columns, and include the Ratio slider. You can also fine-tune the compression and expansion process in the following ways: • Press and hold the Ctrl key (Windows) or the Command key (Macintosh) to engage slider fine-tune mode.
Core Avid Audio Plug-Ins Parameter Description Crossfade The Crossfade slider lets you manually adjust the crossfade length in milliseconds to optimize performance of the Time Compression Expansion plug-in according to the type of audio material you process. The Time Compression Expansion plug-in achieves length modification by replicating or subtracting very small portions of audio material and very quickly crossfading between these alterations in the waveform of the audio material.
19 Using Audio Plug-Ins Time Shift (AudioSuite) The Time Shift plug-in provides high quality time compression and expansion algorithms and formant-correct pitch-shifting. Time Shift is ideal for music production, sound design, and post-production applications.
Core Avid Audio Plug-Ins The following table lists the Time Shift plug-in parameters. Parameter Description Audio You use the Audio parameter controls to select the most appropriate time compression and expansion mode for the type of material you want to process, and to attenuate the gain of the processed audio to avoid clipping.
19 Using Audio Plug-Ins Parameter Description Time You use the Time parameter controls to specify the amount of time compression or expansion you want to apply. The Original column displays the Start and End times, and Length of the edit selection. Times are displayed in units of the timebase selected in the Units menu. The Processed column displays the target End time and Length of the processed signal. Times are displayed in units of the timebase selected in the Units menu.
Core Avid Audio Plug-Ins Parameter Description Formant/Transient You use the Formant or Transient parameter controls to adjust either the amount of formant shift or the transient detection parameters, depending upon which mode you select in the Audio section. n The Formant parameter is available only when you select Monophonic as the Audio mode. The Transient section is available with slightly different controls, depending on whether you select Polyphonic or Rhythmic as the Audio mode.
19 Using Audio Plug-Ins Trim (RTAS) The Trim plug-in can be used to attenuate an audio signal from -[Infinity] dB to +6 dB or [Infinity] dB to +12 dB. For example, using a multi-mono Trim plug-in on a multi-channel track provides simple, DSP-efficient muting control over the individual channels of the track. This capability is useful, since Mute buttons mute all channels of a multi-channel track and do not allow muting of individual channels within the track.
20 Exporting Frames, Clips, or Sequences This chapter describes how to export files for use with another system, application, or platform.
20 Exporting Frames, Clips, or Sequences Understanding Export You can export material directly from your Avid editing application to many supported file types. You can export an individual frame, a selected region of footage, or an entire clip or sequence. c If a power failure or application error occurs during the export process, the entire file is unusable. You need to repeat the export process. The only exception is a sequential file sequence, where all frames up to the point of failure are usable.
Preparing to Export a Sequence Depending on how you choose to export, you can: • Use the Export setting or Send To template you select without modification. • Modify the options in the setting or template for use in the current export only. • Modify the Export setting and save the modifications to that setting. • Modify the setting or template and save the modifications as a new Export setting or a new custom Send To template.
20 Exporting Frames, Clips, or Sequences Preparation Task Description Make sure all audio clips have the same sample rate. For more information, see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 805. You can also use OMFI or AAF to change the sample rate. For more information, see Guidelines for Exporting OMFI and AAF Files. Check and adjust all pan and audio levels. All current Pan and Level settings in the sequence are carried to the exported media.
Exporting With the Send To Templates If you are sending to DigiDelivery® or to Digidesign Pro Tools®, a template options dialog box opens. Otherwise, the Send To dialog box opens. 3. (Option) If you are sending to DigiDelivery or to Digidesign Pro Tools, select one of the template options in the following table. The last three options are only available when you send to Pro Tools over an Avid Unity™ system using Send To > Digidesign Pro Tools on Avid Unity.
20 Exporting Frames, Clips, or Sequences 4. (Option) Type a new file name in the Filename text box. 5. (Option) If you are sending to Sorenson Squeeze, click the Options button to select Sorenson Squeeze settings. For more information, see the Sorenson Squeeze documentation. 6. Click Set to browse to the drive and folder where you want to store the exported file. Whenever you return to a Send To dialog box, the destination folder that you set last appears in the destination field. 7.
Exporting With the Send To Templates 8. Review the current Export settings to ensure that they meet your needs. The Export Setting Summary area at the bottom of the dialog box lists all the settings that affect the current export. 9. (Option) If you need to make any Export settings changes, click the appropriate Options button, make the changes, and click Save. Avid recommends that you use the default options in the Send To templates wherever possible.
20 Exporting Frames, Clips, or Sequences Your DVD is burned. Send To Templates Reference The following table describes the Send To templates that Avid supplies. If you create custom Send To templates, they also appear as Send To menu commands. n If you are running an Avid Studio package, an Avid Studio products Send To submenu might appear in your Avid editing application.
Creating a Custom Send To Template for Exporting to Third-Party Applications Template Description Avid DS You can send a sequence to Avid DS as an AFE file (Windows) or an AAF file (Macintosh). The Avid DS Send To template does not auto-launch Avid DS by default. If you have Avid DS installed on your system and want to launch it automatically, you can select Auto Launch and browse for Avid DS.
20 Exporting Frames, Clips, or Sequences 3. (Option) Type a new file name in the Filename text box. 4. Click Set to browse to the drive and folder that you want to be the default location for storing the exported file. Whenever you return to a Send To dialog box, the destination folder you set last appears in the destination field. 5. (Option) Do the following if you want the third-party application to automatically launch after you export. 934 a.
Exporting With the Export Command or the Drag-and-Drop Method d. Select Auto Load Exported File(s) if you want the files you export to automatically load in the third-party application. e. Select Reveal file if you want the system to search available drives, open Windows Explorer or the folder (Macintosh), and highlight related media files. 6. Make any changes to the Export settings that you need by clicking the appropriate Options button, making the changes, and then clicking Save. 7.
20 Exporting Frames, Clips, or Sequences n c Your Avid editing application saves an intermediate file in a temporary folder as part of the export process. Ensure that the temporary folder is on a drive with plenty of space. You can view and change the location of the temporary folder in the General Settings dialog box. To save time when exporting with the drag-and-drop method, locate the temporary folder on the drive where you want to store the exported file.
Exporting With the Export Command or the Drag-and-Drop Method To export a frame, clip, or sequence by using the Export menu command: 1. Identify and select the material you want to export as described above. 2. Do one of the following: t Select File > Export. t Right-click the clip or sequence, and then select Export. The Export As dialog box opens with a default file name in the File name text box (Windows) or the Save As text box (Macintosh), based on the file type.
20 Exporting Frames, Clips, or Sequences 3. Click the Export Setting menu, and select a setting. This setting determines the format of the exported file. The default setting is labeled Untitled. Any settings that appear in the Settings list in the Project window appear in the menu. For information on the standard settings, see “Common Export Settings” on page 1227. For information on creating custom settings, see “Customizing Export Settings” on page 939. 4.
Customizing Export Settings Your Avid editing application exports the file. To export a frame, clip, or sequence by dragging and dropping: 1. Identify and select the material you want to export as described above. 2. In the Settings list in the Project window, select the setting you want to use for export. You can select the default Export setting, the preset templates, or any additional Export setting you have created.
20 Exporting Frames, Clips, or Sequences 7. Click OK. You can select this new setting whenever you export. To modify an Export setting or create a new Export setting while performing an Export by using the Export menu command: 1. Click Options in the Export As dialog box. The Export Settings dialog box opens. For complete information on using the Export menu command, see “Exporting With the Export Command or the Drag-and-Drop Method” on page 935. 2.
Guidelines for Exporting OMFI and AAF Files the OMFI representation of the sequence created in your Avid editing application. The OMF Interchange format is the result of cooperative efforts of many industry and standards partners and Avid. 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.
20 Exporting Frames, Clips, or Sequences OMFI and AAF Export 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 “Export Settings: OMFI, AAF, and AFE” on page 1230.
Exporting Projects and Bins Using AFE Files (Windows Only) Setting Guidelines Export Method: Video • Mixdown (Video Details tab) The Mixdown with Video Edits option is only compatible with Pro Tools v7.2 or later, and takes advantage of the fact that Pro Tools v7.2 or later can display multiple video tracks. This lets you add a video track that shows the video edits.
20 Exporting Frames, Clips, or Sequences To create an AFE file: 1. Do one of the following: t To include all bins in a project, click the Project window t To include the contents of a single bin, open and click the bin. 2. Select File > Export The Export Project As or the Export Bin As dialog box opens. 3. If it is not already selected, select Avid File Exchange from the Save As Type or Export Bin As list at the bottom of the dialog box. 4. Select a location, name the file, and click Save. 5.
Exporting QuickTime Movies To export an AFE from Avid Media Composer to Avid DS: 1. Right-click the sequence and select Send To > Avid DS. The Send To: Avid DS dialog box opens with the default export template. 2. Optional: Change the file name. 3. Click Set to browse to the driver and folder to which you want to export the sequence, and click OK. 4. Select Export Settings 1. All current settings are displayed in the summary panel below. 5.
20 Exporting Frames, Clips, or Sequences Option Description Same as Source This option is available when you select QuickTime Movie from the Export Settings dialog box. When you select this option, your Avid editing application copies the media files directly with no resolution change. This method is fast and creates output that uses the same quality as your source files. Same as Source is the best method to use if you plan to process the video on another system, using a third-party application.
Installing or Copying the Avid Codecs for QuickTime on Other Systems You might install additional QuickTime Export formats on your system. These formats appear in the Export As menu of the Export Settings dialog box with tildes (~) before their names. These formats have not been qualified and are not supported by Avid. Timecode Preservation With QuickTime Import and Export Avid supports the import and export of QuickTime movies while preserving their timecode information.
20 Exporting Frames, Clips, or Sequences 2. Copy the codecs you need to a removable device or network server. The following table describes the codecs: Codec (Windows) Codec (Macintosh) Description AvidAV1xCodec.qtx QTAvidOneToOneXCodec Avid 1:1x codec (Uncompressed MXF 8-bit or 10-bit) AvidAVd1Codec.qtx QTAvidDV100Codec Avid DVCPRO codec (MXF) AvidAVdnCodec.qtx QTAvidDNXHDCodec Avid DNxHD codec (MXF) AvidAVdvCodec.
Exporting from a Third-Party QuickTime or AVI Application Exporting from a Third-Party QuickTime or AVI Application To export files from a QuickTime compatible application or from an AVI compatible application on a Windows system for import (or reimport) into your Avid system: 1. Ensure the applicable codec is installed on the system. See “Installing or Copying the Avid Codecs for QuickTime on Other Systems” on page 947. 2.
20 Exporting Frames, Clips, or Sequences Creating a Custom Profile for Windows Media Export (Windows Only) To create a custom profile for Windows Media: 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. 4. In the Export As menu, select Windows Media. 5. (Option) Select Use Marks.
Exporting Media to XDCAM Devices When Use Enabled Tracks is selected, your Avid editing application 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 either Video or Audio. 8. Choose your custom profile settings. For more information, see “Export Settings: Windows Media (Windows Only)” on page 1242. 9. Click Save As Custom Profile. 10. Browse to the location where you want to save the .prx file. 11.
20 Exporting Frames, Clips, or Sequences See “XDCAM and XDCAM EX Formats and Resolutions” on page 395 for the formats and resolutions you can export to the XDCAM device. Exporting to XDCAM You can export NTSC and PAL projects. Depending on the format (SD or HD), you need to use the appropriate XDCAM device (if you export SD media, use an XDCAM SD device; if you export HD media, you must use an XDCAM HD device).
Exporting Your Clip or Sequence to a P2 Card 6. (Option) Select Use Enabled Tracks. The system uses tracks that are enabled in the timeline. To export all the tracks in the sequence, deselect this option. 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.
20 Exporting Frames, Clips, or Sequences 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 “Export Settings: P2” on page 1251. If you do not connect to a P2 device or camera, the options are not available. 5.
Using Avid Interplay Media Services The Export Settings dialog box opens. 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 sequence or clip determine starting and ending frames for the export. 6. (Option) Select Use Enabled Tracks. When Use Enabled Tracks is selected, your Avid editing application uses tracks that are enabled in the Timeline. To export all the tracks in the sequence, deselect this option.
20 Exporting Frames, Clips, or Sequences Service Description Avid Interplay Let you automate the process of encoding a sequence into formats that are suitable ProEncode for distribution on the Web, on DVD, or on CD-ROM. The ProEncode services use other computers in the Avid Interplay environment to automatically perform the encoding tasks. This lets you quickly send a sequence to be processed and then continue with your editing.
21 Generating Output Your Avid editing application provides tools that let you generate output for individual tracks or entire sequences to various videotape or audiotape formats.
21 Generating Output • For HD projects, determine if you need to crossconvert or downconvert your sequence, as described in “Preparing for Converting HD Formats” on page 969. • Set audio output levels and other output options, as described in “Preparing for Audio Output” on page 972. • Mix down multiple audio tracks, if necessary, as described in “Mixing Down Audio Tracks” on page 806. • Prepare the record tapes, as described in “Preparing Record Tapes” on page 978.
Selecting the Sync Source for Output Selecting the Sync Source for Output You can use one of the following sources as sync for output: • Black burst or house sync through the reference input (REF or REF SYNC) of your Avid input/output hardware • Tri-level sync through the HD Tri-Level Sync input or the REF SYNC input on some Avid input/output hardware devices • Internal timing from your Avid input/output hardware. The source that you use depends on your production environment and your project needs.
21 Generating Output Sequence Format Tri-level Frame Rate Setting Black Burst 1080p/24 1080p/24sF — 1080p/25 1080p/25sF PAL n If 1080p/25sF is not available, you can use 1080i50. 1080i/50 1080i/50 PAL 1080i/59.94 1080i/59.94 NTSC Using LTC Timecode for Output You can use LTC (longitudinal or linear timecode) for output from your Avid editing application through some Avid input/output hardware devices.
Selecting the Sync Source for Output An additional option has been added to the Digital Cut tool to select the LTC Out during preroll option. To add LTC Out During Preroll 1. Load your sequence in the Record monitor. 2. Select Output >Digital Cut. 3. Select the LTC out during preroll option. 4. Press the Play Digital Cut button. LTC Output During Digital Scrub (When Using Nitris DX only) LTC timecode will be output when the blue bar in the record monitor is moved, that is, during “digital scrub.
21 Generating Output Selecting a Video Output Signal Use the Video Output tool to select an analog video output signal. The options that are displayed depend on your hardware configuration. n • If you are using an Avid Adrenaline, Avid Nitris DX, or Avid Mojo DX input/output hardware, all outputs on the hardware are active. Select an analog signal from the Output menu to calibrate for output. See “Calibrating for Video Output” on page 962.
Calibrating for Video Output Method (Continued) Description (Continued) Calibrate/sync output signals in Advanced users and house engineers should follow the steps for adjusting and a production facility conforming output signals to house standards, as described in “Calibrating the System with Passthrough Signals” on page 966.
21 Generating Output Basic Video Output Calibration You can perform basic output calibration when working with a standalone editing workstation or in a production environment that does not require advanced calibration of horizontal phase or use of test patterns according to specific house standards. n c Calibrating video output requires external Waveform and Vectorscope monitors. If you do not have external Waveform or Vectorscope monitors, keep the Video Output tool preset values.
Calibrating for Video Output 2. Click the Options tab. 3. Click the Sync Lock menu and select Internal, Reference, or TriLevel (if available) to lock your output connection to the appropriate signal. Some input/output hardware configurations automatically detect TriLevel sync and do not display it as an option. n Sync for output comes from the reference input (REF) or HD TriLevel Sync input on the Avid input/output hardware or from internal timing.
21 Generating Output n The Video Output tool does not display basic calibration controls for Serial Digital, DV, or HD-SDI. All basic levels remain in digital form and cannot be adjusted from within your Avid editing application. For H-phase adjustment of a Serial Digital output signal, see “Calibrating the System with Passthrough Signals” on page 966. The Video Output tool displays the appropriate parameters for the selected video format, as described in “Video Output Tool Settings” on page 1284. 9.
Calibrating for Video Output This advanced form of calibration is an alternative to Video Input tool Calibration settings for each source tape, and involves calibrating tapes at the source device, using external time-base correction. You need a signal generator and external Waveform and Vectorscope monitors to calibrate the system with passthrough. To calibrate using a passthrough signal: 1. Connect a source signal with a test pattern from a signal generator. 2. Select Tools > Video Input Tool. 3.
21 Generating Output 12. Save this setting with an appropriate name: a. Click the Settings menu in the Video Output tool, and select Save As. b. Type a name. c. Click OK. The Video Output setting, a Site setting, applies to all users and all projects on the system. The Video Input setting you saved and named Default is recalled each time a new tape is loaded for capturing in the current project only. Luminance Settings for Video Output Use the following luminance settings for video output.
Preparing for Converting HD Formats Adjusting Phase Controls The Video Output tool provides controls for adjusting horizontal phase globally for output. Horizontal phase, or H Phase, is the horizontal blanking interval used to synchronize the timing of two or more video signals. SC Phase (subcarrier phase) controls are also available for timing two or more signals based on the color burst portion of a composite or S-Video signal.
21 Generating Output Example of downconversion formats. Top: the HD image. Bottom, left to right: Anamorphic, Letterbox, and Center Cut SD downconverted images. 5. For some input/output hardware configurations, you need to set the Component format and HDMI format when you select Downconvert: a. Click the Component Format menu and select SD Interlaced. The Component Format menu appears when you select Downconvert. b. Click the HDMI format menu and select either SD Interlaced or SD Progressive.
Preparing for Converting HD Formats HD Sequence Format Crossconverted HD Format Downconverted SD Format 720p/50 1080i/50 25i PAL 1080p/23.976 1080i/59.94 720p/59.94 30i NTSC n When crossconverting the 1080p/23.976 format, your Avid editing application adds 2:3 pulldown frames to create a sequence with the correct frame rate. 1080p/24 n 1080i/59.
21 Generating Output Preparing for Audio Output You can use the Audio tool to generate and customize a calibration tone and to monitor global output levels. Use the Audio Project settings to adjust the global output levels and specify other output settings. The following procedures provide information about preparing for audio output. For information on audio mix procedures such as adjusting volume and pan for selected tracks or audio mixdown, see “Working with Audio” on page 745.
Preparing for Audio Output Calibrating Global Output Levels You can use the meters in the Audio tool to monitor the global output level of your sequence. If necessary, you can use the Output Gain slider (master attenuator) in the Output tab in the Audio Project Settings dialog box to adjust the output from the system. These adjustments affect levels for all output tracks to both the speakers and record devices. c You should leave this output level at the factory preset of 0 dB.
21 Generating Output 3. Select Tools > Audio Tool. The Audio tool opens. Left to right: Reset Peak button, In/Out toggle buttons, and Peak Hold Menu button in the Audio tool 4. Click the In/Out toggle buttons above the meters to display O for Output. 5. Play back one of the following sources of reference audio by doing one of the following: t Click the Peak Hold (PH) Menu button, and select Play Calibration Tone. t Play back a representative sequence or clip containing audio. 6.
Preparing for Audio Output Audio Project Settings dialog box: Mixed Mode Selection Menu button (top), All or Timeline Track Maps menu and Which Set of Track Maps button (left), Output Track Maps (right), Output Format and Channels options (bottom) 3. Click the Mix Mode Selection Menu button, and select a type of output. - Select Stereo to mix the monitored audio tracks into a stereo pair (two paired mono channels) with applied pan effects.
21 Generating Output 4. (Option) Depending on your type of output, you can make additional adjustments: - By default, Stereo directs the mixed tracks to mono output channels 1 and 2. You can also direct mixed tracks to output channels 3 & 4, 5 & 6, or 7 & 8. - If you select Direct Out, you can select All or Timeline from the “All or Timeline Track Maps” menu - All lets you preset values for all possible audio tracks, with each track treated as a mono track.
Preparing for Audio Output To enable 16 channels of audio output: 1. Double-click Audio Project Settings in the Settings tab of the Project window. 2. Click the Output tab. 3. Click the Mix Mode Selection menu button, and select Direct Out. 4. Click the “Allow 16 channel output” button. 5. Select the tab representing the output format to which you want to assign the additional output channels. 6. Select “On outputs 9–16.” 7. Select Grp 2 from the “Which Set of Track Maps” menu. 8.
21 Generating Output The way to prevent the automatic conversion is to turn off the SDI output. Then you can change to 96 kHz and output an Analog or AES/EBU signal without any conversion. You can change to SDI output later and output a 48 kHz embedded audio signal using hardware sample rate conversion. Using an XLR Adapter for Consumer-Level Analog Output When you select Consumer level for Analog Output, analog outputs are attenuated by 6 dB.
Preparing Record Tapes For complete instructions on recording a frame-accurate digital cut, see “Using the Digital Cut Tool” on page 982. n Some Avid input/output hardware supports LTC output for recording onto tapes. For more information, see “Using LTC Timecode for Output” on page 960. DV cameras or decks controlled through a 1394 connection do not support commands for frame-accurate recording.
21 Generating Output Enabling Assemble-Edit Recording Insert editing is the default setting for the Digital Cut tool. You can also use Assemble-Edit settings in your Avid editing application, along with the assemble-editing capabilities of your record deck, to quickly record frame-accurate digital cuts without striping entire tapes in advance.
Using ExpertRender to Prepare Effects for a Digital Cut Using ExpertRender to Prepare Effects for a Digital Cut Real-time effects might exceed the capabilities of your system and cause dropped frames during a digital cut. You can choose to have your Avid editing application select and render effects that might cause dropped frames. To prepare effects for a digital cut: 1. Load the sequence you want to output. 2. Select the entire sequence or mark IN and OUT points for the area you want to output. 3.
21 Generating Output Using the Digital Cut Tool The Digital Cut tool provides controls when you record a sequence to tape. The Digital Cut tool has the following operating modes: • Remote mode lets you control the record deck by using the deck controller in the Digital Cut tool. This mode provides frame-accurate control when you record a sequence to tape. See “Recording a Digital Cut to Tape (Remote Mode)” on page 986.
Using the Digital Cut Tool In Remote mode, the Digital Cut tool includes its own deck controls for: • Cueing a record deck from the Digital Cut tool. • Cueing the tape and adding an IN point. This capability applies when you click the menu in the deck control area, and select Mark In Time. The Mark OUT button does not appear in the deck controller section of the Digital Cut tool because it has no effect on digital cuts. Also, the Mark OUT and Duration text fields are read-only. You cannot alter them.
21 Generating Output 1 Sequence Track buttons 6 Ref Lock icon 2 Enable Track buttons 7 Deck controls 3 Play Digital Cut button 8 Deck Selection menu 4 Halt Digital Cut button 9 Deck control area 5 Preview Digital Cut button 10 Timecode text boxes Selecting a Deck in the Digital Cut Tool The Deck Selection menu in the Digital Cut tool contains a list of all decks that were connected to the system, turned on, and initialized when you opened the Digital Cut tool.
