® ® Avid Media Composer Editing Guide
Legal Notices Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. This product is subject to the terms and conditions of a software license agreement provided with the software. The product may only be used in accordance with the license agreement.
Redistribution and use in source and binary forms are permitted provided that the above copyright notice and this paragraph are duplicated in all such forms and that any documentation, advertising materials, and other materials related to such distribution and use acknowledge that the software was developed by the University of California, Berkeley. The name of the University may not be used to endorse or promote products derived from this software without specific prior written permission.
“This software contains V-LAN ver. 3.0 Command Protocols which communicate with V-LAN ver. 3.0 products developed by Videomedia, Inc. and V-LAN ver. 3.0 compatible products developed by third parties under license from Videomedia, Inc. Use of this software will allow “frame accurate” editing control of applicable videotape recorder decks, videodisc recorders/players and the like.” The following disclaimer is required by Altura Software, Inc.
Pinnacle Studio MovieBoard, Pinnacle Systems, Pinnacle VideoSpin, Podcast Factory, PowerSwap, PRE, ProControl, ProEncode, Profiler, Pro Tools LE, Pro Tools M-Powered, Pro Transfer, Pro Tools, QuickPunch, QuietDrive, Realtime Motion Synthesis, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, Reprise, Res Rocket Surfer, Reso, RetroLoop, Reverb One, ReVibe, Revolution, rS9, rS18, RTAS, Salesview, Sci-Fi, Scorch, Scorefitter, ScriptSync, SecureProductionEnvironment, Serv|LT, Serv|GT, Session,
Contents Using This Guide . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 Symbols and Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25 If You Need Help. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Accessing the Goodies Folder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Avid Training Services . . . . . . . . . .
Chapter 3 Working with the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Overview of the Project Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Controlling Project Window Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Using the Bins Tab . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Using the Settings Tab . . . . . . . . . . . . . . . . . . .
Setting the Pulldown Phase . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Film-Related Log Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Chapter 6 Preparing for Capture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Logging and Shot Logs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 Importing Shot Log Files . . . . . . . . . . . .
Remote Play, Capture, and Punch-In. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 Relinking Clips by Key Number . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 Modifying the Pulldown Phase After Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 DV and HDV Scene Extraction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 Using the Panasonic VariCam . . . . . . . . . . . . . . . . . . . . . . . . .
Batch Import Dialog Box . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 Chapter 9 Working with Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 Object Icons in Bins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 Bin Views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 Bin Procedures . . . . . . .
Using the Transcode Command. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459 Loading the Media Database . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462 Refreshing Media Directories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 Deleting Unreferenced Clips and Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464 Backing Up Media Files . . . . . . . . . . . . . . . . . . . . . . .
Chapter 13 PhraseFind . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551 Selecting your Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 551 Starting an Audio (Phonetic) Find . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 552 The Results Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 554 Filtering Your Results . . . . . . . . .
Chapter 15 Script-Based Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611 Understanding Lined Scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 611 Script Integration — Lining in the Digital Realm. . . . . . . . . . . . . . . . . . . . . . . . . . . 613 Understanding the Script Window . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 616 Working with the Script Window. . . . . . . . . . . . . . . . . .
Setting Small Trim Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 712 Trim Settings Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713 Timeline Trim States . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 713 Selecting Trim Sides . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714 Overwrite Trimming. . . . . . . .
Using Automation Gain and Pan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 777 Using Live Mix Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785 Fading and Dipping Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 791 Audio Sample Rate Conversion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 22 Exporting Frames, Clips, or Sequences . . . . . . . . . . . . . . . . . . . . . . . . 955 Understanding Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 955 Preparing to Export a Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 957 Exporting With the Send To Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 958 Send To Templates Reference . . . . . . . . . . . . . . . . . . . . . .
Outputting DV 50 and DVCPRO HD Media Directly to a DV Device . . . . . . . . . . 1023 Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects. . . 1024 Selecting Output Formats for 23.976p, 24p, and 25p Projects . . . . . . . . . . . . . . 1025 Output Format Reference for 23.976p, 24p, and 25p Projects . . . . . . . . . . . . . . 1025 Selecting the Timecode Format for Output . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Connecting to Avid Shared Storage and Mounting Workspaces . . . . . . . . . . . . . 1125 Dos and Don’ts for Editors Working with Avid Interplay . . . . . . . . . . . . . . . . . . . . 1133 Chapter 26 Using Interplay Transfer to Export Media . . . . . . . . . . . . . . . . . . . . . . 1137 Installing the Interplay Transfer Client Software . . . . . . . . . . . . . . . . . . . . . . . . . . 1137 Setting Transfer Settings in the Avid Editing Application . . . . . . . . . . . . . . . . . . .
Chapter 29 Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1217 Understanding Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1218 Working with Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1221 Options for Moving User Settings Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1228 Summary of Settings . . . . . . . . . . . .
PortServer Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1307 Remote Play and Capture Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1307 Render Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1308 Safe Colors Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1310 Script Settings . . . . . . . . . . . . .