Using the Digital Cut Tool The Deck Selection menu also lists three commands: Command Description Adjust Deck Opens the Deck Settings dialog box. Changes you make apply to the selected deck. For information on Deck settings, see “Deck Configuration Settings” on page 1217. Auto-configure Lets you automatically configure the selected deck with the default deck settings for that deck.
21 Generating Output 5. Click the yellow Preview Digital Cut button. The Digital Cut tool goes through the motions of an insert edit and shows you how the tape will appear before, during, and after the cut, but does not actually change the master tape. You can then modify your digital cut, if you want, before it is committed to the master tape. 6. (Option) To stop the preview at any time, do one of the following: t Press the space bar. t Click the Halt Digital Cut button.
Using the Digital Cut Tool 6. Click the Digital Cut Safe Mode button (selected by default) to allow your Avid editing application to notify you of conditions that might cause dropped frames. During a digital cut, real-time effects or HD clips in an SD sequence can drop frames. Digital Cut Safe Mode analyzes and identifies real-time effects that might cause dropped frames during the digital cut and lets you render them.
21 Generating Output 12. Click the menu in the Deck Control options area, and select an option to indicate where to start recording on the tape. Option Description Sequence Time Starts the recording at a timecode existing on tape that matches the start timecode of the sequence. If you intend to record several sequences to tape one after another, this option requires resetting the start timecode on each sequence to match appropriate IN points on the tape.
Using the Digital Cut Tool 18. (Option) To stop the recording at any time, do one of the following: n t Press the space bar. t Click the Halt Digital Cut button. After assemble-edit recording, a freeze frame is usually added after the OUT point for 1 second or more, depending upon the record deck model. This provides several frames of overlap for the next IN point before the control track and timecode break up.
21 Generating Output Recording a Digital Cut to Tape (Local Mode) Recording in Local mode lets you manually control your record deck by using the controls on the deck. This mode is useful when you need to use non-Avid-controlled decks, such as consumer-grade VHS or Hi8. To record a digital cut to tape: 1. Make sure you selected the appropriate device for the material you are recording. See “Using the Digital Cut Tool” on page 982. 2. Load a sequence into the Record monitor.
Output Mode Resolution Options 7. (Option) Select Stop on Dropped Frames. When you select this option, if the system detects a dropped frame during output, the digital cut stops. You can fix the frame with ExpertRender and then continue. For more information, see “Using ExpertRender to Prepare Effects for a Digital Cut” on page 981. 8. (Option) Select the Add Black at Tail option and enter a timecode to add black at the end of the digital cut. 9. Select Local in the Deck Control options area. 10.
21 Generating Output Output Device display (top), Output Mode menu (bottom left), and Bit Depth menu (bottom right) in the Digital Cut tool 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.
Outputting DV 50 and DVCPRO HD Media Directly to a DV Device 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.
21 Generating Output 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. For more information, see “Using the Digital Cut Tool” on page 982. 6. Perform the digital cut. Selecting Output and Timecode Formats for 23.
Selecting Output Formats for 23.976p, 24p, and 25p Projects Selecting Output Formats for 23.976p, 24p, and 25p Projects To output a particular format: 1. Select 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.
21 Generating Output Output Format Reference for 23.976p, 24p, and 25p Projects The following table provides reference information for the Output formats (play rates) available in the Digital Cut tool for 23.976p, 24p, and 25p projects. Digital Cut Tool Output Format (Play Rate) Target Project or System, and Recording Media 23.
Output Format Reference for 23.976p, 24p, and 25p Projects Digital Cut Tool Output Format (Play Rate) 24 (PAL) Target Project or System, and Recording Media Audio for film projection; DAWs (video for reference only) Picture and sound to PAL tape; sound to DAT or mag tape Description Plays back the sequence at 24 fps. This play rate tells your Avid editing application to record audio at the film rate. For 25p projects, audio is slowed down 4 percent.
21 Generating Output The following table summarizes the change in audio rates for 23.976p output options. Output Play Rate Source Output Audio Rate 23.976 NTSC 23.976 fps 48 kHz (no change) 24 NTSC 23.976 fps 48.048 kHz (0.1% speedup) 29.97 NTSC 23.976 fps 60 kHz (25% speedup) 24 PAL 23.976 fps 48.048 kHz (0.1% speedup) 25 PAL 23.976 fps 50.016 kHz (4.
Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding You can output drop-frame and non-drop-frame NTSC timecode simultaneously from a 23.976, 24p, or 25p project. A broadcast production company might need to output drop-frame timecode for a broadcast master while outputting non-drop-frame timecode to track NTSC film pulldown.
21 Generating Output Indicating the Destination Timecode Rate When you select 24 (NTSC) as your output format, the Destination Timecode Rate menu (labeled Dest. TC Rate) opens. Select a timecode rate that matches the timecode rate of the recording device, such as a DAT deck. If you select 29.97 fps as your Dest. TC Rate, the sequence duration displayed in the Timecode Duration display of the Digital Cut tool is slightly shorter than the duration shown in the Timeline.
Performing an Insert Edit with Pulldown To select the video pulldown cadence: 1. Select Output > Digital Cut. 2. Click the Video Pulldown Cadence menu, and select one of the following: - Standard 2:3:2:3 - Advanced 2:3:3:2 Performing an Insert Edit with Pulldown If you are working in an NTSC 24p project, and you need to insert a segment into a sequence that has already been cut to tape, your Avid editing application automatically adjusts the insert edit to maintain the correct pulldown.
21 Generating Output 11. Click the Play Digital Cut button. Your Avid editing application cues the record deck, then plays and records the insert edit. Your Avid editing 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.
Changing the Default Pulldown Phase for Sequences 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.
21 Generating Output Understanding DV Digital Cut Delay DV digital cut delay affects the timing of the DV data sent to the DV device for a digital cut. Increasing the digital cut delay will cause the sequence stream to be to delayed when it is sent to the DV device when digital cut begins. While the system is waiting for this delay, the first frame of the sequence is continually sent to the DV device. There are several components to this setting.
Delaying the Sequence for a Digital Cut Delaying the Sequence for a Digital Cut You can delay the sequence stream being sent to a DV device during a digital cut. This can help you to ensure that the first frame recorded is the first frame of your sequence. For more information, see “Understanding DV Digital Cut Delay” on page 1004. To delay the sequence for a digital cut: 1. Click the Settings tab in the Project window. 2. Double-click Deck Preferences. The Deck Preferences dialog box opens. 3.
21 Generating Output Using FilmScribe The FilmScribe application, available with some Avid editing applications, provides tools for creating frame-accurate cut lists and change lists from 23.976p, 24p, 25p, and matchback projects. You can use these lists to conform a work print, a film negative, audio tracks, or videotape transfers. For information on how to use FilmScribe, see the FilmScribe Help. To start FilmScribe: t Select Output > FilmScribe.
Understanding Matchback How Matchback Works The matchback process refers to the video edit information for your sequence and performs a conversion to create a matching 24-fps cut list. Because of the difference in frame rates between video and film (30 fps or 25 fps for video versus 24 fps for film), the conversion of video edit points might fall within a film frame, requiring the addition or subtraction of a frame in that edit event in the resulting cut list.
21 Generating Output Vertical Blanking Information Avid editing applications using Avid input/output hardware let you work with vertical blanking information in some SD material. You can choose whether to display 5 lines above each field in NTSC and 8 lines above each field for PAL and whether to preserve the lines when you perform a digital cut.
Vertical Blanking Information Displaying and Preserving Vertical Blanking Information Avid editing applications using Avid input/output hardware automatically preserve the extra lines of vertical blanking information when you capture footage. You can choose whether to display the lines and whether to retain the lines when you output your sequence as a digital cut.
21 Generating Output VBI menu in the Video Output tool 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). 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.
Vertical Blanking Information Editing a Sequence with Vertical Blanking Information After a sequence is created and output from an Avid editing system, some facilities apply VBI information to the tape to add information such as closed captioning. Often, the tape is recaptured so that the sequence can be repurposed for another market. The VBI option in the Video Output tool lets you display the VBI information and maintain the information when you output the repurposed sequence.
21 Generating Output 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.
Vertical Blanking Information Comparison with Vertical Blanking Information on Meridien Systems The following table shows the differences between how VBI is treated on systems with Meridien hardware (for example, Media Composer v12.0 or Avid Symphony v5.0) and systems with current Avid input/output hardware.
21 Generating Output Preserving HD Closed Captioning and Ancillary Data Unlike SD closed captioning data, which is transferred in the vertical blanking interval (VBI), HD closed captioning and ancillary data packets are transferred in the HD-SDI data stream. In certain circumstances, your Avid editing application lets you capture closed captioning and other ancillary data in HD, preserve this data during editing, and output the data through the HD-SDI port of your Avid input/output hardware.
Preserving HD Closed Captioning and Ancillary Data Data Track Method The Data Track method stores ancillary data as a separate MXF file. A D (Data) track is added to your sequence, along with the video and audio track. You can edit clips on the D track, just as you would any other clip.
21 Generating Output Adding a Data Track You can add one Data track directly to the Timeline or you can extract the ancillary data from a video clip to create the Data track. If you have a clip with ancillary data that you brought in through the Legacy method, the best way to bring this clip onto a data track is to use the procedure by extracting ancillary data from a clip.
Preserving HD Closed Captioning and Ancillary Data Moving from Legacy Method to Data Track Method The following explains what you need to know when you capture ancillary data with the Legacy method and move to the Data Track method. You might need to perform additional steps when you move sequences or clips from the legacy method to the data track method. • You should not mix SMPTE 436M (data track) ancillary data media with legacy method media.
21 Generating Output How Ancillary Data Embedded in DNxHD Media Is Handled in the Data Track Method and the Legacy Method Data Track Method Legacy Method Create a D track Not Applicable Not Applicable Play Not Applicable Yes (with Avid Nitris DX, Avid Mojo DX or Avid Adrenaline only) Edit Not Applicable Not Applicable Capture Not Applicable Yes (with Avid Nitris DX, Avid Mojo DX or Avid Adrenaline only) Transcode Not Applicable Not Applicable Yes (with Avid Nitris DX, Avid Mojo DX, or Avid
Preserving HD Closed Captioning and Ancillary Data Legacy Method When you use the legacy method, 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) or software only systems do not support capture and output of HD ancillary data.
21 Generating Output To switch the ancillary data feature on and set options for ancillary data in 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. From the Ancillary Data Mode Setting, select SMPTE 436M or Legacy. The system enables all four slots. 4. Select a Data Type for each slot you want to display ancillary data for. The default DID and SDID number displays for that slot. 5.
Preserving HD Closed Captioning and Ancillary Data To set options for ancillary data preservation: 1. Double-click Media Creation in the Settings list. 2. Click the Capture tab. 3. Select Capture Ancillary Data. A check mark appears. 4. Select a Data Type for each slot you want to display ancillary data for. The default DID and SDID number displays for that slot. n The DID and SDID information captured with the data clip displays in the bin. 5. Select Enabled next to the appropriate slot. 6.
21 Generating Output The following table lists the DID and SDID number values for the four ancillary data packets that your Avid editing application can capture and preserve by default: n Data Packet DID SDID CEA 708 61 01 CEA 608 61 02 AFD 41 05 ATC 60 60 The slot 3 default has changed from DTV to AFD, which is different from previous releases. To set options for ancillary data preservation for a single slot: 1. Select Tools > Console. 2.
Preserving HD Closed Captioning and Ancillary Data To view the current status of each slot: 1. Select Tools > Console. 2. Type the following command: Embeddnxccoptions Capturing Ancillary Data with a Data Track While you capture video and audio clips, if your Avid editing system has an Avid Nitris DX or an Avid Mojo DX attached, you can also capture clips with ancillary data.
21 Generating Output n You cannot generate an edit decision list (EDL) for a sequence that contains a data track. To work around this, you can either remove the data track or maintain a version of the sequence that does not contain a data track. To perform a data mixdown: 1. Select the Record Track Monitor button in the Track Selector panel for the data track. 2. Mark an In point and an Out point around the area to mix down, or clear the In and Out points to mixdown the entire sequence. 3.
Preserving HD Closed Captioning and Ancillary Data You can also right-click the clip or sequence in a bin and select Export to Device. The XDCAM Export Settings dialog box opens. 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.
21 Generating Output 10. Click OK. Sony applies its own file-naming convention. All exported clips are given a new sequential name of Cxxxx.mxf, for example, C0019.mxf. A progress bar appears displaying the new Sony XDCAM HD sequential clip name. The sequence is exported.
22 Conforming and Transferring Projects This chapter contains information about conforming and transferring projects. • Understanding Conforming • Preparations for Conforming • Conforming Workflow • Transferring Project and Media Files Between Avid Editing Systems Understanding Conforming You can move projects and media from one Avid editing system to another and preserve your edits and effects.
22 Conforming and Transferring Projects Transferring to Avid DS You can find specific information for transferring projects to Avid DS in the Avid DS Online Editor’s Guide (available from the Avid DS Support Center or the Avid Customer Support Knowledge Base) and in the Avid DS Help. To access the Knowledge Base, go to www.avid.com/onlinesupport. c Do not include mixed rate clips in sequences that you intend to finish on an Avid DS system.
Preparations for Conforming HD Online SD Offline Notes 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/59.94 30i NTSC You cannot change between these project formats because the edit rates are different, see “Editing at 60 fps” on page 1373. Use an NTSC 30i project for offline editing, then open a new 720p/59.94 project for online editing.
22 Conforming and Transferring Projects File Naming To make it easier to move files between products and across platforms, use the following guidelines when naming files: • Do not use the following characters in project, bin, or other file names: /\:*?”<>| The Windows system does not recognize these characters in file names and substitutes other characters, possibly making the file name unrecognizable.
Preparations for Conforming Preparing Graphics for the Online Session The most critical step when preparing graphics for online is to make sure that the elements you are going to import are created correctly. The following table summarizes various requirements. Aspect Requirement Notes Frame size (4:3) Square pixels: These are the preferred sizes for NTSC and PAL. You can also use 648 x 486 (NTSC) 720 x 540, in some situations, for both NTSC and PAL.
22 Conforming and Transferring Projects Preparing Effects for the Online Session In general, effects from older systems are automatically conformed by newer systems. In some cases, effects are automatically promoted to new versions. However, be aware of the following issues: • If you work in an offline SD project with complex effects and you plan to conform as HD, you should downconvert the media anamorphically.
Conforming Workflow Before you start the process described in the following topics, review the information provided in “Preparations for Conforming” on page 1028 to ensure that your offline materials are ready for transferring and conforming. For specific information about HD and film-based workflows, see “Working in High-Resolution Projects” on page 1341.
22 Conforming and Transferring Projects Transferring Project Files and Media Files Transfer project files and media files if you want to transfer media files to another Avid editing system. The following table describes the main options for transferring project and media files.
Conforming Workflow n If the clips and sequences do not link automatically, select File > Refresh Media Directories. Open a Transferred or Shared Project If you transferred project files, the original project appears in your list of projects. (Depending on the location into which you copied the files, you might need to use the Browse button in the Select Project dialog box to locate the project.) When you open the project, all project settings and bins appear.
22 Conforming and Transferring Projects Step 4: Recapture Media If you did not transfer media, or you need to recapture your media at a higher resolution, use one of the options described in the following table. Recapture Option Description Recapture master clips This option offers complete flexibility to make revisions, but takes the most time and disk space. Recapture a sequence This option provides a one-step process, but limits your options during capturing.
Conforming Workflow Step 5: Import and Lay in the Final Audio Mix In most cases, the final audio mix is done either as part of the offline edit or on a digital audio workstation such as Pro Tools. In either case, import the OMFI or the AAF file. For more information, see “Transferring Audio Files” on page 1046, “Importing Files” on page 297, and “Using Pro Tools and Interplay” in Avid Interplay Best Practices.
22 Conforming and Transferring Projects Step 7: Re-create Title Media After you transfer or import all files, you might need to re-create title media if you did not render the titles, or if you want to change the resolution of the titles. For more information, see “Re-creating Title Media” in the Help. If you have the same font on both systems, the equivalent font appears automatically when you re-create title media.
Conforming Workflow Redefining a Font Replacement You can redefine a font replacement at any time. However, your new font choice applies only to a title currently in the Title tool and future replacements. It does not affect the font replacement information in titles you have worked with previously. Your Avid editing application saves font relationships as a site settings file named AvidFontSub.avt.
22 Conforming and Transferring Projects Step 8: Refine Effects and Perform Color Correction After reviewing the sequence, you might find you need to adjust effects, add effects, or perform color correction. Common effects and color correction tasks during finishing include: • Motion tracking or stabilization. See “Motion Tracking and Stabilization” in the Help. • Reformatting media to different aspect ratios. See “Using the Reformat Effects” in the Help. • Intraframe editing or scratch removal.
Transferring Project and Media Files Between Avid Editing Systems Step 10: Create the Final Masters Your Avid editing application offers you a range of output formats you can use for your final master. The output formats that are available depend on the format of your source footage. • You can use the Reformat effect or the Pan and Scan effect to create 4:3, 14:9, and 16:9 versions of the sequence.
22 Conforming and Transferring Projects The devices and technologies you use for transfer depend on which method of transfer you choose. • Moving project folders, settings, and media files requires large amounts of storage space because of the size of media files. • Transferring only the project folders and settings files requires minimal storage space. Devices and Methods for Transferring Files Options for transferring files vary depending on the source and destination systems.
Transferring Project and Media Files Between Avid Editing Systems Method Requirements Restrictions CD-ROM None HFS+ format is recommended. Do not use ISO 9660 format, which truncates file names. Do not use hybrid CD-ROMs, unless you create them with the Joliet extension, which supports long file names. DVD None None, if you use the native DVD format. E-mail E-mail software that supports attachments See the documentation for the e-mail software.
22 Conforming and Transferring Projects Method Requirements Restrictions External 1394 (FireWire) drive or USB2 drive None Size of the disk. Floppy disk PC-formatted disk Holds 1.4 MB. CD-ROM None Do not use ISO 9660 format, which truncates the file names. Files copied from a CD-ROM to a Windows system retain the read-only attribute. To change this attribute, see the Windows documentation DVD None None, if you use the native DVD format.
Transferring Project and Media Files Between Avid Editing Systems Method Requirements Restrictions Project Files, OMF Files, and AAF Files (including embedded media) Server-based network Macintosh and Windows integration Rename files to avoid problems with illegal characters. See “System Compatibility for the Online Session” on page 1029. External 1394 (FireWire) drive or USB2 drive HFS+ format Size of the disk. Floppy disk PC-formatted disk Holds 1.4 MB.
22 Conforming and Transferring Projects Transferring Audio Files You might need to transfer audio separately from video. For example, you might send audio from an offline system to a Pro Tools system for sweetening, and then send the finished audio to a Symphony system for syncing with final video. When you move your sequence to an audio application, you need to export the sequence as an OMFI or an AAF file (see “Guidelines for Exporting OMFI and AAF Files” on page 940).
Transferring Project and Media Files Between Avid Editing Systems Transferring and Working with Sound Designer II Audio Files from Macintosh Systems Sound Designer II audio media is a Macintosh format and is not supported on Windows. To transfer Sound Designer II media to a Windows system, export an OMFI or AAF composition that includes the media and convert the media to AIFF-C or WAVE. Use the Export command or the Send To command.
22 Conforming and Transferring Projects Transferring Project Files and Media Files Using Nonshared Storage You can use removable nonshared storage devices to transfer media files between Avid editing applications. You can move the project and user files you need to open projects, bins, or user profiles on another Avid system by copying them to the same drive that holds the media files, or to some other removable device or network location. You can also transfer a Site Settings file between Avid systems.
Transferring Project and Media Files Between Avid Editing Systems 2. Select the project folder, user folder, or Site Settings file you want to transfer (the folder uses the project name or user name you provide). You do not need to copy the Statistics folder, which is located in the project folder. This folder might be large and is not needed by the transferred project. The default locations for application folders are listed in the following table.
22 Conforming and Transferring Projects 7. Copy the folders or files to the appropriate folder. The folder locations might be slightly different, depending on the product and how it was installed. Ignore any Resource folders or files that appear. 8. Start your Avid editing application. The new project appears in the Project window. New user settings appear in the Users list. Site settings are active for all projects at the new location. c Do not open a project directly from the transfer device.
Transferring Project and Media Files Between Avid Editing Systems Transferring Media Files from Media Composer Version 7.2 or Avid Xpress Version 2.1 Video media from Media Composer v7.2 or Avid Xpress v2.1 is not directly compatible with later releases, so you must export with specific format settings. The import process might be slow, and your media loses some quality. For more information about working with Media Composer v7.2, Avid Xpress v2.
22 Conforming and Transferring Projects 1052
23 Working with Avid Interplay from an Avid Editing System Avid Interplay is an asset management system that provides a central database of assets (such as master clips, subclips, sequences, and graphics) that you use during your production process. If you are working on an Avid editing system, you can think of these assets as remote assets.
23 Working with Avid Interplay from an Avid Editing System The following illustration shows the Project window alongside an opened bin from an Avid editing project, and the corresponding folder in the Interplay Window. Top: the Project window and opened bin from an Avid editing application. Bottom: the corresponding folder in the Interplay Window.
Administrator Settings for Avid Editing Clients You can work directly with assets in the Interplay Window, or you can copy (check out) assets to a bin in an Avid editing project. The bin then contains local copies of the remote assets. You can modify the local copy of an asset, but the changes remain local until you save the changes (check in) to the database.
23 Working with Avid Interplay from an Avid Editing System - Can modify locators: If yes, allows the selected user or group to modify or delete locators. If no, a user of an Avid editing application can still modify locators on an asset, but can check in only the asset, not the locator metadata (an error message is displayed). In most cases, if an administrator wants a user to create locators, select “yes” for both “Can create locators” and “Can modify locators.
Using the Interplay Window The Interplay Window on a Macintosh OS X system (top) and on a Windows system (bottom) There are some differences between working from Interplay folders and working from bins. For instance, you cannot edit a sequence in an Interplay folder. To edit a sequence, you copy it to a bin, edit it, and then you copy the modified sequence to the Interplay database for sharing.
23 Working with Avid Interplay from an Avid Editing System Connecting to the Avid Interplay Database Before you can connect to the Avid Interplay database and access remote assets, you need to configure the Interplay settings in your Avid editing application. You also need be connected to the Avid Unity media network. If you are working in a shared-storage workgroup, your Avid Unity system administrator needs to configure your system for proper access to the Avid Unity workspaces.
Connecting to the Avid Interplay Database 4. In the Interplay Server Name text box, type the computer name or IP address of your Interplay server, and then click OK. It is important to type the correct computer name or IP address. This is the location where the editing system looks to access the database and to check in and check out Avid assets. 5. In the Settings list, double-click Interplay User. 6. In the User Name text box, type a user name. This name must be a known user on your workgroup system. 7.
23 Working with Avid Interplay from an Avid Editing System 10. Double-click Interplay Folder. 11. Click the Set button, and a directory tree is displayed for the Interplay database that you logged in to. 12. Select a folder to use as the default Interplay Root Folder for your project and click OK. The Interplay Folder setting defines where assets are checked into the Interplay database when you use menu commands, automatic checkin, or Frame Chase capture.
Connecting to the Avid Interplay Database Logging in to Interplay and Opening the Interplay Window If you configured the Interplay User settings to log in to the database when you select your project, the Interplay Login dialog box opens when you start your Avid editing application. If you did not select this option, then you must open the Interplay User settings before logging in to the database. After you log in, you have the option of opening the Interplay Window.
23 Working with Avid Interplay from an Avid Editing System 2. In the Interplay Login dialog box, type your password, and click OK. When the blinking yellow light in the upper left of the dialog box turns green, you are connected to the Interplay database and the dialog box closes. n You can override the Host Name and User Name settings in the Interplay Login dialog box. 3. If an Interplay Folder path is not set, the Interplay Folder setting dialog box is displayed.
Editing with Remote Assets To change the default path, or turn off the display of this message box: 1. Do one of the following: t In the verification message box, click Change Setting. t Click the Settings tab in the Project window and double-click Interplay Folder Settings. 2. To change the default path (Interplay Root Folder), click Set and navigate to the folder you want to use, then click OK. 3.
23 Working with Avid Interplay from an Avid Editing System Checking Avid Assets Out Using the Interplay Window You can copy assets from the Interplay database to a bin. This process is called checking out. Checking out assets from the Interplay database creates a local copy of the assets but does not create a local copy of the associated media. When you check the assets back in to the Interplay database, Interplay looks for any changes to the assets and copies the changes back to the database.
Editing with Remote Assets 5. Click the assets you want to check out, and drag them to your bin. The bin displays the clips and sequences. If you check out an asset and modify it (for example, you edit a sequence), and check out the asset again without checking in the modified version, the following warning is displayed: This message could also appear if another user has checked in a modified version of the asset after you checked it out.
23 Working with Avid Interplay from an Avid Editing System Checking Out the Same Sequence to More than One Bin Avid editing applications have a long-standing internal rule that a sequence cannot simultaneously exist in two open bins. If you Alt-drag a sequence from one bin to another, the sequence is copied and renamed as it is placed in the second bin. n It is possible, under some circumstances, to have the same sequence in two bins when one or both bins are closed.
Editing with Remote Assets To check Avid assets out of the Interplay database using Interplay Access: 1. Start your Avid editing application, and either create a new project or open a bin in an existing project. 2. Log on to the Interplay database, as described in “Connecting to the Avid Interplay Database” on page 1058. 3. Open Interplay Access and browse or search for the assets you want. 4. Select the assets you want to use and drag them to a bin.
23 Working with Avid Interplay from an Avid Editing System Method Description Automatically Automatic checkin is a setting enabled in the Application Database Settings in the Interplay check in assets by Administrator that lets you check in assets when closing a bin, a project, or your Avid closing a bin editing application. Automatic checkin is optimized to work more quickly than the menu commands.
Editing with Remote Assets t To check in a sequence for use in a Pro Tools project, select File > Check In to Interplay for Pro Tools or right-click and select Check In to Interplay for Pro Tools. The Interplay Engine checks in the assets to a subfolder of the folder you specified in the Interplay Folder Settings (see “Configuring Interplay Settings on the Editing Workstation” on page 1058). 4.
23 Working with Avid Interplay from an Avid Editing System 4. (Option) Right-click the Projects folder in the Interplay Window, select Create a New Folder, and then type a name for the folder. 5. Select one or more items in the bin and drop them in a folder in the Interplay Window. Automatically Checking In Avid Assets You can automatically check in media assets by setting the appropriate option in the Avid Interplay Administrator.
Editing with Remote Assets Automatic checkin is optimized to work more quickly than the menu commands described in “Checking Avid Assets In to the Interplay Database” on page 1067. If a bin contains any new or modified items, it is processed exactly as when you use the menu commands. If there are no new or modified items in a bin, no items in the bin are checked in. In this case, automatic checkin will not detect that items have been deleted from the bin’s database folder.
23 Working with Avid Interplay from an Avid Editing System Editing with Avid Assets in the Interplay Window You use the Interplay Window to access master clips and sequences in the Interplay database. When you locate the appropriate Avid asset, you can open the asset in the Source monitor where you can preview it and mark In and Out points. You can then add the assets to a sequence in the Timeline just as you would any other media clip.
Editing with Remote Assets The Interplay Window displays the Avid assets in the Interplay folder. 5. Select the clip or sequence you want to view 6. Do one of the following: t Drag the clip or sequence from the Interplay Window into the Source monitor. t Double-click the clip or sequence in the Interplay Window. The Source monitor displays the remote asset.
23 Working with Avid Interplay from an Avid Editing System Editing with In-Progress Clips The following procedure outlines the basic steps for editing using an in-progress clip when you use the Interplay Window to access the Interplay database. To edit using an in-progress clip: 1. Open your Avid editing application, open a project, and open the Interplay Window. 2. In the Interplay Window, navigate to the folder that holds the clip that you want to use for editing.
Editing with Remote Assets Limitations When Working With In-Progress Clips During the Frame Chase capture process the final length of the clip is unknown until the capture is complete and the clip information is updated. Because of this, there are some limitations when you work with in-progress clips.
23 Working with Avid Interplay from an Avid Editing System Function Description Decompose The restrictions for decompose are the same as consolidate and transcode. The right-side handles cannot exceed the known media duration of the clip. Non-Check-in export You cannot export an in-progress clip or a sequence that contains in-progress clips because the final clip length might be different than the clip length at the time of the export.
Managing Remote Assets with the Interplay Window The Interplay Window lists your active content, which includes sequences, master clips, and all the media files and metadata files that are associated with them. The Media Directory panel lets you browse and navigate to all of the shared Interplay folders that contain those Avid assets available for your project. The Research panel shows you the contents of the selected folders and the results of media searches.
23 Working with Avid Interplay from an Avid Editing System Reservation icons on folders in the Media Directory panel Only the owner of a reservation or the Administrator can remove the reservation or delete or move the contents of a reserved folder. Since folders can have reservations set by multiple users with multiple end dates, you might not be able to move or delete the asset even if you placed a reservation on it.
Managing Remote Assets with the Interplay Window The clip icon of any clip that contains restricted material displays the Restriction icon. For more information about working with restrictions, see “Working with Restricted Material” on page 390. You can use extended search capabilities to search for restrictions in Avid Interplay Access. Use the DRM property. For general information about searching in Interplay Access, see the Avid Interplay Access User's Guide.
23 Working with Avid Interplay from an Avid Editing System c Because a duplicated clip points to the same media as the original clip, be careful when deleting duplicated clips that you do not unintentionally delete media. If you have delete access control within your workgroup, you can delete Avid assets in the Interplay Window and in bins. You can also delete copies of the assets (links). Users without delete access cannot delete assets or perform any tasks that require delete privileges.
Managing Remote Assets with the Interplay Window To delete clips or sequences from a folder or bin: 1. Select the clips and sequences that you want to delete. 2. Press the Delete key. The Delete dialog box opens, showing information about the selected items. 3. Select the items for deletion. 4. (Option) Delete the associated media files for master clips and effect clips.
23 Working with Avid Interplay from an Avid Editing System To create a shortcut to a folder in the Interplay Window: t Right-click an Interplay folder in the Media Directory panel, and select Create Shortcut. The shortcut appears in italic above the Interplay database name in the Media Directory panel.
Managing Remote Assets with the Interplay Window Location of the Layout button in the Interplay Window To modify the display properties of the Interplay Window, do one of the following: t Click the Layout button until the layout you want displays in the Interplay Window. t Press Ctrl+L (Windows) or Command+L (Macintosh) until the layout you want displays in the Interplay Window.
23 Working with Avid Interplay from an Avid Editing System Available column headings are determined by selections in the Interplay Administrator. Added columns appear only for the selected folder and for the current work session. If you want to use the same columns the next time you log in to your Avid editing application, you must save a custom layout. See “Using Custom Layouts for the Interplay Window” on page 1092. • Create new column headings in the Research panel.
Managing Remote Assets with the Interplay Window To add columns to the Research panel: 1. Right-click a column heading and select Select Working Set of Columns. The Select Working Set of Columns dialog box opens. The dialog box displays three sections of properties as defined in the Interplay Administrator, separated by dotted lines: System, Custom, and Resolutions. 2. Select the columns you want to display. For MultiRez clips, you can select a column for each resolution (1:1, DV 25, and so on).
23 Working with Avid Interplay from an Avid Editing System Selecting Values for a Custom Property You can select a property value from a list for a custom property rather than typing it in. You can select this value from a column in the Research Panel.Your system administrator needs to first create a custom property in Interplay Administrator and then import an XML file containing the values into Interplay Administrator.
Managing Remote Assets with the Interplay Window 4. Locate the custom column in the Research panel and click it in the cell for the asset you want to label. The list of values for the property appears. 5. Select a value. The value appears in the cell.
23 Working with Avid Interplay from an Avid Editing System 6. Select values for additional assets. Selecting Asset Types To select asset types and reference clips to display: 1. Right-click the Type column heading in the Research panel and select Set Type Filter. n You need to right-click the column heading. If you right-click elsewhere in the column, the option does not appear in the context menu. The Set Type Filter dialog box opens. 2. Select the asset types you want to display. 3.
Managing Remote Assets with the Interplay Window Media Objects in the Interplay Window The following table describes the media objects that you can display in the Interplay Window.
23 Working with Avid Interplay from an Avid Editing System Adding Comments in the Interplay Window You can add comments to the clip information in any media tab in the Research panel to help you keep track of details not displayed in the other columns. To add a comment to the Research panel: t Click in the Comment column of the clip you want to annotate, and type your comment in the Comment text box. You might have to scroll right to see the Comment column.
Managing Remote Assets with the Interplay Window Navigating to a Folder that Contains a Selected Asset You can use a command to navigate (go to) to a folder that contains a selected asset. To navigate to a folder that contains a selected asset: 1. Right-click an asset in the Research panel (any tab) and select Open Enclosing Folder. The Open Enclosing Folder dialog box opens and displays a list of folders that contain the asset. 2. Select a folder and click OK.
23 Working with Avid Interplay from an Avid Editing System To update your asset with the change from the server: t Select Update from Server. The asset is updated with the change from the server. To update the server with your change: 1. Select the version of the property you want to see in the Merged Value text box: - Original - the state of the asset before you accessed it - Your change - this version is selected by default - Current (on server) You can select any combination of the versions.
Managing Remote Assets with the Interplay Window Location of the Layout menu in the Interplay Window The Enter Column Layout Name dialog box opens. 4. Type a name for the custom view, and click OK. The layout is saved and added to the list of layouts in the Layout menu. You can select any of the saved layouts from the Layout menu. To change to another saved layout: t Click the Layout menu, and select a saved menu from the menu list.
23 Working with Avid Interplay from an Avid Editing System To open multiple folders in the Interplay Window: 1. Click the active tab in the Research panel, and then click the Pin button. The contents of the folder are saved as a tab in the Research panel. 2. In the Media Directory panel, click a new folder. The folder opens as a new tab in the Research panel.
Managing Remote Assets with the Interplay Window To change the font from the Research Panel context menu: 1. Right-click and select Set Research Panel font. The Select Research Panel Font dialog box opens. n On Windows XP, the dialog box lets you select and preview options other than Font and Size, but those options do not affect the font in your Avid editing application. You can change only Font and Size. 2. Select a font and a size, and then click OK. The font in the panel changes.
23 Working with Avid Interplay from an Avid Editing System To change the font from the Directory panel context menu: 1. Right-click in the Directory panel and select Set Directory Panel font. The Select Directory Panel Font dialog box opens. 2. Select a font and a size, and then click OK. The font in the panel changes. Finding Remote Assets You find Avid assets stored in the Interplay database by searching Interplay folders.
Finding Remote Assets To perform a search: 1. Do one of the following: t Click the Media Services tab. t If a Media Services tab is not open, press Ctrl+F (Windows) or Command+F (Macintosh). t Right-click an Interplay folder, and select Search. The folder you select is selected in the Search In field. The Media Search tab opens in the Research panel. 2. In the Text field, type a search term. You can specify words or characters for your search.
23 Working with Avid Interplay from an Avid Editing System 7. Click the Time menu, and select a time parameter for your search. If you accept the default settings and specify no additional attributes, the search returns all clips, subclips, and sequences in the database. 8. Click Search. The Interplay Window performs the specified search and returns all matching records in the Research panel. 9. (Option) To start a new search, click Reset and then repeat steps 2 through 8.
Capturing Media to Interplay Folders Attribute Options Description Category Examples: Weather Sports Local News Lets you specify which category to search. The specific categories listed for this attribute are defined by the system administrator.
23 Working with Avid Interplay from an Avid Editing System 3. Select Tools > Capture. The Interplay Folders selection button (top) and the Bin menu (bottom) in the Capture tool 4. Set up the Capture tool as described in “Capturing Media” on page 231. 5. Click the Interplay Folders selection button. 6. Click the Bin menu, and select an open Interplay folder. 7. Start capturing as usual.
Connecting to Avid Unity and Mounting Workspaces Mounting Workspaces on an Avid Unity MediaNetwork System If your system is connected to an Avid Unity MediaNetwork, you can mount Avid Unity MediaNetwork workspaces before you begin your editing session by using Avid Unity Connection Manager. For complete information, see the Avid Unity MediaNetwork client documentation. To connect to Avid Unity MediaNetwork and mount workspaces: 1. Make sure your Avid editing application is not running. 2.
23 Working with Avid Interplay from an Avid Editing System The Avid Unity Connection Manager dialog box opens and displays a list of all the MediaNetwork workspaces to which you have access. Workspaces that are already mounted appear selected in the workspace list. 5. In the workspace list, select the workspace or workspaces you want to mount. To select all workspaces, click the Select All button. To deselect all workspaces, click the Clear All button. 6.
Connecting to Avid Unity and Mounting Workspaces n You must be connected to an Avid Unity ISIS System Director before you can mount workspaces. For more information, see the Avid Unity ISIS Client Manager Help. To connect to the Avid Unity ISIS network: 1. Do one of the following: t (Windows) If the Client Manager icon is not available in the Windows taskbar, select Start > All Programs > AvidUnityISIS > ClientManager. t (Windows) Click the Client Manager icon in the Windows taskbar.
23 Working with Avid Interplay from an Avid Editing System 2. In the Menu panel, click Connections. The Connections list displays all available System Directors. 3. Select the System Director you want to connect to from the Connections list. You can sort the Connections list by clicking the Sort menu and selecting Hostname or Connection Status. 4. Do one of the following: t (Windows) If your ISIS system is configured to use the Windows user name and password for your local system, select OS Login.
Connecting to Avid Unity and Mounting Workspaces To mount Avid Unity ISIS workspaces on your system: 1. Open the Client Manager. 2. In the Menu panel, click Workspaces. The Workspaces list opens. The Mount button appears green for workspaces that are already mounted. You can sort the Workspaces list by clicking the Sort menu and selecting the appropriate name, capacity, or status. You can also filter the list by Workspace or System Director name. A Workspaces list in the Avid Unity ISIS Client Manager.
23 Working with Avid Interplay from an Avid Editing System Mounting Workspaces on an Avid Unity ISIS System (Version 2.0 and Later) If your system is connected to an Avid Unity ISIS media network, you can use the Client Manager to mount a workspace before you begin your work session. n You must be connected to an Avid Unity ISIS System Director before you can mount workspaces. For more information, see the Avid Unity ISIS Client Manager Help. To connect to the Avid Unity ISIS network: 1.
Connecting to Avid Unity and Mounting Workspaces The Avid Unity ISIS Client Manager. The three panels contain the Connections list (top), the Workspaces list (center), and messages (bottom). Highlighted on the left is the Workspaces filtering area. Highlighted on the right are the Retrieve Details buttons and the toolbar. 2. Select the System Director you want to connect to from the Connections list. 3.
23 Working with Avid Interplay from an Avid Editing System To mount an Avid Unity ISIS workspace on your system: 1. Open the Client Manager. The Workspaces list opens. The Online field displays a green ball for workspaces that are already mounted. You can filter the Workspaces list by Workspace name. 2. Do one of the following: n t Click (mount) in the Online column for the selected workspace. t Click to select a workspace, then right-click, and select Mount.
Dos and Don’ts for Editors Working with Avid Interplay 4. (Option) If you want the selected workspaces remounted the next time you log in, right-click, and select “Enable auto mount”. The next time you log in to your client system, the Client Manager will automatically mount the selected workspaces. Dos and Don’ts for Editors Working with Avid Interplay The following information is useful for any editors who are working with Avid Interplay.
23 Working with Avid Interplay from an Avid Editing System When an Avid Interplay server is available in an Avid Unity system in the workgroup environment, Avid strongly encourages not sharing bins or projects. Use the Avid Interplay Window and the check-in process to share media. Similarly, you should not use the File > Open Bin command. This is because the “borrowed” bin will be checked in again to Interplay from inside your project, creating multiple versions of the bin inside the Interplay database.
Dos and Don’ts for Editors Working with Avid Interplay • Regularly clean up the contents of your bins: anything that you don’t need can be deleted. It’s a good idea to delete unwanted media before you check in a bin. If you choose to leave material in your bin without checking it in to Interplay, the material will go to the UIAA folder and sit there until deleted, taking up space on your Unity shared storage system. • Use reservations to protect material against accidental deletion.
23 Working with Avid Interplay from an Avid Editing System Sample Checklist for Editors The following checklist is an example of tasks in a typical workflow. You can adapt these tasks to your own workflow. Checklist for Editors Working with Interplay Before you launch your Avid editing application: Make sure you are correctly connected to the Unity shared-storage system. Before you start editing: Create a project in the proper location, using the proper naming convention.
24 Using MultiRez and Dynamic Relink This chapter provides information about using MultiRez and dynamic relinking. MultiRez is available only on Avid editing systems that have the Avid Interplay Media Indexer installed.
24 Using MultiRez and Dynamic Relink Proxy editing is a workflow where you edit with a low-resolution version of media and then conform the edits into a composition that refers to an equivalent high-resolution version of the same content. This workflow is similar to the offline/online model that is common in a post-production workflow.
Acquiring Media at Multiple Resolutions Acquiring Media at Multiple Resolutions In an Avid Interplay environment, you can keep multiple resolutions of the same media. After creating a master clip, you can acquire multiple resolutions in several ways. When your hardware permits it, you can re-capture full resolution clips as low-res proxies. In some cases where batch capturing is not supported, such as with 720p, you must use your Avid software to transcode to a low-res proxy.
24 Using MultiRez and Dynamic Relink To batch capture a different resolution: 1. Prepare your system for batch capturing, as described in the Help for your Avid editing application. Be sure to select the new resolution you would like to capture in the Media Creation settings Capture tab or in the Capture tool. 2. Select the clips or sequences you want to batch capture. 3. Select Clip > Batch Capture. The Batch Capture dialog box opens. 4.
Acquiring Media at Multiple Resolutions 9. Click OK to confirm the tape and deck entries and to begin the capture process. Your Avid editing application captures each clip from the tape, in start timecode order. c When you batch capture, make sure to accept the original tape name so that the new media files are associated with the same source as the original media files. Batch capture does not create any new master clips.
24 Using MultiRez and Dynamic Relink 4. Click All Clips to import new resolutions for media that is already online, in addition to offline media. The message box closes and the Batch Import dialog box opens. 5. In the Import Target area, select the desired resolution and storage location. 6. In the Import Options area, select “Keep existing local media” and any other options. 7. Click Import. Your Avid editing application imports the files and creates media in the resolution you specified.
Understanding How Clips are Associated with Multiple Resolutions Understanding How Clips are Associated with Multiple Resolutions In a MultiRez environment, relinking is source based. That is, your Avid editing application relinks a clip to its media according to the source of the clip rather than the name of the clip. Whenever you create a new tape or import a file, your Avid editing application creates a unique source ID that is used by your Avid editing application and is not visible to users.
24 Using MultiRez and Dynamic Relink n Avid CaptureManager also uses a source ID to associate a master clip with any media created at the same time, such as a clip captured with two resolutions in a dual-ingest configuration. However, instead of associating all clips from the same tape with the same source ID, CaptureManager creates a new source ID every time it captures a new clip.
Options for Clip and Media Association In a bin, black circles in the 15:1s column and the 1:1 column show this association, as in the following illustration. This information also appears in the Interplay Window. For information about displaying bin columns for MultiRez, see “MultiRez Bin Headings” on page 1149. n You can batch capture the clip in additional resolutions; there is no limitation to the number of media files associated with a clip.
24 Using MultiRez and Dynamic Relink If your Avid editing application creates a new master clip (with the extension .new), it associates the new clip with the new transcoded media. In this case, your Avid editing application copies the source ID to the new clip and new media. n When the Avid Interplay Transcode transcodes a clip, it associates the new resolution with the original clip. It does not create a new clip. The following illustration shows a clip captured in 1:1 and transcoded to 15:1s.
Options for Clip and Media Association Although the two clips share media, there is a special association between the clip and the media created with that clip. In the preceding illustration, this original association is shown by solid arrows. The tracking of the original association is referred to as the affinity model, because your Avid editing application keeps track of the relationship (affinity) between the clip and the media created with the clip.
24 Using MultiRez and Dynamic Relink In a bin, the original clip appears with a half circle in the 1:1 column, to indicate that only part of the clip is available in 1:1. The entire new clip (with the .01 extension) is available in both resolutions, as indicated by the full circles in both resolution columns. The following illustration shows these clips in a bin. You can also create partially online files through archiving, consolidation, and transcoding a subclip.
Understanding Dynamic Relink You specify these settings in the Dynamic Relink Settings dialog box, which is available in the Settings list of the Project window. For more information, see “Using the Dynamic Relink Settings Dialog Box” on page 1132.
24 Using MultiRez and Dynamic Relink The following illustration shows a bin and a sequence. The first version of the sequence shows the clip in the working resolution (15:1s) and the second version shows the same clip in the target resolution (1:1). The clip name is the same in both cases, but the resolution of the clip (as shown in the text on the clip) is different. Left: clip associated with working and target resolutions. Top right: sequence with clip in working resolution (15:1s).
Workflow: Editing a Film or HD Project using MultiRez To create a Film or HD Project: 1. When you create the project, make sure it supports the resolution you want to use. For 24p Film and HD projects, select 1080p/24 or 1080p/23.976 depending on the rate at which your footage was shot. If your source media is film-based, check the Film box and select the Film Type. The following illustration shows the Project selection for a 24p Film project used in this example. 2.
24 Using MultiRez and Dynamic Relink To check out the clip and set Dynamic Relink: 1. In your Avid editing application, select Tools > Interplay Window. 2. Locate the clip in the Interplay Window and drag it to the bin. The following illustration shows the clip in the Interplay window and the bin. Notice that at this point the administrator has batch captured or transcoded the clip and both the high-res and low-res are online.
Workflow: Editing a Film or HD Project using MultiRez The following illustration shows the Dynamic Relink values used in this example to link to the low-res media. 4. Edit the media into a sequence. By default, whenever you load clips into a monitor or the Timeline, they are linked to media that matches the working settings.
24 Using MultiRez and Dynamic Relink The following illustration shows the bin after the sequence is created. In this example, the administrator has already archived and deleted the high-res material. The MultiRez bin columns show that the high-res media is completely offline. The high-res media is now offline (empty circle in the bin) 5.
Workflow: Editing a Film or HD Project using MultiRez 8. Open the Dynamic Relink dialog box and set the working resolution to the high-res version. The following illustration shows the Dynamic Relink values used to link to the high-res video and audio. In this example, a specific resolution was chosen. 9. Render effects in the target resolution if necessary.
24 Using MultiRez and Dynamic Relink 10. Output your final master by doing one of the following: t Create a digital cut. t Use the Send to Playback command. When you perform a Send to Playback operation, your Avid editing application automatically renders effects and relinks your sequence to the target resolution. c When you use the Send to Playback command, make sure you are using the target settings required by the playback device or Send to Playback fails.
Using the Dynamic Relink Settings Dialog Box n Dynamic Relink settings are project settings. You can use them as site settings, so that all projects you create on your editing system use the same settings. For more information, see “Using Site Settings” on page 1191. Opening the Dynamic Relink Settings Dialog Box To open the Dynamic Relink Settings dialog box, do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink.
24 Using MultiRez and Dynamic Relink The Target Settings tab lets you specify the rules that determine the media that you use for your final output. For the target settings, you might want to select Relink to Offline if no match is found, because this setting provides a clearer warning if the desired resolution is not available. For illustrated examples of typical settings, see “Examples of Working and Target Settings for Dynamic Relink” on page 1135. To apply working and target settings: 1.
Using the Dynamic Relink Settings Dialog Box Examples of Working and Target Settings for Dynamic Relink This topic provides examples of typical working and target settings for Dynamic Relink. For information on applying settings, see “Applying Working and Target Settings for Dynamic Relink” on page 1133. Working Settings The working settings in the following illustration instruct your Avid editing application to link to the specific video resolution of 15:1s MXF.
24 Using MultiRez and Dynamic Relink The working settings in the following illustration instruct your Avid editing application to link to the specific video resolution of DV 25. If your Avid editing application cannot find this resolution for a particular clip, it should relink to media that most closely matches DV 25, based on the specified parameters. In this case, it should relink to a resolution that is more compressed than DV 25 (less than or equal to DV 25), such as 15:1s.
Using the Dynamic Relink Settings Dialog Box Target Settings The target settings in the following illustration instruct your Avid editing application to use 30i NTSC as the project format and 1:1 MXF (uncompressed) as the specific video resolution. If your Avid editing application cannot find this resolution for a particular clip, it should display a “Media Offline” slide. Specific parameters for final audio are also set: 48 kHz and 24-bit.
24 Using MultiRez and Dynamic Relink Dynamically Relinking to the Target Settings You need to dynamically relink to the target settings when: • You need to do color correction or apply another effect that requires viewing media in the target resolution. In this case, you might temporarily switch from working settings to target settings, apply the effect, and then switch back to working settings. • You are performing a digital cut.
Using the Dynamic Relink Settings Dialog Box Using Dynamic Relink with Mixed Rate Clips When you send a mixed rate sequence to playback, you can use the dynamic relink feature to output your sequence at a specified target format and resolution. Dynamic relink attempts to link clips in your sequence following the options you set in the Dynamic Relink settings dialog box (for more information, see “Using the Dynamic Relink Settings Dialog Box” on page 1132).
24 Using MultiRez and Dynamic Relink Relinking in Frame Chase Editing Frame Chase editing is a workgroup feature that lets you work on a clip while it is being captured. If you are using Frame Chase editing with MultiRez, your Avid editing application can dynamically relink to in-progress media. After the clip is completely captured, your Avid editing application manages it in the same way it manages other clips.
Displaying Whether Media Is Available for Dynamic Relinking Relink dialog box options available in an Avid Interplay environment For complete information on relinking, see “Relinking Media Files” on page 473. Displaying Whether Media Is Available for Dynamic Relinking You can display a visual indication of whether media is available in the resolution or sample rate specified in the Dynamic Relink settings.
24 Using MultiRez and Dynamic Relink Using the MultiRez Button to Show Available Media The MultiRez button in the Timeline bottom toolbar lets you display two types of information: • Whether the media currently linked to a clip matches the working or target settings (Show Mismatches display) • Whether media for a clip is available in the target settings (Show Target Availability display) Clicking the MultiRez button changes only the display — it does not perform a dynamic relink, and it does not update
Displaying Whether Media Is Available for Dynamic Relinking t Right-click the MultiRez button and select one of the following: - Show Mismatches - Show Target Availability Using Clip Coloring to Show Available Resolutions You can determine if clips are available in a particular resolution by coloring clips in the Timeline. For examples of clip coloring in the Timeline, see “Examples of MultiRez Clip Coloring” on page 1144.
24 Using MultiRez and Dynamic Relink If no match is found option Default color if clip does Default color if not match current settings clip is offline Use Closest Media Blue Red If you click the MultiRez button to show availability in the target resolution (top half of diamond black), clips are colored as follows: - No color change: The clip is available in the target settings - Color changes (to yellow by default): The clip is not available in the target settings This button provides the same in
Displaying Whether Media Is Available for Dynamic Relinking If you select Keep Existing Media or Use Closest Media (in the Working Settings tab of the Dynamic Relink Settings dialog box) and enable clip coloring, clips that are not in the working resolution are colored blue by default. Your Avid editing application is warning you that the DV 25 clips do not match the working resolution but are linked to a different resolution (a mismatch).
24 Using MultiRez and Dynamic Relink The next example shows the Timeline after you click the MultiRez button to view the target resolution availability. The MultiRez button is yellow, indicating that there are clips that are not available in the target resolution, and the clip that is not available in DV 25 (the target resolution) is also colored yellow by default.
MultiRez Button Menu MultiRez Button Menu The following table describes the options in the MultiRez button menu: Option Description Enable Clip Coloring When this option is selected, clips that are linked to media that does not match the specified Dynamic Relink settings are colored. Your Avid editing application uses the following colors by default for clips in the Timeline: • No color change: In the Show Mismatches display, the clip is linked to media that matches the working settings.
24 Using MultiRez and Dynamic Relink Option Description (Continued) Show Target Availability Indicates whether media is available that matches the target settings (Show Target Availability display). If media is not available, the MultiRez button turns yellow. If Enable Clip Coloring is selected, clips for which media is not available in the target settings are yellow.
MultiRez Bin Headings MultiRez Bin Headings Some bin columns are specifically associated with MultiRez. These bin headings are available in Avid editing applications when they are part of an Avid Interplay environment.
24 Using MultiRez and Dynamic Relink There might be more resolutions available on an Avid Interplay workspace than appear in your bin headings. For example, there might be an uncompressed version of the clips you are working with, but if your Avid editing application doesn’t support uncompressed video, the resolution does not appear in your bin settings. Some resolutions might show up as partially online. For more information, see “Working with Partially Online Files” on page 1154.
Understanding Options for Deleting MultiRez Clips and Media Understanding Options for Deleting MultiRez Clips and Media When working with MultiRez in an Avid Interplay environment, your options for deleting clips and media depend on several factors: • Whether the clip is associated with media on local or shared storage. You can delete any clip from your bin, and you can delete any media on local storage.
24 Using MultiRez and Dynamic Relink For clips that were batch captured, captured in a dual-ingest configuration, or transcoded without a new clip, you see both resolutions listed in the Delete dialog box. n Multiple audio sample rates are not listed in the Delete dialog box.
Deleting MultiRez Clips and Media from a Bin Deleting MultiRez Clips and Media from a Bin For more information on your options when deleting MultiRez clips and media, see “Understanding Options for Deleting MultiRez Clips and Media” on page 1151. To delete clips, subclips, and sequences associated with media on local storage: 1. Select the clips, subclips, or sequences that you want to delete. 2. Do one of the following: t Select Edit > Delete. t Press the Delete key.
24 Using MultiRez and Dynamic Relink Working with Partially Online Files There are several cases where you might be working with MultiRez clips that are partially online: • Consolidating and transcoding a portion of a clip or a subclip. • Consolidating and deleting original media. • Partially restoring from an archive. Clips that are partially online are marked in a bin by a half circle.
Working with Partially Online Files After consolidating and transcoding, the new master clip is shown in the bin as having media in both DV 25 and 15:1s, while the original master clip is shown as having full media in DV 25 and partial media for 15:1s. Transcoded clip (top) and original master clip (bottom) in the bin If you trim the original sequence to expose more of the DV 25 clip, the Timeline displays as offline frames in the portions that are not available in 15:1s.
24 Using MultiRez and Dynamic Relink In the following example, the MultiRez button is blue, indicating that your Avid editing application is in the Show Mismatches display. The original master clip is displayed in the Timeline, with a working resolution set to 15:1s. Two portions of the clip are colored red, which is the default color indicating that these portions of the clip are offline and thus are not available in the working resolution.
Quality Matching Partially Restoring from an Archive A clip might be displayed as partially online when you perform a partial restore from an archive. To perform a partial restore from an archive: 1. Assume you have a 10-minute master clip and you have both 15:1s and DV 25 versions of the media. 2. Archive the DV 25 version of the media. 3. Delete the online DV 25 media and keep the low-resolution, 15:1 media online. 4. Edit one minute of the low-resolution version of the clip into a sequence. 5.
24 Using MultiRez and Dynamic Relink n 1158 • For the audio relink method, you can select Highest Sample Rate, Highest Bit Depth, or Specific Quality. • For the audio relink quality, if you select Specific Resolution as a relink method, you can select “Greater than or equal to,” or “Less than or equal to” as a filter for the audio relink quality. Your Avid editing application looks for an exact match.
Quality Matching If you select one of the above options, your Avid editing application uses the following queries to perform a dynamic relink: 1. Is there media with the same tape name (source ID) and timespan? 2. Is there media of the same size (NTSC, PAL, 1080HD, 720 HD)? 3. Is there media with the same field order (topness)? 4. Is there media in the same compression family? 5. Is there media of the same or similar compression value or audio sampling? 6. Is there media of the same bit depth? 7.
24 Using MultiRez and Dynamic Relink Video Resolutions for Quality Matching The following table lists video resolutions supported by Avid editing applications, grouped in resolution families, from least compressed to most compressed (queries 4,5, and 7 from the list in “Quality Matching” on page 1157). This order is used by your Avid editing application to match a request. n Some resolutions might not be available in your Avid editing application.
Quality Matching Audio Sampling and Bit Depth for Quality Matching The following table lists sample rates and bit depths, from the highest sample rate to lowest sample rate (queries 5 and 6 from the list in “Quality Matching” on page 1157). This order is used by your Avid editing application to match a request. n Some sample rates might not be available in your Avid editing application. 96 kHz/24 bit 48 kHz/16 bit 96 kHz/16 bit 44.1 kHz/24 bit 88.2 kHz/24 bit 44.1 kHz/16 bit 88.
24 Using MultiRez and Dynamic Relink For the preceding example settings, your Avid editing application follows this process: 1. Query: Is there media that comes from Tape0317? Answer: Yes — there is more than one media file from that tape (MPEG-2 and DV 25 versions). 2. Query: Is there media from this tape that matches the clip’s timecode span? Answer: Yes, there is more than one media file. 3. Query: Do these media files match NTSC size and topness? Answer: Yes, there is more than one. 4.
25 MultiCamera Editing The Avid MultiCamera editing features let you incorporate multiple camera angle sources into the nonlinear editing process.
25 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.
25 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 MultiCamera Displays There are several displays that let you view and edit with multiple camera angles. You can edit with either group clips or multigroup clips in all of the displays. Full-Monitor Display When you first load a grouped or multigrouped clip, the Source monitor displays a single frame from one clip in the group in Source/Record mode. This is called Full-Monitor display when working with group clips because you can view each angle in full-monitor size as you edit.
25 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. Quad Split Source view, with the four camera angle views in the Source monitor and the sequence or linecut in the Record monitor.
MultiCamera Displays • Lets you 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 let you change the camera angles of the split displays. • Does not gang the Record monitor with Quad Split Source view.
25 MultiCamera Editing • Provides a list of all group clip video and audio tracks in the Group menu for custom selection and patching. • Lets you 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). • Lets you 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 MultiCamera mode. The Source monitor controls are disabled, and the Gang button is green. The basic features of MultiCamera mode: • 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.
25 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” on page 521.
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. Your Avid editing application 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.
25 MultiCamera Editing To switch camera angles, do one of the following: t Click a camera angle in the split display during playback to switch to that camera angle. t Press a number key on the numeric keypad to switch to a new camera angle.
MultiCamera Editing Techniques Using the Add Edit Button During Multicamera Editing You can use the Add Edit button like a hot key to add edits while stepping through a sequence during playback. The only difference is that you are not switching camera angles until after you set the edit points. This method is especially useful when editing to music because it lets you concentrate on the beats and ignore camera angles until the edits are placed.
25 MultiCamera Editing Using the Group Menu for Multicamera Editing The Group menu lets you select video or audio channels from any of the clips in the group and patch to the tracks available in the sequence. You can have nine camera angles and nine or more audio tracks synchronized and available for patching at any time. Group menu and Group Menu icon n Select the Second Row of Info option in the Composer Settings dialog box for the Group Menu icon to be displayed above the Source monitor.
MultiCamera Editing Techniques Using the Multi-angle View Menus During Multicamera Editing You can use the Multi-angle View menus to group up to 18 clips at a time, and select additional clips to be shown in any of the multi-split displays in the Source monitor. You can also select Sequence from the Multi-angle View menus to display the entire sequence. To select an additional clip from the group to appear in one of the multi-split displays: 1.
25 MultiCamera Editing Committing MultiCamera Edits You can remove the grouped clips in a sequence and replace each of them with its selected clip. This might be useful if you experience poor performance with a very complex multicamera sequence on a slower system, for example, a sequence that uses many multicamera clips and many effects or color corrections. To commit multicamera edits: 1. Select the sequence you want to affect. 2. Right-click the sequence and select Commit Multicam Edits.
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.
25 MultiCamera Editing 1180
26 Settings This chapter provides information on how to use settings. • Understanding Settings • Working with Settings • Options for Moving User Settings Files This chapter also provides reference information for all settings categories.
26 Settings • Import Settings • Interface Settings • Interplay Folder, Interplay Server, and 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 •
Understanding Settings You can also switch between users and work with user profiles. For more information, see “Switching to Another Set of User Settings” on page 1187 and “Understanding User Profiles” on page 90. The following illustration shows the Settings tab in the Project window.
26 Settings Site settings are stored in a separate Settings folder: - (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application\Settings - (Windows Vista and Windows 7) drive:\Users\Public\Public Documents\Avid editing application\Settings - (Macintosh) Macintosh HD/Applications/Avid editing application/ Settings For more information, see “Using Site Settings” on page 1191.
Working with Settings Working with Settings You can open a dialog box for most settings that lets you view the current settings and to change them if necessary. You can also duplicate, rename, copy, and move settings among files or systems. Viewing and Modifying Settings You can view most settings in a dialog box or window that also lets you change the settings. You cannot modify the following types of settings: • Settings that require the presence of standalone peripherals.
26 Settings Filtering the Settings List You can filter the Settings list in the Project window so that it displays a more focused group of settings. To change the Settings list display in the Project window: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the Fast Menu button, and select a settings group. The selected settings group has a check mark in the Settings menu, and the Settings list displays only the settings in that group.
Working with Settings Option Description Title Styles Displays all templates you have created for the Title tool. Video Tools Settings Displays only the Video Input Tool and Video Output Tool settings. Workspace Linked Displays only linked workspaces. Workspaces Displays all Workspace settings you have created. Switching to Another Set of User Settings User settings are not project or site specific, so you can display another set of User settings in the Project window. To select another user: 1.
26 Settings Duplicating Settings To create a new version of a setting: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the setting you want to copy. Ctrl+click (Windows) or Shift+click (Macintosh) any additional settings you want to copy. 3. Select Edit > Duplicate. A copy of each selected setting appears in the Settings list.
Working with Settings Selecting Among Multiple Settings If you have multiple versions of a setting (for example, multiple Export 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.
26 Settings Restoring Default Settings To restore settings to their default values: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click a setting to select it. Ctrl+click (Windows) or Shift+click (Macintosh) each additional setting you want to select. 3. Right-click the selected setting (or one of the multiple selected settings), and select Restore to Default. A message box opens. 4.
Working with Settings 3. Drag the selected setting to the destination settings window. Settings list in the Project window (left) and a destination settings window (right) 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.
26 Settings To load settings into the Site_Settings file: 1. Open a project with the settings you want to establish as Site settings. If a project does not already exist with the settings you want, create a project and make adjustments to the default settings as needed. 2. Select Special > Site Settings. 3. Click a Project or User setting in the Settings list in the Project window, or Ctrl+click (Windows) or Shift+click (Macintosh) multiple settings. 4.
Summary of Settings Summary of Settings The following table briefly describes each item in the Settings list and where you can find additional information on a particular item. Setting Name Description Reference Topic AMA Sets options for creating bins and mounting volumes “AMA Settings” on page 1196 when you are working with AMA (Avid Media Access). Audio Sets the default audio pan and options for audio scrub.
26 Settings Setting Name Description Reference Topic Dynamic Relink Sets options that control how clips link to media files “Dynamic Relink Settings” on when you are working in a MultiRez environment. page 1220 Effect Editor Sets options for how controls appear and behave in the Effect Editor. “Effect Editor Settings” on page 1224 Email Sets options for receiving email notification when a render operation completes. “Email Settings” on page 1226 Export Sets options for file export.
Summary of Settings Setting Name Description Reference Topic Media Services Configures your Avid editing application to work with the Avid Interplay Media Services Broker. “Media Services Settings (Windows Only)” on page 1271 Mouse Lets you set the speed of scrolling with the mouse wheel within your Avid editing application. For more information, see “Using the Mouse Scroll Wheel for Navigating” on page 38.
26 Settings Setting Name Description Workspace Reference Topic Lets you associate settings and windows with a “Workspace Settings” on page 1289 workspace. For more information, see “Linking User Settings and Workspaces” on page 99. AMA Settings AMA Settings: Bins Tab Option Description Use active bin When this option is selected, your Avid editing application uses the currently active bin to store clips imported using AMA.
Audio Settings Audio Settings Option Description Source Monitor Scrub Defines the number of outgoing and incoming frames you hear as you scrub. Record Monitor Scrub Defines the number of outgoing and incoming frames you hear as you scrub. Default Pan Controls the way you want sound to pan between speakers: • Alternating L/R: Sends the odd tracks to the left channel and the even tracks to the right channel.
26 Settings 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 does not display in an inactive setting because you cannot save it 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 DV Audio Pattern Controls whether variation in the audio sample rate is allowed. Select the option expected by your device. • Unlocked Audio: Allows some imprecision in the audio sample rate, with a variation of up to +/– 25 audio samples per frame. • Locked Audio: Keeps the audio clock locked precisely to the video clock, so exactly the same number of audio samples and video frames are recorded or transmitted in each cycle of the phase relationship.
26 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. Option Description Input Gain slider Depending on your Avid input/output hardware, controls your computer’s volume settings. (Windows only) Select the +20 dB check box to boost gain for low gain inputs. Input Source Controls the type of audio input.
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. Option Description Output Gain Controls the volume of global audio output. Monitors Volume Available with software-only configurations. Controls the volume of the desktop speakers. Use the Mute button to mute audio output to speakers or headphones.
26 Settings Option Description All or Timeline Track Maps Available when you select Direct Out with the Mix Mode Selection Menu button. Maps the track and output channels: • All: Lets you choose between all available tracks. • Timeline: Lets you 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. Defines the groups of output tracks to map to audio channels.
Audio Project Settings Audio Project Settings: Hardware Tab Apart from HW Calibration, the settings in the Hardware tab are for informational purposes only and list defaults set by your system, depending on your audio hardware and configuration. Option Description Card Indicates the type of audio card installed. Peripheral Indicates the type of peripheral audio device (audio interface) attached to the system.
26 Settings Option Description Real-Time Audio Dissolves When Enabled is selected, you can play audio dissolves (also called crossfades) as real-time effects. Select Disabled if you experience an audio performance delay in your Avid editing application. Dissolve Midpoint Attenuation Controls the method your Avid editing application uses for audio dissolves: • Const Power –3dB: Uses constant power to maintain a consistent sound level through the midpoint of the dissolve.
Capture Settings Option Description Double-click loads object in Determines what happens when you double-click an object in the bin: • New Pop-up Monitor: Creates a new Source pop-up monitor and automatically loads the clip when you double-click an object in the bin. • Source or Record Monitor: When you have the Composer monitor stretched into two monitors, loads the clip into the Source monitor or the sequence into the Record monitor.
26 Settings Option Description Capture across timecode breaks When this option is selected, your Avid editing application captures sections of discontinuous timecode on a tape as separate clips. When this option is deselected, your Avid editing application stops capturing and reports an error when it encounters a timecode break. Stop capture if a bad frame is detected When this option is selected, your Avid editing application stops capturing if a corrupt frame is detected.
Capture Settings Capture Settings: Batch Tab 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.
26 Settings Option Description Use the video compression logged for each clip When this option is selected, your Avid editing application uses the video compression logged for each clip. Capture Settings: Edit Tab Option Description Enable edit to timeline When this option is selected, Splice-in Edit and Overwrite Edit buttons display in the (splice, overwrite) Capture tool.
Capture Settings Capture Settings: MXF Media Files Tab The MXF Media Files tab is available in the Capture Settings dialog box when you select MXF in the Media Type tab of the Media Creation dialog box. Option Description Maximum (default) capture time n minutes Determines how much space your Avid editing application preallocates on the target drive or drives before a capture begins. The default capture time is 30 minutes.
26 Settings Capture Settings: DV & HDV 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. For more information, see “DV and HDV Scene Extraction” on page 292. • Add Locators: Creates locator marks where the TOD information breaks occur while capturing.
Composer Settings Composer Settings Composer Settings: Window Tab Option Description First (lower) Row of Info When this option is selected, your Avid editing application displays one row of tracking, duration, and clip or sequence title information above the Source and Record monitors. Second Row of When this option is selected, your Avid editing application displays a second row of Info information above the first row.
26 Settings Composer Settings: Edit Tab Option Description Color Framing When this option is selected, color framing indicator lights display above the Overwrite and Splice-in buttons. Deselect this option if you are not performing an online edit with material captured from 1-inch, reel-to-reel tapes. This option is deselected by default.
Composer Settings Option Description Copy Source Locators When this option is selected, if you have locators in a clip in the Source monitor, your Avid editing application copies the locators when you edit the clip into the Record monitor. This option is selected by default. Undo Only Record Events When this option is selected, you can limit the Undo command to undo only record actions. For more information, see “Undoing or Redoing Edits” on page 568.
26 Settings Composer Settings: MultiCam Tab Option Description Split Mode Play Controls split mode play: MultiCam Mode Client Monitor • Quad or Nine Split: Allows playback in the Source monitor of all camera angles in either quad split view or nine split view. • Fullscreen: Allows playback in the Source monitor of real-time effects for the active camera angle, which displays in full-monitor size.
Correction Settings Correction Settings For more information, see “Customizing Color Correction Mode Settings” in the Help. Correction Settings: Features Tab Option Description Saved Color Labels Controls how custom colors are named in bins: • None: When this option is selected, your Avid editing application does not supply a name. • RGB: When this option is selected, your Avid editing application uses the 8-bit values for the red, green, and blue components as the name.
26 Settings Correction Settings: AutoCorrect Tab Option Description When applying Color Defines the first, second, and third automatic color correction that your Avid editing correction from the application makes when you apply the Color Correction effect from the Effect Effect Palette, perform Palette: the following operations: • Nothing: Makes no adjustment.
Deck Configuration Settings Deck Configuration Settings 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. For information on the Deck Settings options, see “Deck Settings” on page 1217. Delete Click to delete a deck or DV device.
26 Settings Option Description Device Defines the device manufacturer and model. If your device does not appear in the list, click the Manufacturer menu and select Generic, and then click the Model menu and select the type of device. If you continually see a message box that reads “Fail to find preroll” while you are capturing, click the Model menu, and select GenericDVBasicDevice-NTSC or GenericDVBasicDevice-PAL Address For VLXi use only. See your VLXi documentation.
Deck Preferences Settings Deck Preferences Settings Option Description When the deck contains no tape or drop frame cannot be detected set timecode to Sets the timecode format (Drop Frame or Non-drop Frame) for logging clips when no tape is in the deck or when your Avid editing application cannot detect drop frame or non-drop frame. When a tape is in the deck, your Avid editing application automatically uses the existing timecode format on the tape.
26 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): Defines the number of frames by which you want to offset while you capture. For more information, see “Understanding DV Capture Offset” on page 245. This option only appears when Host 1394 capture is available.
Dynamic Relink Settings Dialog Box Area Option Description (Continued) Working settings tab and Target settings tab If no match is found Defines 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: Your Avid editing application displays the media to which the clips are currently linked.
26 Settings Dialog Box Area Option Description (Continued) Working settings tab and Target settings tab If no match is found Defines 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: Your Avid editing application displays the media to which the clips are currently linked.
Dynamic Relink Settings Dialog Box Area Option Description (Continued) Relink if quality Available when Specific Resolution is the Relink method. Defines a relational operator and a resolution to compare against.
26 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 lets you 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 this option is 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 real-time updating. Set Position To Keyframe When this option is selected, your Avid editing application moves the position indicator to the keyframe when you click a keyframe indicator.
26 Settings Email Settings The Email Settings dialog box lets you configure your Avid editing application so that it can notify you by email when a render operation completes. n Some mobile telephone services can deliver email as a text message or notify you by text message when an email has been received. If your service includes this feature, consider using it as a convenient way to receive your render notification.
Export Settings Option Description Send Email Events Render Complete When this option is selected, your Avid editing application sends an email notification when a render operation completes. You must have the Server Settings and Email Settings options configured correctly, and the Enable Sending of Email option selected. Master Email Control Enable Sending of Email When this option is selected, your Avid editing application is able to send email notifications.
26 Settings Option Description QuickTime Reference When this option is selected, your Avid editing application creates a QuickTime reference movie. A QuickTime reference movie contains pointers (links) to movie files. This is similar to exporting as composition only. For more information, see “Exporting QuickTime Movies” on page 945. HDV When this option is selected, your Avid editing application creates a transport stream. For more information, see “Exporting an HDV Transport Stream” on page 1383.
Export Settings Option Description Avid Log Exchange When this option is selected, your Avid editing application exports the selected bin as a shot log file that complies with Avid Log Exchange (ALE) specifications. For information about Avid Log Exchange, see “Converting Log Files with Avid Log Exchange (Windows)” on page 122. n Tab Delimited ALE and tab-delimited files include information for master clips and subclips only.
26 Settings Export Settings: OMFI, AAF, and AFE Option Description Export As: Defines the export format: • AAF: Select this option if the application to which you are exporting supports AAF • OMF 1.0: Select this option if the application to which you are exporting does not support OMFI Version 2.0 • OMF 2.0: Select this option if the application to which you are exporting supports OMFI Version 2.0. If you are not sure, select OMF 1.0.
Export Settings Option Description Export Method: Defines an export method. Other options change depending on which method you choose. This option appears in both the Video Details tab and the Audio Details tab. • Link to (Don’t Export) Media: Select this option when you want to export an AAF or an OMFI composition with links to the media in its current location. Your Avid editing application does not embed media in the file or export media.
26 Settings Option Description Add Audio Mixdown When you select this option, your Avid editing application adds an audio mixdown track. Track(s) Select the type of track you want, either Mono or Stereo. For more information about audio mixing, see “Using Live Mix Mode” on page 794. Convert Audio Sample Rate to: Defines the audio sample rate for the export. Select this option if your sequence has a mix of sample rates and you need to create a single sample rate.
Export Settings Option Description Folder Defines the destination folder for newly created or copied media. If you deselect Use Same Folder as AAF File, a path name appears. Click Select Folder to navigate to a different folder. Embedded in AAF/OMF When this option is selected, your Avid editing application embeds media files in the exported AAF or OMFI file specified in the Export dialog box.
26 Settings Option Description Display Aspect Ratio Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you control the display format without modifying the source file. This option creates metadata that is stored with the QuickTime movie. Some applications, such as the QuickTime Player, can interpret this metadata and scale the image at display time. This option is useful for QuickTime reference movies because you do not modify the source files of referenced movies.
Export Settings Option Description Add Shares for Media Drives When this option is selected, your Avid editing application creates a new drive share for referenced media files stored on unshared network drives. The drive share is hidden, so other users do not see the shared drive when browsing your computer. You do not need to select this option when media is stored on the same drive as the QuickTime reference movie.
26 Settings Option Description Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. Video Format The following options might be available, depending on your other settings: Use Video Only, for example, if you want to add effects in a third-party application or to use only the video in a multimedia project.
Export Settings Option Description Display Aspect Ratio Defines an image size for the video you want to export: Native, 4:3, or 16:9. This lets you control the display format without modifying the source file. This option creates metadata data that is stored with the QuickTime movie. Some applications, such as the QuickTime Player, can interpret this metadata and scale the image at display time. This option is useful for the Same as Source option because that option also preserves the original format.
26 Settings Option Description Prepare for Internet Streaming • Fast Start: The movie can begin playing over the Internet without having to download completely first. This method of playing movies over the Internet is referred to as progressive download or HTTP streaming. It does not require a streaming video server. • Fast Start - Compressed Header: This option is a better choice for progressive downloading. It works the same as Fast Start, but compresses the header information.
Export Settings The following table describes the Avid codecs available in the Standard Video Compression Settings dialog. Codec Description Avid 1:1x For high quality, 8-bit or 10-bit, lossless compression (in which no picture information is lost). Available for use with MXF media files. Meridien-based systems cannot use this format. Current Avid editing systems, including Avid DS, can use this format. It uses 4:2:2 sampling. Avid DNxHD™ Codec For DNxHD encoding with 8-bit and 10-bit resolutions.
26 Settings Export Settings: HDV Option Description Use Marks, Use See “Use Marks and Use Enabled Tracks Options” on page 1229. Enabled Tracks Video Quality Defines the video quality, either Draft, Better, or Best. The higher the quality, the longer the time required to complete the export. Draft is fastest, while Best takes the longest time to complete but has the best quality. If you have a slower system, you might want to see if the Better or Draft options provide acceptable quality.
Export Settings Option Description Video Format • Color Levels: Sets the color to either RGB or 601/709. • File Field Order: Defines which field is the upper field during export. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically exported as progressive (still) frames. Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the upper field (its lines become the odd-numbered lines) in the frame.
26 Settings Export Settings: AVI Video Compression Option Description Compressor • Cinepak Codec by Radius: For export at low resolution where high quality is not an issue, such as presentations or educational uses, or for small-screen-size playback from CD-ROM or hard drive. This codec uses a compression algorithm optimized for CD-ROM playback. Click Configure to open the Cinepak for Windows 32 configuration dialog box. You can then choose to compress to color or to black and white.
Export Settings Existing Windows Media Custom Profile The following table describes options available when you select Windows Media Custom Profile from the Windows Media menu in the Export Settings dialog box. Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1229. Set Lets you browse to find an existing .prx file on your system. For more information, see “Exporting as Windows Media (Windows Only)” on page 949.
26 Settings Option Description Codec (not available when you select Uncompressed.) Choose one of the following codecs: • Windows Media MPEG-4 Video V3: This codec creates high-quality video for streaming, download, and play. Enables playback of interlaced content on televisions. • ISO MPEG-4 Video V1: This codec delivers DVD (MPEG-2) quality video at lower data rates and smaller file sizes.
Export Settings Option Description Buffer Size Defines 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 Values for this option range from 0 to 100, with 100 being the highest quality.
26 Settings Option Description Passes (not available Defines the number of encoding passes, either 1 or 2. With 1 Pass encoding, the content when you select passes through the encoder once, and compression is applied as the content is Uncompressed) 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. 2 Pass encoding might result in better quality but takes longer.
Export Settings Option Description Audio Format Defines the audio format: • Project: When this option is selected, your Avid editing application exports the audio format that you selected as the project default in the Audio Project Settings: Main tab. • WAVE: Select this option to export audio tracks in the WAVE format (.wav file name extension). Nearly all Windows applications that support sound use WAVE files. QuickTime also supports the WAVE format.
26 Settings Option Description File Field Order Defines which field is the upper field during export. For 23.976p, 24p, or 25p projects, these options do not appear, and all fields are automatically exported as progressive (still) frames. • Use the Odd (Upper Field First) suboption if you are in a PAL project. Field 1 becomes the upper field (its lines become the odd-numbered lines) in the frame. Field 2's lines become the even-numbered lines.
Export Settings Format Options and Other Notes (if applicable) JPEG Quality: Controls the output file size and quality. Higher values produce better images but larger file sizes, while 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 for your JPEG-supported applications.
26 Settings Format Options and Other Notes (if applicable) SGI® The 8 bits option saves 8-bit files. The 16 bits option saves 16-bit files. The Automatic option saves the image in the same depth as the original loaded image. Softimage SunRaster™ TARGA® Color Depth: The 5-bit option saves data in Targa 16 format. The 8-bit option saves data in Targa 24/32 format. Compression: Controls the size of the file on disk. Disabling compression creates larger files on disk.
Export Settings Export Settings: P2 To open the P2 Export Setting dialog box, select Output > Export to Device > P2. For more information, see “Exporting Your Clip or Sequence to a P2 Card” on page 953. Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1229. P2 Device Defines the connected P2 device to which you want to export. Video Format Defines a video format. You can upconvert or downconvert.
26 Settings Film and 24P Settings Option Description Edit Play Rate Defines the edit play rate for your project. Options differ for PAL and NTSC projects. Master Default Film Type Defines the film type. Select an option to meet your production lab standards and the film type for your master. Master Default Edge Type Defines the edge type for the master display in bins and cut lists. Ink Number Default Film Type Defines the ink number film type.
Full Screen Playback Settings Option Description Set Pulldown Phase of Timecode (NTSC only) Defines a default pulldown phase for a 23.976p or 24p NTSC project. Full Screen Playback Settings For information on using Full Screen Play, see “Playing Video to a Full-Screen Monitor” on page 506. Option Description Scaling Determines how images are scaled for full-screen playback: Full Screen • Project: Uses the actual project type and aspect ratio to determine the scaling.
26 Settings Option Description Flip on Vertical Sync If your graphics board can render the frame of video before the vertical retrace, enabling this option removes the tearing seen on the Full Screen Play monitor. (Vertical retrace is the action within the monitor that turns the monitor beam off when moving it from the lower right corner of the monitor to the upper left.) If the board is unable to render the frame, you might see a stutter.
General Settings General Settings Option Description Project Format Displays the format currently selected for the project. Temporary File Directory When you use 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.
26 Settings Grid Settings Grid Settings: Coordinates Tab Option Description Scale Mode Lets you 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. Select one of the following options depending on the current and target formats you need. When you do not specifically need a grid that represents another format, use the Normal option, which is the default.
Grid Settings 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. The following options are available: Square, Standard Film, Academy, Super 35, Anamorphic. Color Defines a color for the grid axes and the grid points. Show Safe Title Displays the safe title area.
26 Settings Import Settings Import Settings: Image Tab Option Description Image Size Adjustment Controls the dimensions of imported images. The following options are available: • Image sized for current format: Select this option if the image is properly sized and formatted for the current project format, or to maintain field data when you import two-field media that follows exact NTSC or PAL dimensions.
Import Settings Option Description Field Ordering in File Controls 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, and all fields are automatically imported 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.
26 Settings Option Description Alpha Channel Controls how your Avid editing application handles the alpha channel in imported images. The following options are available: • Invert on import (white = opaque): Select this option to reverse the black and white elements of the alpha channel if they differ from the matte key requirements of your Avid editing application. Avid applications use a white background, a black foreground, and a gray transparency blend between the two.
Import Settings Import Settings: OMFI/AAF Tab Option Description Resolution Use the source file’s resolution. When this option is selected, your Avid editing application maintains 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.
26 Settings Import Settings: Audio Tab Option Description Convert source sample Controls sample rate conversion during audio import. rate to project sample When this option is selected, your Avid editing application converts incoming media to rate the sample rate of the current project. This option is selected by default. When this option is deselected, your Avid editing application imports audio media at the source sample rate.
Import Settings Import Settings: XDCAM Tab Option Description Force import of both Proxy & High-resolution When this option is selected, your Avid editing application imports both proxy and high-resolution versions of the selected file or files. When this option is deselected, your Avid editing application imports only the selected files (proxy or high-resolution). Your Avid editing application imports proxy files first.
26 Settings Interface Settings Option Description Interface Brightness Controls the brightness of the user interface. Preview Displays a preview of the foreground color as you move the Interface Brightness slider. Highlight Color Lets you select the color of button highlighting from available presets. Default Timeline V Tracks Selecting this option sets the color of all Timeline video tracks to the default. If you change the track color for a video track, this option changes to deselected.
Interplay Folder, Interplay Server, and Interplay User Settings Option Description Automatic Num Lock Activation (Windows only) When this option is selected, your application automatically sets the numeric keypad in numeric mode the next time you start the application. When this option is deselected, the Num Lock key on the keyboard controls the mode of the numeric keypad. With either selection, you can use the Num Lock key to change the mode of the numeric keypad.
26 Settings Interplay Server Settings Option Description Interplay Server Name Lets you enter the computer name of your Interplay Server. Interplay User Settings Option Description User Name Lets you enter a user name. This name must be a known workgroup user. Automatic Login at Logs you in to the asset manager automatically every time you open a project. Project Selection Login/Logout Connects to or disconnects from the asset manager.
Marquee Title Settings When you open the Keyboard palette from the Settings list and select Map Foreign Keyboard, you can map user-selectable buttons to the keyboard. If the Windows operating system is set to French or German regional settings, and you click the center of the Enter key in the Keyboard palette, foreign keyboard mapping mode turns off. To return to foreign keyboard mapping mode, Select Standard, and then select Map Foreign Keyboard again.
26 Settings Media Creation Settings For more information about options in the Media Creation Settings dialog box, see “Selecting Video Resolutions and Media Drives” on page 169. 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.
Media Creation Settings Media Creation Settings: Common Options in Capture, Titles, Import, Mixdown & Transcode, Motion Effects, and Render Tabs Option Description Video Resolution Select a resolution. Apply to All Applies your chosen resolution to all the Media Creation dialog box tabs, and to any other place in your Avid editing application where you select a resolution. n n The resolution options are not available in the Motion Effects tab.
26 Settings Media Creation Settings: Additional Options for Render Tab Option Description Same as Source When this option is selected, your Avid editing application renders the effect using the resolution of the clip or clips used to create the effect. If an effect is created from clips that use different resolutions, your Avid editing application uses the highest quality resolution. Effects Processing Controls the resolution (bit depth) used for effects processing.
Media Services Settings (Windows Only) Media Services Settings (Windows Only) The Media Services Settings dialog box lets you connect to a Media Services Broker. You use the services provided by Avid Interplay Media Services Broker in an Avid Interplay environment where dedicated computers automate time-consuming operations. For more information, see the Avid Interplay Media Services Setup and User’s Guide.
26 Settings Mouse Settings Option Description Scroll Wheel Behavior — Vertical Scroll Speed Controls the speed of scrolling with the mouse wheel within your Avid editing application — Normal, Moderate, or Fast. For more information, see “Using the Mouse Scroll Wheel for Navigating” on page 38. Mouse Button Assignments Assigns functions to three additional mouse buttons. Drag buttons from the Command Palette. For more information, see “Customizing Mouse Functions” on page 39.
Remote Play and Capture Settings Remote Play and Capture Settings Remote Play and Capture lets you use your Avid editing application like a videotape recorder (VTR) or edit controller, giving you access to some of the features of an external editing suite through your Avid editing application interface. Option Description Mode When Remote Capture is selected, your Avid editing application captures the media being sent to it immediately without setting up parameters like IN and OUT points.
26 Settings Render Settings Option Description Render Completion Defines a sound that your Avid editing application plays 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. • System Beep: Sets the rendering completion sound to match the sound set for your operating system.
Render 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 that render using this option take the longest amount of time to render.
26 Settings Option Description Effects Quality Render Using Defines a global override for 3D effects that have HQ (Highest Quality) software implementations. You select the HQ implementation or the standard implementation for individual effects by clicking the HQ button in the Effect Editor. The following options are available: • Quality Set in Each Effect: Effects render at the quality determined by the HQ setting in the individual effects. This is the default.
Script Settings Option Description Actions buttons Define how your Avid editing application implements the safe color settings. The top menu controls both the Composite and the Luminance limit types. The bottom menu controls the RGB Gamut limit type. The following options are available: • Ignore: Your Avid editing application does not limit based on these settings. This is the default setting. • Warn: Your Avid editing application provides warnings when an image exceeds these limits.
26 Settings Sound Card Configuration Settings (Windows Only) Sound Card Configuration Settings are only available in software-only configurations. Options Description Record/Input list Lists the input sources available with the audio hardware installed on your system. Playback/Output list Maps input sources to the output sources available with the audio hardware installed on your system. The options available on your system determine which sources are listed as sub-options.
Timeline Settings Option Description Highlight Suggested Render Areas After Playback When this option is selected, thin colored indicator lines display in the Timecode track of the Timeline. These lines provide information about the real-time effects in your sequence. For more information, see “Real-Time Playback of Video Effects” in the Help. Show Position Bar When this option is selected, the Timeline shows the blue position bar.
26 Settings Timeline Settings: Edit Tab Option Description Start Filler Duration Defines a default duration for the filler added at the start of a sequence. For more information, see “Adding Filler” on page 564. Find Flash Frames Shorter Than n frames Defines the maximum number of flash frames you want your Avid editing application to detect. The default is 10, which tells your Avid editing application to detect clips with 9 frames or fewer.
Trim Settings Trim Settings Trim Settings: Play Loop Tab Option Description Preroll Defines a preroll value for a playback loop. Postroll Defines a postroll value for a playback loop. Intermission Defines a transition effect duration for a playback loop. Trim Settings: Features Tab Option Description Never use Small Trim mode When this option is selected, your Avid editing application enters Big Trim mode when you perform any operation that activates Trim mode.
26 Settings 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. • Format: This option is available only if you have Output to DV Device selected and a device connected.
Video Input Tool Settings Option Description High-Quality Scaling for Real-Time Decode When this option is selected, image quality is improved during playback of mixed-format sequences where material requires resizing. This option is selected by default, and only affects playback with the Full Quality or the Full Quality 10-bit video quality setting. For more information, see “Setting the Video Quality for Playback” on page 524.
26 Settings Option Description Sliders Let you change the value for each setting. Preset buttons These buttons are highlighted when the factory preset levels are displayed. SignalLock Lets you switch between the following: • Professional: preset sync using a wider bandwidth for non-TBC sources. • Consumer: automatic sync using time-base correctors (TBC) internal to the video source Settings menu Lets you save the settings for an individual tape each time you calibrate bars.
Video Output Tool Settings Option Description HDMI Format • SDInterlaced • SDProgressive • HD Crossconvert Defines a format to output an HD format from an HD sequence with a compatible frame rate. The options are specific formats (choices depend on the format of the sequence) or OFF. Downconvert Defines how downconverted SD video is resized. The options are Anamorphic, Letterbox, Center Cut, or OFF.
26 Settings Video Output Tool Settings: SD Cal Tab Option Description Output menu Lets you select either Component, Composite, S Video. On some systems, all outputs on the input/output hardware are active. Select an analog signal from the Output menu to calibrate for output. For more information, see “Calibrating for Video Output” on page 962. H Phase Lets you adjust the horizontal blanking interval used to synchronize the timing of two or more video signals.
Video Output Tool Settings Option (Continued) Description Y Gain, RY Gain, BY Gain, Pr Gain, Pb Gain Available for Component output only in some Avid input/output hardware configurations. • Y Gain: Lets you adjust Y Gain, a measurement of luma (Y) in the video signal that is the whitest point in the visible picture. Use color bars to set the white level. • RY Gain: Lets you adjust the red (R) minus luminance (Y) color-difference signal of an analog component system in the SMPTE NTSC video standard.
26 Settings Option (Continued) Description Pb Gain In some Avid input/output hardware configurations, lets you adjust the gain of the Pb color difference output, scaled from BY using the BT. 709 color space in HD component systems. Available for HD Component YPbPr output. R Gain In some Avid input/output hardware configurations, lets you 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 Option Description Activate Settings Linked By Name Lets you link other settings to the workspace. Continually Update This Workspace When this option is selected, your Avid editing application automatically preserves the workspace in its most recent arrangement. Future changes to the arrangement of the tool windows are saved.
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27 File Format Specifications This chapter contains specifications and notes that are useful when you are importing or exporting specific file formats.
27 File Format Specifications Format and Default File Name Extension Bit Depth Support Alpha Channel Support Notes Alias (.als) 24-bit color, 8-bit grayscale No BMP (.bmp) 1-, 4-, 8-, and 24-bit No Four-bit BMP files saved with RLE compression are not supported. Photoshop does not support four-channel BMP files. Chyron (.chr) 32-bit Yes Cineon (.cin) 10-bit (logarithmic) Not applicable Framestore (.fs) 24-bit No Pixel aspect information saves with image data.
Specifications for Graphics (Image) Files Format and Default File Name Extension Bit Depth Support Photoshop (.psd) Alpha Channel Support Notes RGB 8-bits/channel, RGB16 Yes bits/channel, grayscale, indexed color, and duotone variations Your Avid editing application can import multilayered graphics. For more information, see “Photoshop Graphics Import” on page 309. Duotone files are loaded as grayscale. Multichannel (greater than four channels) files and CMYK files are not supported. PICT (.
27 File Format Specifications Format and Default File Name Extension Bit Depth Support Alpha Channel Support Notes TIFF (.tif) 8-bit color-mapped; 8-bit or 16-bit grayscale; 24- and 48-bit color; 24-bit color plus 8-bit alpha; 36-bit color plus 12-bit alpha; 42-bit color plus 14-bit alpha; 48-bit color plus 16-bit alpha Yes Wavefront (.rla) 32-bit and 64-bit Yes XWindows (.xwd) 1-, 2-, 4-, 8-, 16-, 24-, and 32-bit No YUV (.
Specifications for Graphics (Image) Files Aspect Requirement Notes Color mode RGB ITU-R 601 ITU-R 709 Other formats, including CMYK, can cause import errors. ITU-R 601 is used for SD and ITU-R 709 is used for HD. In HD projects, your Avid editing application automatically converts the media. File format Various Your Avid editing application accepts many file formats for input. TIFF (.tif), PICT (.pct), and PNG (.png) are commonly used formats.
27 File Format Specifications Frame Size for Imported Graphics The table in this topic shows the frame sizes to use when creating and importing graphics and sequences. The table includes sizes for both square and non-square pixels. Computer displays, most graphic and animation programs, and most HD video formats use square pixels. Standard-definition (SD) digital video does not use square pixels. The ITU-R 601 standard specifies a 720-pixel width for both NTSC and PAL.
Specifications for Animation Files 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.
27 File Format Specifications Specifications for Importing OMFI Files OMFI was developed by Avid Technology, Inc. and many industry and standards partners for the interchange of digital media data between platforms and applications. For information about creating an OMFI file on a non-Avid application, see the documentation for the application. The information in the following table applies to importing OMFI files.
Working with BWF Files Working with BWF Files Avid editing applications support any BWF files that adhere to the BWF specification. The following information from BWF information 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. Start The start timecode specified in the file. Shoot date The origination date specified in the file.
27 File Format Specifications Preparing Custom BWF Information Additional BWF information that can display in bin columns must be coded in a particular format. The recording device must provide this information in the BWF Description field, using keyword/value pairs with the following format: uKEYWORD=data[CR/LF] Syntax Definition u Letter code of the manufacturer. Use the letter u unless otherwise instructed by Avid. KEYWORD Designation of the bin column. = Terminates the keyword.
Working with BWF Files To bypass the frame rate dialog box during import, you can specify the frame rate using the following syntax: uFRAMERATE=nnDF or uFRAMERATE=nnND where nn is the frame rate (25, 29.97, or 30), DF is drop-frame, and ND is non-drop-frame. Importing, Syncing, and Reimporting BWF Files You can import BWF files into an Avid editing application approximately 10 to 12 times faster than capturing in real time. The files maintain pure digital quality for all audio post processing.
27 File Format Specifications Use Auxiliary TC 1 only as a sync point reference for AutoSync. Do not use it for data tracking or EDL generation. Use the Aux TC24 column to generate a 24-frame EDL for audio only. Use the Film TC column to generate a 24-frame EDL for video only. This timecode field represents the video timecode of a HD downconvert to standard definition video. 5. Ensure all entries in the Shoot Date column use the same syntax.
Working with BWF Files To import a BWF file as a single master clip: 1. In the Settings list of the Project window, double-click Import. The Import Settings dialog box opens. 2. Click the Audio tab, and then select Autodetect Broadcast Wave Monophonic Groups. This option is the default. 3. Click OK. 4. Click the bin into which you want to import the file. 5. Select File > Import. The Select files to Import dialog box opens. 6. Locate the files and select only one .wav file in the group.
27 File Format Specifications Field Ordering in Graphic Imports and Exports Graphic images consist of one or more image files, each of which contains a full frame. These frames contain fields (formed from the odd-numbered and even-numbered lines of the image frame) that have three basic arrangements: • Progressive or still frame: The upper and lower fields in the frame originated at the same instant of time, or are coherent with each other, as shown in the following illustration. Dashed lines = Field 1 (.
Field Ordering in Graphic Imports and Exports Preventing a Spatial Field Mismatch on Import The following table shows the proper spatial field position for each of the common interlaced video formats in Avid editing applications. n In the following table, Odd Field or Even Field specifies whether the temporally first field in the frame has the odd or even numbered lines, starting from 1.
27 File Format Specifications 24p and 25p Import and Export The spatial field selection options do not apply for 24p and 25p projects because the frames in these projects are already in progressive or still-image form. Field Dominance Editing in Avid applications is frame based. All timecode is expressed in frame numbers, and all cuts are at frame boundaries. A raw video stream has no concept of frames (ignoring color framing) until the frame unit is defined.
28 Resolutions and Storage Requirements This chapter describes the different resolutions available in your Avid editing application and lists their specifications.
28 Resolutions and Storage Requirements You can use lower resolutions when your work does not require very high image quality (for example, in offline work, or in CD-ROM or Web authoring projects), and higher resolutions when you need excellent image quality. You can also mix different resolutions within the same project as long as those resolutions are compatible with one another. (see “Mixing Resolutions” on page 1319).
Resolution Specifications Resolution Specifications 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. The tables in the following topics list specifications for the various resolutions. For information on resolutions to use when importing graphics or sequences from a third-party application, see “Frame Size for Imported Graphics” on page 1296.
28 Resolutions and Storage Requirements 1310 Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 8 10 8 8 8 8 720p/50 1280 x 720 50 879 704 175 175 115 110 50 1:1 10-bit HD 1:1 HD DNxHD 220 X DNxHD 220 DNxHD 145 DVCPRO HD XDCAM HD 50 10 8 10 8 8 8 8 720p/59.94 1280 x 720 59.94 1105 884 220 220 145 100 50 1:1 10-bit RGB HD 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DNxHD 36 10 10 8 10 8 8 8 1080p/23.976 1920 x 1080 23.
Resolution Specifications Project Format Frame Size Megabits per Frames/sec second (Mb/sec) 10 10 8 10 8 8 8 8 8 1080i/50 1920 x 1080 25.00 1659 1037 829 185 185 120 120 100 50 10 10 8 10 8 8 8 8 8 1080i/59.94 1920 x 1080 29.
28 Resolutions and Storage Requirements Resolution Specifications: JFIF Interlaced Avid JFIF 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.
Resolution Specifications 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. Frame Size (Pixels) Quality 35:1 720 x 486 (NTSC) 720 x 576 (PAL) Offline — provides maximum storage with enough image detail to make basic editing decisions.
28 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.
Resolution Specifications 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 specifically intended to support the SMPTE Type D-10 bit stream produced and recorded by devices such as Sony MPEG IMX VTRs. They use 4:2:2 sampling. The following table provides MPEG resolution specifications.
28 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 your Avid editing application. The following limitations apply to VC1: • For Macintosh systems, the VC1 codec is limited to playback only. • The VC1 codec is only available for Windows media.
Resolution Specifications Edit Project Rate 1080p 23.976 Stored Resolution Max Bit Raster Size Name Rate (WxHxFields) Playback Fast Copy Transcode Import Render VC1-APL3 6Mbit 1920x540x2 No No No No VC1-APL3 45Mbit 1920x1080x1 Yes Yes Yes Yes VC1-APL3 6Mbit 1920x1080x1 No No No No No No No No 29.
28 Resolutions and Storage Requirements Resolution Specifications: AVC-Intra Avid editing applications support editing and playback of P2 media encoded using the Panasonic P2 AVC-Intra codec. You can import, playback, transcode, and consolidate AVC-Intra resolutions. The following table provides AVC-Intra specifications by project type. Project Edit Rate Resolution Name MB/Sec Raster Size 1080i 59.
Mixing 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 using the Best Performance (yellow) and Draft Quality (yellow/green) video quality settings. Playback of uncompressed HD media through the Avid input/output hardware as Full Quality (green) is not supported.
28 Resolutions and Storage Requirements Resolution Groups and Image Quality In general, a lower compression ratio means higher image quality. However, the resolution group itself (single-field, two-field, progressive, or uncompressed) is also a factor in the quality of the final image. Single-field resolutions work with smaller amounts of original image data than two-field or progressive resolutions.
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 “Storage Requirements” on page 1321. 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.
28 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 90 X DNxHD 90 DNxHD 60 DVCPRO HD XDCAM HD 50 10 8 10 8 8 8 8 720p/25 0.33 0.41 1.59 1.59 2.39 2.60 2.67 3.30 2.64 0.68 0.68 0.45 0.41 0.37 33.0 26.4 6.75 6.75 4.50 4.13 3.75 99.0 79.2 20.3 20.3 13.5 12.4 11.
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 RGB HD 1:1 10-bit HD 1:1 HD DNxHD 175 X DNxHD 175 DNxHD 115 DNxHD 36 10 10 8 10 8 8 8 1080p/24 0.08 0.14 0.18 0.81 0.81 1.23 3.97 11.94 6.95 5.56 1.22 1.22 0.81 0.25 119.4 69.5 55.6 12.2 12.2 8.1 2.5 358.3 208.6 166.9 36.9 36.9 24.4 7.
28 Resolutions and Storage Requirements Estimated Storage Requirements: JFIF Interlaced Resolution Audio Tracks Drive Space Needed for Minutes Per 1 Minute of Gigabyte Media 15:1s 0 48.5 20.6 MB 206 MB 618 MB 1 38.6 25.9 MB 259 MB 777 MB 2 32.1 31.2 MB 312 MB 936 MB 3 28.2 35.5 MB 355 MB 1.07 GB 4 24.5 40.8 MB 408 MB 1.22 GB 8 16.1 62.0 MB 620 MB 1.86 GB 0 11.6 85.8 MB 858 MB 2.57 GB 1 11.0 91.1 MB 911 MB 2.73 GB 2 10.5 95.4 MB 954 MB 2.86 GB 3 9.
Storage Requirements Resolution 10:1 3:1 2:1 1:1 SD (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 12.3 81.3 MB 813 MB 2.44 GB 8 9.8 103 MB 1.03 GB 3.09 GB 0 8.3 120 MB 1.20 GB 3.60 GB 1 7.9 126 MB 1.26 GB 3.78 GB 2 7.6 131 MB 1.31 GB 3.93 GB 3 7.3 136 MB 1.36 GB 4.08 GB 4 7.2 140 MB 1.40 GB 4.20 GB 8 6.2 161 MB 1.61 GB 4.
28 Resolutions and Storage Requirements Resolution 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 0.8 1.24 GB 12.4 GB 37.2 GB 8 0.8 1.26 GB 12.6 GB 37.8 GB 0 0.6 1.53 GB 15.3 GB 45.9 GB 1 0.6 1.54 GB 15.4 GB 46.2 GB 2 0.6 1.54 GB 15.4 GB 46.2 GB 3 0.6 1.55 GB 15.5 GB 46.5 GB 4 0.6 1.55 GB 15.5 GB 46.5 GB 8 0.6 1.
Storage Requirements Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 28:1 0 29.1 (NTSC) 24.3 (PAL) 34.4 MB 41.2 MB 344 MB 412 MB 1.03 GB 1.23 GB 1 25.2 (NTSC) 21.5 (PAL) 39.7 MB 46.5 MB 397 MB 465 MB 1.19 GB 1.39 GB 2 22.2 (NTSC) 19.3 (PAL) 45.0 MB 51.8 MB 450 MB 518 MB 1.35 GB 1.55 GB 3 19.9 (NTSC) 17.5 (PAL) 50.3 MB 57.1 MB 503 MB 571 MB 1.51 GB 1.71 GB 4 18.0 (NTSC) 16.0 (PAL) 55.6 MB 62.4 MB 557 MB 624 MB 1.67 GB 1.87 GB 8 13.
28 Resolutions and Storage Requirements Resolution 2:1 1:1 SD (Uncompressed) 1328 Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 3 3.4 (NTSC) 2.9 (PAL) 294 MB 349 MB 2.94 GB 3.49 GB 8.81 GB 10.5 GB 4 3.3 (NTSC) 2.8 (PAL) 299 MB 355 MB 2.99 GB 3.55 GB 8.97 GB 10.6 GB 8 3.1 (NTSC) 2.7 (PAL) 320 MB 376 MB 3.20 GB 3.76 GB 9.61 GB 11.3 GB 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.
Storage Requirements Resolution 1:1 10b SD (10-bit Uncompressed) Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 0 0.8 (NTSC) 0.7 (PAL) 1.25 GB 1.44 GB 12.5 GB 14.4 GB 37.5 GB 43.2 GB 1 0.8 (NTSC) 0.7 (PAL) 1.26 GB 1.44 GB 1.26 GB 14.4 GB 37.9 GB 43.2 GB 2 0.8 (NTSC) 0.7 (PAL) 1.26 GB 1.45 GB 12.6 GB 14.5 GB 37.8 GB 43.5 GB 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.
28 Resolutions and Storage Requirements Estimated Storage Requirements: MPEG This table does not include estimated storage requirements for audio. 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.
Considerations for Managing Storage Managing Storage to Improve Playback Performance The way you set up the media drives and target them when you capture can affect playback performance. Here are some suggestions for working with complex video images at high resolution, multiple video layers, or multicamera material: • For more effective playback of multiple streams of video at higher resolutions, stripe the media drives.
28 Resolutions and Storage Requirements 1332
29 Working with Stereoscopic Material This chapter provides information on working with stereoscopic material.
29 Working with Stereoscopic Material c Prolonged viewing of stereoscopic material in three dimensions might cause fatigue, dizziness, or physical discomfort, or might affect your sense of balance. Acquiring Stereoscopic Files You can use Avid MetaFuze to create stereoscopic files that you can edit in your Avid editing application. This topic briefly explains how MetaFuze works and directs you to more information in the Avid MetaFuze User’s Guide.
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.
29 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. You can: • View the left and right images together (squeezed vertically or horizontally, or interlaced, depending on the frame layout of the stereoscopic material). • View either the left image or the right image only.
Displaying Stereoscopic Material Option Description Interlaced When this option is selected, your stereoscopic material uses interlaced frame layout. The Interlaced stereoscopic layout requires full video display quality. If you use a Video Quality setting other than Full Quality or Full Quality 10-bit, your Avid editing application automatically switches to Full Quality when you select this option.
29 Working with Stereoscopic Material Option Description Stereo (Checkerboard) When this option is selected, your Avid editing application 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” on page 521.
29 Working with Stereoscopic Material 1340
30 Working in High-Resolution Projects Avid editing applications include support for high-resolution media (HD, 2K and above). A full list of the video formats supported for capture, linking, editing, rendering and output is available on the Avid web site. n Depending on the model of your Avid editing application and on your Avid input/output hardware, some of these resolutions might not be available for capture in their uncompressed form.
30 Working in High-Resolution Projects Delivery Methods for Film & Video Media originates either from film or video cameras in the form of film reel, video tape or digital high-resolution files. This media can be converted into different formats for the post-production process and final delivery. Avid applications provide support for universal mastering which means that you can edit once and deliver to multiple film, HD and SD formats.
Film Workflows: Editing Footage from Film Reel Film Workflows: Editing Footage from Film Reel When footage is shot on film, it can be digitized in one of two ways. It can be scanned to DPX files to preserve the 2K or 4K film resolution, or it can be transferred to tape in HD 4:4:4 format. Through a telecine transfer to HD digital videotape, Avid editing applications capture and store film frames as 24-fps progressive media, or 24p.
30 Working in High-Resolution Projects Step 1: Transfer of film to video The telecine process is the most common practice used for transferring the film dailies to videotape. For the offline editing, you may transfer to either SD or HD format.
Checklist: Editing Film Reel Footage in Media Composer Checklist: Editing Film Reel Footage in Media Composer 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 23.976 fps, 24 fps (for 24p) or 25 fps (for 25p), however new technology is introducing 24p and 25p videotape formats, both for cameras and VTRs.
30 Working in High-Resolution Projects Step Refer to this section Use the low-res media to edit at 24/25/23.976 fps. “Viewing Video Dailies” on page 1356. “Displaying 24p and 25p Media” on page 1369. If a retransfer is needed, use Avid FilmScribe to create an OCN (original camera negative) pull list for another telecine process, to retransfer footage used in the final edit. Perform the offline edit to produce the final sequence. “Editing with High-Resolution Media” on page 1368.
Transferring Film to Tape Step Refer to this section Review the offline sequence, then modify the format of the sequence to create a new 1080p/23.976 sequence. “Changing the Sequence Format” on page 1371. Batch capture in the desired resolution, based on the new ALE shot log file. Relink by KeyKode: relink the sequence and clips by key numbers (FTFT) and complete any other finishing. If necessary, batch capture clips as HD media, using an HD resolution.
30 Working in High-Resolution Projects Film Shoot Specifications Use the guidelines in the following table to help you plan for film shoots that will be edited on an Avid. 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.
Transferring Film to Tape 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. However, quality is much better on a telecine.
30 Working in High-Resolution Projects Project Format Source footage During the telecine process HD 24 fps The telecine process transfers 24-fps film footage at 1:1 (no pulldown). It can also transfer the footage at HD 1080p/23.976 video at 1:1. This lets you create the project at 24p and later change it to 1080p without having to create a new project and sequence. In addition, you can keep both offline SD material and online HD material available in the same project. 23.
Transferring Film to Tape 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 288.
30 Working in High-Resolution Projects Transfer of 24-fps Film to NTSC Video For an NTSC transfer, the telecine converts your film footage into video running at 29.97 fps. The video can then be captured and edited at 24 fps in the Avid editing system. This approach ensures that all your edits correspond to true film frames so you see an accurate representation of the finished film. If you transfer sound along with picture, your Avid editing application captures audio at the slowed-down speed.
Transferring Film to Tape Maintaining Synchronized Sound In most cases, the sound for your production has been recorded on a digital audio system, such as a DAT (digital audiotape), or ¼-inch tape system. You need to synchronize the sound with the picture and make sure they are in sync in your Avid editing application.
30 Working in High-Resolution Projects With PAL Method 1, there are two ways to sync sound with picture in the telecine process: • Transfer the original sound recording to mag track, sync the mag track to the film work print, and transfer both to videotape through a telecine process. • Sync the original sound recordings to picture during the telecine process, and transfer both to videotape. In either case, the telecine process speeds up sound at the same rate as picture: 4.1 percent.
Transferring Film to Tape Here’s an example where you have your picture-only videotapes (at the rate of 25 fps) and your source recording tapes. 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 1355.
30 Working in High-Resolution Projects Viewing Video Dailies The video dailies method relies on videotape transfers from negative for screening, transferring, and creating conformed cuts during editing. The advantage of working with video dailies and film negative is that you can avoid the cost of work print until the finishing stages, or altogether. The disadvantage is you are limited to the aspect ratio, resolution, and contrast range of video previews.
Film Workflows: Editing Footage from Digital Files Description 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 before telecine transfer. 4 Import existing key numbers and timecode information into the Avid system, then capture.
30 Working in High-Resolution Projects Step 1: Group high-res files into MXF files If you need to work with high-res file formats that cannot be read by Media Composer (such as DPX/ARI), start by using Avid MetaFuze to transcode these files into MXF files with an HD resolution. MetaFuze merges consecutive single-frame files (with metadata contained as part of the format) into an MXF file that can be read by Avid Media Composer®. Media Composer can link to and output RED footage in HD RGB 4:4:4.
Checklist: Editing Digital Film Footage in Media Composer Step 4: Output to tape or file In Media Composer, you can output any SD or HD formats as required. In Avid DS, for a film out, you can output the final sequence to master as a series of DPX or Cineon™ images (with an appropriate LUT) for recording to film. Checklist: Editing Digital Film Footage in Media Composer The following checklist explains how to link and edit high-resolution RED media in Media Composer.
30 Working in High-Resolution Projects Step Refer to this section If you need to finish your sequence in another editing “Exporting the AFE File to Avid DS” on system such as Symphony or Avid DS, export an AFE page 944. of your final project or sequence from Media Composer. If your high-resolution media is on a shared storage device where Avid DS also has access, Avid DS automatically relinks to the files.
Checklist: Editing Digital Film Footage in Media Composer The following checklist explains how to edit high-resolution files that cannot be read directly by Media Composer. Step Refer to this section Install and use Avid MetaFuze to transcode your high-resolution media into MXF files. Refer to the Avid Metafuze section of the Supporting Applications Guide for the Avid Media Composer family.
30 Working in High-Resolution Projects HD Workflow: Video-Based Television You can use this workflow for video footage shot at 720p/23.976, 720p/59.94 or 1080p/29.97. In these cases, however, you cannot simply change the project format (step 6). Instead, you need to create a new project that matches the source footage, open the bin or bins from the NTSC 30i project, change the sequence format, decompose, and batch capture.
HD Workflow: Video-Based Television To create a video-based HDTV program: 1. Use an HD VTR to downconvert the source tape to 30i NTSC, 25i PAL, or 25p PAL. 2. Open a project that is suitable for HD finishing. When you start the online session, you can create a new project in the final format, or use the original project and change the project format. If your project requires final mastering in HD, use the corresponding SD project for offline editing.
30 Working in High-Resolution Projects Producing Graphics for Broadcast An important part of the HDTV workflow is to produce 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.
Creating a Film-Based Project 5. Click the Format menu and select the most appropriate project type. The format you choose must take into consideration both the frame rate at which the film was shot, as well as the final delivery format for the production. Format Source Output 24p NTSC Film-based or other 24-fps footage transferred to Standard Film, Definition NTSC videotape. HD Broadcast, Video 23.976 NTSC Film transferred at 23.976 or footage shot at 23.976.
30 Working in High-Resolution Projects 6. Select Film if your source material originated on film reel. This will give you access to film options such as Perf Slip and Film and 24p settings. 7. Set the following additional option(s), where applicable: Option SD (NTSC/PAL) Aspect Ratio Select either 4:3 or 16:9 HD and Film Only uses the 16:9 aspect ratio.
Creating a Film-Based Project Selecting a Project Format during Capture Before you capture film reel footage into your editing system, make sure you select the correct project format. The following table explains how the Avid system creates the digitized media from your source footage. Project Format Source footage During the capture process SD 24 fps The Avid system removes the 2:3 pulldown and creates 24p media. 25 fps Use a 25p deck if you need to downconvert HDTV to ITU-R 601 video.
30 Working in High-Resolution Projects Project Format Source footage During the output process 25 fps Creates a 25p EDL for use in an online suite. 23.976 fps Creates a 24p EDL for use in an online suite. Use the Digital Cut tool to output a 1080p/23.976 master tape. Then convert the master tape to 720p/59.94 or 1080i/59.94 for broadcast. Optionally, use your Avid editing application to crossconvert to 720p/59.94 or 1080i/59.94 for preview or reference.
Editing with High-Resolution Media Displaying 24p and 25p Media When your Avid editing application captures video that has been transferred from film (or video shot at 24 fps), it creates 24p media. It creates this media by capturing the video fields, by dropping extra pulldown fields (NTSC transfers only), by combining (deinterlacing) two fields for each film frame (A1+A2, B1+B2, and so on), and by storing the fields together as a full frame.
30 Working in High-Resolution Projects Displaying Media During a Digital Cut The Digital Cut tool lets you output multiple formats at various play rates, all from 24p and 25p media. When you click the Play Digital Cut button, the system displays the sequence as described in “Displaying Media While Editing” above, depending on your selection in the Digital Cut tool. For more information, see “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 994.
Editing with High-Resolution Media 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. If necessary, you can then modify the format of an existing sequence, see “Changing the Sequence Format” on page 1371.
30 Working in High-Resolution Projects Your Avid editing application changes the format of the sequence. In cases where timecode needs to be converted, your Avid editing application creates a new sequence and unlinks the media. No media is converted. For more information, see “Understanding Options for Modifying the Sequence Format” You can check the format of the sequence in the Format column of the bin.
Linking to RED Files 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. Editing at 60 fps is similar to editing at 24 fps because both resolutions are progressive — they use full frames instead of interlaced fields. Note the following: n • Single-frame step commands move at 1/60th of a second. Single-field step commands are deactivated; if you click a button, your Avid editing application beeps.
30 Working in High-Resolution Projects To automatically link clips on a volume using AMA: 1. Connect the RED Drive directly through an industry-standard USB or FireWire port on your computer, or insert the RED Card into the RED camera and connect to your computer. The system scans the device and automatically links the clips into a bin (based on the options in the AMA Settings dialog box). These linked clips are highlighted in yellow. To manually link clips from another volume using AMA: 1.
Linking to RED Files n If you relink a sequence and the bin that stores the AMA referenced clips is closed, the media does not relink. Before you relink, open the bin of the referenced clips. 4. Click OK. The clips appear in the bin or bins depending on the options you selected, they highlight in yellow. To manually link clips from a file using AMA: 1. Select File > Link to AMA File(s). You can also right-click a bin and select Link to AMA File(s).
30 Working in High-Resolution Projects Working with HDV Avid editing applications provide the following High Definition Video (HDV) project types. For HDV projects on supported systems, you should select an appropriate raster size. (Some project types are not available for some Avid input/output hardware configurations.) • 720p/23.976 • 720p/25 • 720p/29.97 • 720p/50 • 720p/59.95 • 1080i/50 • 1080i/59.
Understanding HDV Understanding HDV HDV is a low-cost prosumer format that lets you record HD video onto standard DV videocassettes. This is achieved through the use of interframe compression, where a given frame in the video stream can be composed of information from adjacent frames. Frames are grouped into a sequence called a “Group of Pictures,” or GOP. Long-GOP (also known as IPB encoding) refers to the structure of HDV media.
30 Working in High-Resolution Projects HDV Workflow A basic workflow for an HDV project is as follows: 1. Select one of the following Avid project types depending on the format in which your HDV camera records and the project types available for your input/output hardware: - 720p/23.976 - 720p/25 - 720p/29.97 - 720p/50 - 720p/59.94 - 1080i/50 - 1080i/59.94 2. Click the Raster Dimension menu, and select the appropriate raster size.
Capturing and Importing HDV Capturing and Importing HDV You can import an HDV transport stream file (.m2t). Transport streams combine video and audio for transmission through an IEEE-1394 port. Your Avid editing application separates the transport stream after import or capture into the video and audio for editing. After import or capture, the master clips in your Avid editing application contain HDV long-GOP MPEG-2 video in MXF format and 2 channels of uncompressed 48 kHz 16-bit audio.
30 Working in High-Resolution Projects To import an HDV transport stream: 1. Select File > Import. The Import As dialog box opens. 2. Select Files of Type > HDV files (*.m2t). 3. Select the target drive (no other import options are needed). 4. Click Open. Your Avid editing application copies the media in a fast import as native HDV. Playing Back HDV Media Depending on your input/output hardware, there might be some limitations when you play back HDV media.
Outputting HDV Outputting HDV To send your edited HDV sequence back to an HDV device, you need to use a transport stream. You can use an existing transport stream or create a new one. To create a digital cut to go out to other devices, you need to first render and transcode the sequence. You cannot render to an HDV resolution. However, you can render or transcode the HDV sequence to an HD compressed format (see “Outputting HDV through Avid Input/Output Hardware” on page 1383).
30 Working in High-Resolution Projects To export the HDV material to an HDV device: 1. 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. 2. Select the sequence or marked section. 3. Select Output > Export to Device > HDV. The Export to HDV Device dialog box opens. 4.
Outputting HDV Outputting HDV through Avid Input/Output Hardware You can use Avid input/output hardware to output a sequence created with HDV media, but you must transcode the sequence and then use the standard Digital Cut tool. To perform a digital cut on a system using Avid input/output hardware: 1. If you are using Avid Adrenaline, Avid Mojo, or Avid Mojo SDI input/output hardware, do one of the following: t Select Special > Device > Avid DNA. t Click the DNA/1394 button on the Timeline to show DNA.
30 Working in High-Resolution Projects Exporting HDV as Windows Media Use the following samples as a guide when exporting an HDV sequence as Windows Media for use on the Web or for use in DVD authoring: To export HDV as Windows Media for use on the Web: 1. Select the sequence or clips you want to export. 2. Select File > Export. The Export As dialog box opens. 3. Click the Options button. The Export Settings dialog box opens. 4. Select Export As > Windows Media. 5.
Outputting HDV To export HDV as Windows Media for use in DVD authoring: 1. Select the sequence or clips you want to export. 2. Select File > Export. The Export As dialog box opens. 3. Click the Options button. The Export Settings dialog box opens. 4. Select Export As > Windows Media. 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.
30 Working in High-Resolution Projects Raster Dimensions Some earlier versions of Avid editing applications allowed you to create projects based on some device-specific HD compression formats, including 1080i 59.94 HDV and 1080i 50 HDV. Some versions allowed you to set specific raster types for your HD projects — for example, DVCPro HD.
Raster Dimensions The format you select to work in also determines which HD compression is used by your Avid editing application. For example, if your HD project format is 1080i 59.94 and you select a raster dimension of 1440 x 1080, the Video Resolution menu in the Media Creation settings dialog box displays the following options: • DNxHD-TR 145 MXF • XDCAM HD 17.
30 Working in High-Resolution Projects Raster Sizes The following tables list the raster dimensions available for each compression format and project type. You should select a format depending on your workflow and playback mode. (For information on video quality playback modes, see “Video Quality Options for Playback” on page 521.) Availability of Raster Dimensions for Full Quality Playback 1388 Project type 1280 x 720 960 x 720 1920 x 1080 1440 x 1080 1280 x 1080 720p 23.
31 Dual Link HD RGB Support The Avid Media Composer and Avid Symphony editing applications with Nitris DX support RGB HD dual link. If you have a Nitris DX-based system, you can capture, monitor, and output projects in HD-RGB using the two HD SDI connections to handle the high-bandwidth resolutions.
31 Dual Link HD RGB Support HD RGB Capture To setup: 1. Connect the Nitris DX to a dual link compliant camera or deck. Use the HD-SDI B IN and OUT connectors for dual ingest HD-RGB capture. 2. Open the Capture Tool window. 3. Select the RGB resolution. 4. See “Capturing Media” on page 231 for details on performing a capture. HD RGB Playback to High Resolution Monitor To setup: 1. Connect the Nitris DX to a dual link high resolution monitor.
32 International Character Support (ICS) in Avid Editing Applications This chapter provides information on international character support (ICS) in your Avid editing application.
32 International Character Support (ICS) in Avid Editing Applications On Windows systems only, if you are using a language other than English, French, Italian, German, or Spanish, you might need to adjust the mapping for the keyboard so the keys in the Keyboard palette match the keys on your physical keyboard. See “Using Foreign Keyboard Mapping (Windows)” on page 1399.
Non-English Character Support (Macintosh) The Get Info dialog box makes use of files known as language resource files to specify the language and regional code to use. The Avid software installation program automatically installs a set of language resource files for supported languages. If the language resource file that you want to use is not in this set, it might not be currently supported by this version of the Avid software. To set the language in the International window: 1.
32 International Character Support (ICS) in Avid Editing Applications 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. Select “Show input menu in menu bar.” 5. Click the Close button. 6.
Non-English Character Support (Windows) 3. Click the triangular opener for Languages. 4. Locate your language in the list and select it if it is not already selected. 5. Close the Get application Info dialog box. The next time you start your Avid editing application, you can use the language character set that you specified in the International window. System menus and dialog boxes appear in your selected language.
32 International Character Support (ICS) in Avid Editing Applications 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.
Non-English Character Support (Windows) 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.
32 International Character Support (ICS) in Avid Editing Applications 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.
Using Foreign Keyboard Mapping (Windows) A keyboard icon appears in the taskbar to let you switch keyboard layouts. 15. Restart your system. Using Foreign Keyboard Mapping (Windows) On Windows systems, when you start your Avid editing application under a new locale, your Avid editing application automatically creates a Keyboard setting for your language. You can view the keyboard layout by clicking the appropriate Keyboard setting in the Settings list.
32 International Character Support (ICS) in Avid Editing Applications Considerations for International Character Support This topic provides recommendations, tips, and information on limitations for using international character support in your Avid editing application. Use One Locale When Sharing Files Make sure that your projects do not contain characters from more than one locale. File sharing might not work correctly.
Considerations for International Character Support should avoid. You might have to set your Web browser to display characters in Unicode format to see all the characters in these documents correctly. For example, in Internet Explorer 7, select View > Encoding > Unicode (UTF-8). Character Limitations for EDL Manager You can display diacritical marks and Chinese characters in EDL Manager but those characters are not preserved when you save and reopen an EDL.
32 International Character Support (ICS) in Avid Editing Applications Creating Vertical Text To create a title with vertical lettering, such as on Japanese and Chinese Windows systems, use the Marquee title tool, and use one of the fonts with an “@” symbol at the beginning of its name. You can create a style or template for this kind of text box to make the titles easier to create. 1. Create a Text Box, then exit Text mode. 2. Select a font with an @ sign at the start of the name for the text box. 3.
Considerations for International Character Support • Do not use fonts that have an “@” sign at the start of the font name when naming Avid elements. These fonts are intended for text that displays vertically. Letters or characters might appear on their side in elements such as bin and clip names. • When you are using diacritical marks, exporting a bin as AFE with the default name might cause MediaLog to freeze. The resulting files have incorrect filenames.
32 International Character Support (ICS) in Avid Editing Applications 1404
33 Using the MCS3 Controller This chapter provides information on configuring a JL Cooper Media Control Station3 (MCS3) controller within your Avid editing application so that you can use it for navigation and common editing functions. It also explains how to use the MCS3 and troubleshoot problems.
33 Using the MCS3 Controller To configure your Avid editing application for an MCS3 controller and open the MCS3 Settings dialog box: 1. Double-click Controller Settings in the Settings list of the Project window. The Controller Settings dialog box opens. 2. Click the Port menu, and do one of the following, depending on your operating system, to select the appropriate port: t (Windows) Select COM1 or COM2 t (Macintosh) Select Port #1, #2, #3, or #4 3. Select Controller > JL Cooper MCS3 Controller. 4.
Configuring MCS3 Settings To map from the Command palette to the MCS3 buttons: 1. Open the MCS3 Controller Settings dialog box as described above. 2. If the Command palette is not already open, click Open Command Palette. The Command palette opens. 3. Select ‘Button to Button’ Reassignment. 4. Do one of the following: t To 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.
33 Using the MCS3 Controller To customize the maximum jog speed: t Click the Maximum Jog Speed menu in the MCS3 Controller Settings dialog box, and select an option. 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. Normal The jog speed corresponds to how fast you turn the wheel. This is the default option. 2x speed The jog speed does not exceed twice the recorded speed.
Default MCS3 Button Mappings Default MCS3 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. Function buttons (top) and navigation buttons (bottom) in the MCS3 Controller Settings dialog box Navigation Buttons The navigation buttons at the bottom of the MCS3 Controller Settings dialog box provide standard navigation functionality (Rewind, Fast Forward, Stop, Play, and Record).
33 Using the MCS3 Controller Default Function Buttons Each function button is labeled with an F or W followed by a number. In an Avid editing application, there is no difference between an F and a W function button. Avid provides the default function button mappings listed in the following table. You can reassign these buttons, or map to any of the other function buttons, by following the instructions in “Configuring MCS3 Settings” on page 1405.
Using the MCS3 for Editing Footage Shuttle Mode Shuttle mode alters the speed of playback by how far you turn the wheel. The more you turn the wheel to the right, the faster the footage moves forward. To move the footage in reverse, turn the wheel to the left of the midpoint position. Use Shuttle mode when you want to quickly scan footage. The red arrow lights above the jog/shuttle wheel are on when you are in Shuttle mode. If they are off, press the wheel to enter Shuttle mode.
33 Using the MCS3 Controller Troubleshooting the MCS3 Controller When you select Controller Settings from the Settings list, you might see the message “No Controller found.” This message means one of the following: • The MCS3 controller is not connected. • The MCS3 controller might be malfunctioning. • You selected the wrong port from the Port menu in the Controller Settings dialog box. • You did not select JL Cooper MCS3 Controller from the Controller menu in the Controller Settings dialog box.
34 Setting Up the Matrox MX02 Mini The Avid® Media Composer® and Avid NewsCutter® editing applications have been qualified for use with the Matrox® MX02™ Mini device. This device has been qualified for use with the editing application for video monitoring and audio monitoring only. The Avid editing application does not support using the input connectors on the MX02 Mini. Note the following when working with the editing application and the Matrox MX02 Mini: • There is no support for monitoring 10-bit media.
34 Setting Up the Matrox MX02 Mini 4. Set your video monitoring options according to the following: Option Description Active analog output Set main channel format to Allows you to select the video output format that you want for the main channel. Follow application matches the main channel output to the project’s video output format. 1414 Analog output Sets the video channel that you want for analog outputs. HDMI output Sets the video channel that you want for HDMI outputs.
Option Description Scrub and pause Lets you set First field, Second field, or Both fields from the Scrub and pause option. The Avid editing application sends single fields to the MX02. These options will have no effect. Set HDMI output to Lets you select YUV or RGB to set the type of video that is sent from the MXO2’s HDMI output. HDMI monitor calibration Lets you select the Calibrate button to display proc amp controls to calibrate the HDMI monitor for video. 5. Click the Audio Output option.
34 Setting Up the Matrox MX02 Mini 6. Set the audio monitoring options according to the following: Option Description Enable audio maping Select or clear this option. If this option is cleared, the application’s audio track outputs will be routed to the corresponding MXO2 audio outputs by default. For example, when you output audio tracks as Pair 1/2 from your application, the audio will be routed to the corresponding 1/2 MXO2 audio outputs.
2. Set your video monitoring options according to the following: Option Description Editing Video Format Analog Output Format: Allows you to select the video format that you want for output. . Pulldown: Sets the pulldown method to apply to the video output. Setup: Lets you set the relative lightness and darkness of images. Aspect Ratio Conversion: Allows you to select the aspect ratio conversion to be used when downconverting.
34 Setting Up the Matrox MX02 Mini 3. In the editing application, click the Settings tab in the Project window. 4. Double-click Audio Projects Settings in the Settings list. 5. Click the Output tab. 6. Set the audio monitor options according to options. See “Audio Project Settings” in the Help. To monitor audio or video output: 1. Start your Avid editing application. 2. Verify the MX02/1394 button in the Timeline top toolbar displays MX02. (This is automatically set when an MX02 is connected.
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Numerics 1 Pass encoding 1242 1:1 video defined 1307 1394 capturing HDV through 1379 capturing through 242, 244 connecting devices 187 1394 button playback to DV device with 519 selecting DV device with 244 selecting output device with 958 setting video quality with 524 16:9 display format (Composer settings) 1211 16:9 format 166, 1347 16-channel audio enabling 976 2 Pass encoding 1242 2:3 pulldown transferring film to video with 1352 23.
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Add Channel button (Deck Configuration dialog box) 182 Add Comments command (Clip Name menu) 591 Add Control Key button (Command palette, Other tab) 114 Add Deck button (Deck Configuration dialog box) 182 Add Dissolve button See Quick Transition button Add Edit button 786 for maintaining sync 600 for MultiCamera editing 1175 Add Edit function for maintaining sync 600 using 705 Add Filler at Start command (Clip menu) 564 Add Keyframe button commands 1224 Add Locator button
ABCDEFGHIJKLMNOPQRSTUVWXYZ Alias starting Avid editing application from 45 Alias file format import specifications for 1292 Align Selected to Grid command (Bin menu) 346 Align to Grid command (Bin menu) 346, 362 Aligning columns in a bin 362 Alpha channel adding to a graphics image 1291 defined 1291 support in graphics formats 1291 Alpha channel, options in Import settings 1258 Alternate source capture 264 AMA 394, 399, 406, 408, 411, 423, 424 QuickTime 423, 432, 1375 supported QuickTime codecs 423 virtual
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ adjusting volume while playing 783 and digital cuts 1002 buffer size adjustment 769 centering pan 785 creating leader 609 crossfading 802, 1198 digital scrub, described 754 digital scrub, performing 757 digital, capturing in film projects 198 dipping 802 dissolves 802, 1198 editing workflow 777 embedded, and sample rate conversion 977 fading 802, 1198 file format, selecting 204 file formats (Audio Project settings) 1198 fine-tuning transitions 786, 802 HDMI 765, 768 identi
ABCDEFGHIJKLMNOPQRSTUVWXYZ templates 820 Audio EQ command (Tools menu) 746, 809 Audio EQ tool examples of usage 817 Fast menu options 813 features of 810 opening 809 saving effects with 815 Audio File format displaying in bins 750, 765 options 1198 Audio file sample size 1198 Audio Gain Automation configuring USB-to-MIDI software 845 Audio hardware calibration 215 Audio hardware options project settings 1198 Audio IN and OUT points removing 530 Audio input levels adjusting 1198 calibrating for audio I/O dev
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ volume unit scale 209 Audio Tool command (Tools menu) 779, 972, 973, 979 Audio Track Monitor button (Track Selector panel) selecting tracks for scrubbing with 755 soloing tracks with 752 Audio tracks making tracks inactive 753 selection in Timeline and in Audio Mixer tool 774 splitting stereo tracks to mono 700, 808 Audio transfer Info tab 1353 Audio Transfer Rate (Film and 24p Settings dialog box) 179 Audio-only output 1002 AudioSuite command (Tools menu) 746 AudioSuite p
ABCDEFGHIJKLMNOPQRSTUVWXYZ Autosync feature syncing clips 603 Auxiliary timecode entering 159 AVI file format brief description 1297 AVI files methods for exporting 1241 Avid online support 24 training services 25 Avid Adrenaline using Command|8 with 835 using Digi 002 with 835 Avid Asset Manager 1041 Avid assets accessing assets 1072 automatically checking in to asset manager 1070 checking in and checking out 1066 checking in to asset manager 1067 checking out from asset manager 1064 checking out from Inte
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Avid Projects folder described 58 location 58 renaming 60 Avid Unity 1041 environment 450 LANshare 451 mapping workspaces on a network 1272 sending sequences to Pro Tools 928 sharing bins and projects 102 transferring projects 1047 unmounting and mounting 452 using Zone 3 connection with Avid Unity ISIS 452 Avid Unity Connection Manager 1101 Avid Unity ISIS Client Manager v1.5 and earlier 1102 v2.
ABCDEFGHIJKLMNOPQRSTUVWXYZ Bins adding columns 364 adding text in Script view 348 aligning columns 362 aligning frames in 346 auto-save function 77 Bin View menu 344 Brief view 341 changing background color 356 changing fonts 96 closing 73 colors for clips and sequences 357 creating 72 creating a storyboard 385 creating rough cuts in 567 defined 71 deleting 76 deleting columns 362 deleting items 353 deleting with SuperBin enabled 382 display views 341 displaying audio formats in 750, 765 displaying film col
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Buffer size audio, adjusting 769 Burn-in code 1347 Buttons Add Alt Key (Command palette, Other tab) 114 Add Control Key (Command palette, Other tab) 114 Add Locator 530, 532 Add Page (Script window) 625 Add Scene (Script window) 625 assigning workspaces to 101 Blank (Command palette, Other tab) 114 Gang 601 Go to Next Locator 536 Go to Previous Locator 536 in the MCS3 Controller Settings dialog box 1409 mapping 116 mapping user-selectable to MCS3 controller 1405 Mark Locat
ABCDEFGHIJKLMNOPQRSTUVWXYZ Capture in Progress slide in monitors 247 Capture mode entering 188 Capture Settings DV Options tab 1205 Capture settings Batch tab 1205 described 1205 DV Options 292 Edit options 279 Edit tab 1205 General tab 1205 Keys tab 267, 1205 MXF Media Files tab 1205 OMF Media Files tab 1205 Capture Tool Dolby E Safe button 276 Capture tool Interplay Folders option 1099 logging with 142 resizing 250 resolution, selecting 198 setting Pulldown switch 196 setting up 188 subclip status in 269
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Changing background color in bins 356 default pulldown frame 1003 font in the Script window 622 fonts in user interface 96 frame identifying a clip 346 frame sizes in bins 346 interface components color 94 page and scene numbers in the Script window 625 representative frame in takes 633 resolution by transcoding 465 track color in the Timeline 659 user profiles 92 Channel selection buttons (Capture tool) 193 Characters, avoiding when naming elements 1400 Check Decks comman
ABCDEFGHIJKLMNOPQRSTUVWXYZ Clips See also Master clips See also Subclips assigning local colors in the Timeline 659 assigning source colors in bins 357 audio, marking 530 autosyncing 603 batch capturing 252 changing identifying frame 346 changing resolution by transcoding 465 clearing from monitors 511 copying 351, 352 copying in and out of SuperBin 382 creating group clips 1164 creating multigroup clips 1165 creating multiple resolutions 1115 deleting 353 deleting MultiRez 1153 deleting unreferenced 470 di
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Color Match control 3 x 3 averaging of pixels, setting 1215 Color Match eyedropper 1215 Color submenu (Script menu) 636 Colors local and source, displaying in Timeline 655 Color-sync signal phase 1211 Column headings for MultiRez 1149 setting audio format in 750, 765 Column Titles in Avid log file 132 Columns adding (Interplay Window) 1084 changing size in Research panel (Interplay Window) 1084 creating (Interplay Window) 1084 display options in Interplay Window 1083 enlar
ABCDEFGHIJKLMNOPQRSTUVWXYZ Conforming workflow 1032 Connecting DV devices 187 XDCAM device 397 Connection Manager 1101 Console command (Tools menu) 118 displaying drive space statistics using 88 Console window 118, 219 checking peak audio levels with 219 described 118 displaying bin information in 118 displaying system information 118 logging capturing errors to 268 network drives 118 printing locator information from 543 Consolidate/Transcode command (Clip menu) 461, 465 Consolidate/Transcode dialog box op
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ user profiles 92 workspace settings 97 Criterion menu (Custom Sift dialog box) 386 Crossconverted sequences outputting 969 Crossconverting HD for output 969 Crossfading audio 802, 1198 Custom colors options for naming 1215 Custom preroll selecting 202 Custom Profile Audio Settings 1242 Custom property value for 1086 Custom Sift command (Bin menu) 386 dialog box 386 Custom Titles in Avid logs 132 Customizing appearance of user interface 94 bin views 344 Composer window 493
ABCDEFGHIJKLMNOPQRSTUVWXYZ selecting 191 templates for 182 using the keyboard to control decks 273 Decompose command (Clip menu) 258 Decomposing described 256 Expert Decompose feature 256 including or excluding material 261 mixed-rate sequences 256 selecting target formats 261 sequences 256 DeEsser III (Dynamics III) AudioSuite plug-in 892 Default function buttons MCS3 controller 1409 Default Pan options (Audio settings) 784 Default pulldown frame changing the 1003 Default settings restoring 1190 Default Se
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Set Font 96, 622 Sync Selection 604 Tape Lengths 481 View Name (bin) 344 Digi 002 790 configuring 838 maintaining sync with Avid input/output hardware 836 using with Avid input/output hardware 836 Digi 002 controller 120 DigiDelivery, exporting to 928 Digidesign exporting to 928 Digidesign AudioSuite plug-ins See AudioSuite plug-ins Digidesign Pro Tools transferring audio files to 1046 Digital audio capturing in film projects 198 scrub, compared to smooth audio scrub 754 s
ABCDEFGHIJKLMNOPQRSTUVWXYZ Dock Macintosh, using 37 Dolby E 274, 276 Dominance described 1306 Dominance, Import settings options 1258 Double-byte systems, ASCII characters in 1400 Downconverted sequences outputting 969 Downconverting HD for output 969 Draft Quality command (Video Quality menu) 521 Drag-and-drop method exporting files with 935 for converting files to ALE format (Macintosh) 128 for converting files to ALE format (Windows) 124 importing files 331 Dragging IN and OUT points 525 marks 525 Drive
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ DVCPro HD resolution raster type 1386 DVD exporting to 928 DVD authoring, exporting to 928 DVD One Step exporting to 928 D-Verb AudioSuite plug-in 891 Dynamic relink applying target settings 1133 applying working settings 1133 described 1124 displaying available media 1141 limitations 1132 quality matching 1157 to target settings 1138 Dynamic Relink Settings command (MultiRez menu in Timeline) 1133 Dynamic Relink Settings dialog box opening 1132 options 1220 settings for q
ABCDEFGHIJKLMNOPQRSTUVWXYZ Entering additional film data 152 frames-per-second rates for PAL transfers 158 ink numbers 160 key numbers 158 optional timecodes 159 pulldown of the sync point 154 Segment mode 678 Source/Record mode 560 Trim mode 728 EQ AudioSuite plug-ins 896 EQ effects adjusting while playing 822 applying 810 removing 817 templates for 820 ERIMovie file format additional export options 1248 brief description 1297 Errors “No MCS3 found” message 1412 logged during capturing 268 viewing capturin
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ to DVD 928 to HDV device 1381 to HDV settings 1240 to Sorenson Squeeze 928 to third-party applications 933 user profiles 92 using drag-and-drop method 935 VC1 media 954 Wavefront files 1248 Windows Media 949 with Avid Codecs for QuickTime, described 945 with Avid Codecs for QuickTime, procedure for 945 XDCAM 951, 952 YUV files 1248 Exporting files with Avid DV Codec 1233, 1235 Exporting sequences to P2 card 953 Extend button 735 Extending edits 735 External devices turning
ABCDEFGHIJKLMNOPQRSTUVWXYZ File management 449 File names for Avid Projects folder 58 for Avid Users folder 58 Files batch import 335 exporting using drag-and-drop method 935 exporting, procedure for 935 exporting, reasons for 926 guidelines for moving 1029 importing 301 importing, guidelines 298 importing, using drag-and-drop method 331 reimporting 332 specifications for importing graphics 1291 specifications for importing OMFI 1298 transferring, reference of devices and methods 1042 Fill Sorted command (B
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ FireWire capturing through 242, 244 connecting devices 187 drives, for transfer between systems 1042 selecting channel type 182 First (lower) Row of Info option (Composer settings) 1211 First Row of Buttons option (Composer settings) 1211 Flanger AudioSuite plug-in 903 Flash frames 712 Flat View command (Bin display Fast menu) 75 Focus button (Timeline) 674, 730 Focusing Timeline 674 Folders Avid Projects 58 Avid Users 58 creating in projects 76 deleting 1090 navigating to
ABCDEFGHIJKLMNOPQRSTUVWXYZ Full Quality 10-bit command (Video Quality menu) 521 Full Quality command (Video Quality menu) 521 Full Screen Playback enabling 506 settings 1253 Full Screen Playback command (Special menu) 506 Full Size Video command (Composer window context menu) 494 Full-Monitor Display 1167 Full-screen image size defined 1291 Full-screen Timeline 663 Function key commands (Capture Settings) 267 Funk Logic Mastererizer AudioSuite plug-in 887, 904 G Gain viewing gain values 761 Gain AudioSuite
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Hard subclips 269 Hardware check list for capturing 166 turning off 57 turning on 35 Hardware command (Tools menu) 120 Hardware tool displaying information 88 using 120 HD Component signal, adjusting output 969 crossconverting and downconverting 969 offline SD project formats for 1028 Raster Type selection for projects 51 sync options 959 HD media offline formats for 1370 HD SDI embedded audio and sample rate conversion 977 HDMI 765, 768 HDTV aspect ratio 1342 broadcast gr
ABCDEFGHIJKLMNOPQRSTUVWXYZ Import settings alpha channel options 1258 aspect ratio options 1258 Audio tab 1262 CCIR video levels 1258 described 1258 dominance options 1258 Image tab 1258 modifying 298 OMFI tab 1261 overview 298 RGB graphics levels 1258 Shot Log tab 1261 XDCAM tab 318 Import Settings dialog box 298 Import Target section (Batch Import dialog box) 335 Importing a script 619 animation files 1297 converting sample rates 307 files, basic procedure 301 files, batch import 335 files, batch importin
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Internal command (Sync Lock menu in Video Output tool) 959 International character support (ICS) taking advantage of 1391 International operating system 1392 Interplay Media tool with 455 Interplay Asset Manager 1041 Interplay Assist restrictions through 1078 Interplay environment relinking in 1140 Interplay Folder Settings 1265 Interplay Folder settings described 1265 Interplay Folder Settings dialog box 1058 Interplay Folders option (Capture tool) 1099 Interplay Host, sp
ABCDEFGHIJKLMNOPQRSTUVWXYZ K Key numbers entering 158 formats for 158 relinking clips by 288 Keyboard controlling decks from 273 mapping buttons to 116 mapping foreign 1399 mappings for playback control 516 Keyboard shortcuts audio keyframing 794 Automation Gain and Pan 794 Keyframes adjusting pan for individual 835 adjusting volume for individual 835 audio, keyboard shortcuts 794 Keykode format 158 Keypunch camera roll 1347 L Labroll data 152 Language non-English keyboard mapping 1399 non-English, typing
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Locator icon changing color of 535 Locator window selecting locator items 538 Locators adding while capturing 271 adding while editing 532, 533 copying from source clips 535 creating automatically with DV 292 deleting 536, 538, 541 displaying comments 537 displaying in the Timeline 661 editing 535 Essence Marks (XDCAM) 325 finding 535 finding text of 548 for managing sync breaks 599 limitations with mixed-rate clips 579 marking an area with 536 moving to next or previous 5
ABCDEFGHIJKLMNOPQRSTUVWXYZ Mark Clip button 527 marking clips in Segment Mode 686, 687 Mark IN button 525 Mark In Time option (Digital Cut tool) 986 Mark Locators button 536 Mark OUT button 525 Mark-and-park editing See Single-mark editing Marking audio clips 530 clips 527 footage 524 IN and OUT points 525 segments 527 segments in Segment mode 686, 687 with locators 530, 536 Marking tape location using Mark Memory button 147 Marks clearing 525 IN and OUT points 525 phantom 608 Marquee Title Settings describ
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Media Directory panel creating shortcuts 1081 described 1076 removing shortcuts 1081 Media drives See also Drives selecting 169 targeting 199 Media drives, unmounting 453 Media files archiving 480 backing up 471 capturing to multiple 177 consolidating, described 459 consolidating, options for 461 consolidating, procedure 461 deleting in bins 353 deleting unreferenced clips 470 deleting using Media tool 457 finding related 472 managing in a workgroup environment 450 managin
ABCDEFGHIJKLMNOPQRSTUVWXYZ Select Offline Items (Bin menu) 360 Select Sources (Bin menu) 361 Select Unreferenced Clips (Bin menu) 361 Set Bin Display (Bin menu) 385 Set Font (Edit menu) 622 Show All Takes (Script menu) 630 Show Every Frame (Timeline Fast menu) 709 Show Frames (Script menu) 630 Show Track (Timeline Fast menu) 709 Unlock Bin Selection (Clip menu) 358 Unmount (File menu) 453 Video Input Tool (Tools menu) 220, 221 View Type (Timeline Fast menu) 703 MetaFuze stereoscopic material 1334 MetaSync d
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Mounting workspaces ISIS v1.5 and earlier 1102 ISIS v2.
ABCDEFGHIJKLMNOPQRSTUVWXYZ MXF file format 169 choosing at target audio format for transcode 461 choosing target audio format for transcoding 465 transcoding to OMF 465 MXF media 424 N Nagra capturing from 196 Naming tapes 141 Narration, recording voice-over 823 Navigating to a folder from a selected asset 1091 Navigation buttons MCS3 controller 1409 Nested effects 689 Nesting tracks 689 Network drives accessing from Console window 118 Network drives command 118 New Audio Track command (Clip menu) 563, 698
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ OMF capturing media files 177 Media Files tab 177 Media Files tab (Capture Settings dialog box) 1205 OMF file format 169 preparing to export a sequence as 927 transcoding to MXF 465 OMF Interchange files additional export options for 1248 described 940 exporting 940 import specifications 1292, 1298 methods for exporting 940 OMFI MediaFiles folder backing up 471 transferring media 1048 One-light transfers 1347 Online support 24 Open Bin command (File menu) 62, 65, 73 Open S
ABCDEFGHIJKLMNOPQRSTUVWXYZ P P2 AMA plug-in 399 spanned clips 397, 405, 407 P2 card importing clips from 330 writing sequences to 953 Page and scene numbers (Script window) adding 625 changing 625 deleting 625 searching for 625 Page Setup command (File menu) 392 PAL (Phase Alternating Line) video frames-per-second rates for transfers 158 logging and capturing 232 luminance values 968 transferring film to 1353 waveform values 221 PAL Method 1 described 1353 PAL Method 2 described 1353 Pan adjusting for indi
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Pixar file format import specifications for 1293 Pixel aspect ratio 1291 Pixels square and non-square for import 1291 Play button 514 Play button (Script window) 633 Play Calibration Tone command (Peak Hold menu in Audio tool) 972, 973, 979 Play Delay, adjusting 506 Play Digital Cut button (Digital Cut tool) 986, 990 Play IN to OUT button 591 Play Loop button 730 Play Reverse button 514 Play Standby button 514 Playback changing speed of 517 controlling with buttons 514 con
ABCDEFGHIJKLMNOPQRSTUVWXYZ Preserving clipboard contents 589 Preset buttons in Video Input tool 221 Preset buttons (Video tools) 963 Prestriped tapes 978 Preview Digital Cut button (Digital Cut tool) 985 Previewing a digital cut 985 Previous In Group button 1173 Print Bin command (File menu) 392 Print Frame command (File menu) 392 Print Timeline command (File menu) 713 Printing bins 392 locators 543 statistics 84 the Timeline 713 Pro Tools AAF export to 940 exporting to 928 Profiles Windows media .
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Proxy media editing 326 importing 322, 323 XDCAM 322, 951 Pulldown capturing without 281 converting sample rates on import 307 described 1352 finding at the sync point 154 output for downstream encoding 999 Pulldown frame changing the default 1003 Pulldown phase modifying after capturing 290 modifying before capturing 156 option in Film and 24p Settings dialog box 150 Pulldown switch (Capture tool) setting 196 Pullin changing 1003 Pullin frame modifying 290 Pullout column
ABCDEFGHIJKLMNOPQRSTUVWXYZ Record Deck Time option (Digital Cut tool) 986 Record monitor described 493 displaying information in 500 resizing 494 Recording assemble-edit 980 automation gain information 790 digital cuts 982 digital cuts, using Local mode 990 digital cuts, using Remote mode 986 preparing tapes 978 Recording voice-over narration 823 Recovering material from clipboard 589 Recti-Fi AudioSuite plug-in 913 RED AMA plug-in 411 clip parameters 414 files and folders 412 formats 412 Histogram 420 sour
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Remote Play and Capture Avid serial driver 287 command (Clip menu) 284 command (Special menu) 283, 284 Device Code option 1273 Inhibit Preloading option 1273 Mode type option 1273 Runup option 1273 setting ports for 1273 Remote Play and Capture settings described 1273 Removable media saving work on 61 Removable storage, sending to Pro Tools on 928 Remove Auto Gain/Pan command (Audio Mixer Tool Fast menu) 792 Remove Automation Gain command (Audio Mixer Tool Fast menu) 792 R
ABCDEFGHIJKLMNOPQRSTUVWXYZ Restore from Videotape dialog box 484 Restoring default settings 1190 default Timeline view 669 files from backup 61 media files from videotape 484 Restricted characters in project names 48 Restricting available resolutions 172 Restrictions 1076, 1078 Retrieving files 62 Reveal File command (File menu) 472 Reverse AudioSuite plug-in 914 Reverse Match Frame button 550 Reverse Selection command (Bin menu) 350, 470 Reviewing edits 730 trim edits 730 Revising scripts 646 Rewind button
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ SC phase adjusting for output 964 Scale bar (Timeline) 674 Scanning for tapes 142, 241 Scene and page numbers (Script window) adding 625 changing 625 deleting 625 searching for 625 Scene data 152 Sci-Fi AudioSuite plug-in 915 Screen resolutions NTSC, PAL, HD 1308 Screenings interactive, in Script window 646 Script box in Script view 348 Script integration described 616 elements of 616 for video projects 616 holding slates on screen 630 importing a script for 619 in Script
ABCDEFGHIJKLMNOPQRSTUVWXYZ revising 646 ScriptSync 641 linking clips to script with 641 Scroll bar in Timeline 672 Scroll bar/position bar in Timeline 672 Scroll wheel mouse, using 38 setting up 39 Scrubbing audio 754 displaying markers during 1278 SDI embedded audio and sample rate conversion 977 Search tab (Interplay Window) 1076 Searches Category attribute 1098 Interplay Window 1096 keeping open 1099 performing 1096 remote assets attributes 1098 saving 1099 Text attribute 1098 Time attribute 1098 Types a
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Send To DigiDelivery 928 Digidesign Pro Tools 928 DVD 928 DVD authoring 928 DVD One Step 928 Sorenson Squeeze 928 using predefined templates 928 Send To dialog box 928, 933 Send to Playback command with MultiRez 1142 Sequence Info dialog box 561 Sequence information displaying, in a Script window 619 summary 485, 553 sequence information effect summary 485, 553 Sequence Time option (Digital Cut tool) 986 Sequence Track buttons (Digital Cut tool) 982 Sequenced image files 1
ABCDEFGHIJKLMNOPQRSTUVWXYZ Setting the bin display 385 Settings AMA 1196 asset manager 450 Audio 1197 Audio export 1246 audio pan defaults 784 Audio Project 202, 1198 Audio Project, DV audio pattern 1198 audio transfer 1353 Bin 1204 Capture 1205 Communication (Serial) Ports Tool 1210 Controller 796, 1214 copying between files 1190 Correction 1215 Deck 1217 Deck Configuration 1217 deck configuration 181 Deck Preferences 1219 default 1190 deleting 1189 described 1182 displaying project 1186 duplicating 1188 D
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Shift Key Button option MCS3 controller 1405 Shortcut menus 37 Shortcuts creating in Media Directory panel 1081 removing from Media Directory panel 1081 Shot log files Avid log file specifications 130 converting with Avid Log Exchange (Macintosh) 125 converting with Avid Log Exchange (Windows) 122 exporting 160 importing 163 importing file from Final Cut Pro 122 preparing text editors for 138 preparing with MediaLog 139 Shot logs See Shot log files Shot marks GFCAM 411 Sho
ABCDEFGHIJKLMNOPQRSTUVWXYZ SMPTE/EBU component standard support 1283 Snapping to transitions in Timeline 675 Softimage file format import specifications for 1293 Software DV25 codec 1205 Solo track monitoring in Timeline 694 in Trim mode 725 Soloing audio tracks 752 tracks 694 tracks, advantages of 692 Sonic authoring DVDs in 928 burning DVD in one step 928 Sony XDCAM loading drivers 396 workflow 320 Sony XDCAM and XDCAM EX workflow 440 Sony XDCAM low-resolution workflow 442 Sorenson Squeeze exporting to 92
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Starting Avid editing application (Windows) 44 Startup project opening 52 Statistics displaying drive space 88 printing 84 viewing 84 Statistics file described 84 Statistics files importing 86 Step Backward buttons 514 Step Backward One Field button 514 Step Forward buttons 514 Step Forward One Field button 514 Stepping J-K-L key method 517 single-field 514 with buttons 514 Stereo option (audio) 806 Stereoscopic material 1333 acquiring 1334 considerations when using 1338 i
ABCDEFGHIJKLMNOPQRSTUVWXYZ moving bins in and out of 382 moving clips and sequences in and out of 382 opening bins 382 Surround sound 768 surround sound 765 S-Video deck capturing from 221 limitations when capturing 225 Swap Cam Bank button 1167 Switching multicamera angles 1173 Sync autosyncing 603 breaks, avoiding when editing 594 breaks, defined 594 breaks, displaying 594 breaks, fixing 596 detecting locked signal when capturing 195 establishing for audio-only input 168 establishing for output 959 for ca
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Target bin selecting 198 Target Drive menu (Capture tool) 199 Target settings for dynamic relink applying 1133 described 1124 relinking to 1138 Taskbar 36 Telecine importing log file from 344 transfer quality 1347 Test patterns for calibrating video output 966 Test patterns, importing 315 Text adding in bin Script view 348 Text editors creating Avid logs with 130 for Avid logs 138 Text in the Script window changing font of 622 cutting, copying, and pasting 622 linking clip
ABCDEFGHIJKLMNOPQRSTUVWXYZ motion mode indicator 675 moving tracks 655 nesting in 689 paging option 662 patching tracks 695 position bar, switching to 673 position indicator in 672 printing 713 removing add edits in 705 resizing 663 saving 669 scale bar 674 scroll bar in 672 scroll bar/position bar in 672 scrolling option 662 Segment mode 664, 676 selecting segments 678 selecting tracks 691 setting the scroll bar 672 settings, Start Filler Duration option 564 soloing audio tracks 752 soloing tracks 694 sour
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ making tracks inactive 753 Track effects copying RTAS plug-ins 868 editing RTAS plug-ins 866 inserting RTAS plug-ins 864 moving RTAS plug-ins 868 ordering RTAS plug-ins on a track 869 removing RTAS plug-ins 869 using RTAS effect templates 870 Track Hinter settings, for hinted streaming export 1237 Track Panel command (Timeline Fast menu) 652 Track Selector panel Lock icon 696 Sync Lock icon 696 user preferences for 563 using 690 Track Solo and Track Mute buttons (Automatio
ABCDEFGHIJKLMNOPQRSTUVWXYZ Tri-level sync for output 959 HD formats 959 Trim settings, basic information 720 slip and slide procedures 737 Trim A-side button 721 Trim AudioSuite plug-in 924 Trim B-side button 721 Trim mode basic trimming procedure 729 Big, described 717 Big, switching with Small Trim mode 719 customizing 717 described 717 Dual-image playback 732 entering 728 exiting 728 options (Trim settings) 1281 playing transition loop parameters 730 Quick, described 717 reviewing edits 730 selecting sev
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Unreferenced clips deleting 470 selecting in the bin 361 Update from Interplay command (Bin menu) 1074 Update from Interplay command (Bin menu, Bin Fast menu) 1071 Update Media Status command (MultiRez menu in Timeline) 1147 Update Position While Playing command 1224 Updating remote assets 1071 user profiles 92 writable properties (Interplay window) 1091 Usage information viewing 84 USB-to-MIDI converter configuring software 845 testing installation 845 troubleshooting con
ABCDEFGHIJKLMNOPQRSTUVWXYZ Video Display Settings dialog box 504 Video Effect Safe Mode button (Digital Cut tool) 986, 990 Video Input menu (Video Input tool) 221 Video Input tool Line slider 221 saving settings in 227 Vectorscope monitor 221 Waveform monitor 221 Video Input Tool command (Tools menu) 220, 221 Video Input Tool settings described 1283 Video levels adjusting without color bars 228 Video Mixdown AAF export to Pro Tools 940 Video Output tool options display 964 Sync Lock menu 959 using preset bu
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ VTR See Decks VTR Emulation See Remote Play and Capture W WAVE file format 204 option in Audio Project settings 1198 Waveform monitor calibrating input 221 Waveform plots options in the Timeline Fast menu 759 Wavefront file format additional Export options 1248 import specifications for 1294 Wide-screen format (16:9) 166 Windows changing fonts 96 Composer 493 Interplay 1061 Locator edit entry 535 Project 70 Windows Media exporting as 949 exporting as VC1 954 VC1 resolutio
ABCDEFGHIJKLMNOPQRSTUVWXYZ Index X XDCAM AMA plug-in 394 batch import 327 connecting device 397 copying files 324 editing 326, 330 Essence Marks 325 exporting 951, 952 formats 395 high-resolution media 327, 330 import options 318, 319, 325 importing proxy media 322, 323 locators 325 proxy media 326, 951 resolutions 951 workflow 951 XDCAM HD 1386 XDCAM raster type 1386 XDCAM AMA media limitations with mixed rate clips 579 XDCAM EX AMA plug-in 394 formats 395 XDCAM EX media 394 XDCAM media 394 XLR adaptor f
Index 1478 ABCDEFGHIJKLMNOPQRSTUVWXYZ
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