Chapter 32 Working with Stereoscopic Material. . . . . . . . . . . . . . . . . . . . . . . . . . . 1369 Understanding the Stereoscopic Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1369 Acquiring Stereoscopic Files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1370 Setting Up Your System For Viewing Stereoscopic Material in Three Dimensions . . . . 1370 Displaying Stereoscopic Material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chapter 35 International Character Support (ICS) in Avid Editing Applications . 1429 Choosing a Locale on an English Language Operating System. . . . . . . . . . . . . . 1429 Using a Local Language Operating System (Windows Only) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1430 Non-English Character Support (Macintosh) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1430 Non-English Character Support (Windows) . . . . . . . . . . . . . . . . . .
Using This Guide This guide contains the task-oriented instructions, conceptual information, and reference information you need to use the features of your Avid editing application. The contents of this guide is also available in the Help. This guide is intended for all users, from beginning to advanced. Unless noted otherwise, the material in this document applies to the Windows® and Mac OS® X operating systems.
Symbol or Convention Meaning or Action (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. Italic font Italic font is used to emphasize certain words and to indicate variables. Courier Bold font Courier Bold font identifies text that you type.
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 645. 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 709 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 229. 2.
1 Editing Overview For more information, see “Working with Bins” on page 335. 3. Use the Media tool to manage media files. For more information, see “Managing Media Files” on page 443. 4. Use the bins to create storyboards. For more information, see “Creating a Storyboard” on page 377.
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 645, “Working with Trim Edits” on page 709, 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 955. • Output a digital cut in one or more formats. For more information, see “Generating Output” on page 987.
Outputting a Sequence Finished sequence.
1 Editing Overview 36
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 change the taskbar settings: 1. Right-click an unused part of the taskbar, and select Properties. The Taskbar and Start Menu Properties dialog box opens. 2. Select the options you want: t To keep the taskbar hidden, deselect “Keep the task bar on top of other windows” and “Auto hide the task bar.” t To set the taskbar to appear when you want, select “Keep the task bar on top of other windows” and “Auto hide the task bar.” 3. Click OK.
2 Starting a Project Option Command To select or deselect a check box or an option in a dialog box. Press Right Arrow, Left Arrow, or the space bar. To move up or down in a menu, or increment a Press Up Arrow or Down Arrow. numeric value. Using the Mouse Scroll Wheel for Navigating You can use the mouse scroll wheel to navigate in your Avid editing application, as described in the following table.
Working with the Desktop To set the mouse scroll speed: 1. In the Project window, click the Settings tab, and then double-click Mouse. The Mouse Settings dialog box opens. 2. Select a speed from the Vertical Scroll Speed menu. Normal is the default setting. Normal scrolls one item at a time. Moderate scrolls two items at a time, and Fast scrolls four items at a time. To assign functions to additional mouse buttons: 1. In the Project window, click the Settings tab, and then double-click Mouse.
2 Starting a Project 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. If you do not do this, you might receive Access Denied errors after you move files. In My Computer > Select Tools > Folder Options > View, deselect Use simple file sharing (Recommended). • Disable CPU throttling. In Control Panel > Power Options > Power schemes, select Always On.
Working with the Desktop • Ensure you do not accidentally delete locked items from your desktop. Right-click the Recycle Bin icon on your desktop and then, in Properties > Global tab, select Display delete confirmation dialog. • When you advance by single frames through the Timeline, deselect Render On-the Fly to enable faster response time. In your Avid editing application, deselect Clip > Render On-the-Fly. • Do not name files with special characters (/ \ : ? ” < > | *).
2 Starting a Project • Disable Desktop compositing. In Control Panel > System and Maintenance > System > System Protection > Advanced tab > Performance Setting, deselect Enable desktop composition. • Disable Windows Defender. In Control Panel > Security > Windows Defender > Tools > Options > Administrator Options, deselect Use Windows Defender > Save. • Disable Sidebar.
Working with the Desktop • When you advance by single frames through the Timeline, deselect Render On-the Fly to enable faster response time. In your Avid editing application, deselect Clip > Render On-the-Fly • Do not name files with special characters (/ \ : ? ” < > | *). Windows does not recognize special characters in file names. Bin names are limited to 27 characters (not including the four characters reserved for the file name extension).
2 Starting a Project File deletion protection utilities also consume system resources and could interfere with the proper operation of your Avid editing application. These utilities automatically back up any files that you delete, even temporary files that you create and delete with your Avid editing application. This consumes a large amount of disk space. Starting Your Avid Editing Application (Windows) By default, your Avid editing application is located in the following folder: drive:\Program Files\Avi
Working with Projects c n Your Avid editing application does not start properly if you move the application file from the Avid editing application folder. You can drag it onto the Dock, and an alias appears on the Dock. When you start your Avid editing application, you might see a message box which indicates there is no input or output signal. Check to ensure that your Avid input/output hardware is connected to the system with the cables secured and that it is turned on.
2 Starting a Project For information on the files and folders that your Avid editing application creates as part of a project, see “Avid Projects and Avid Users Folders” on page 50. You should also back up your project information regularly to a separate storage device, as described in “Backing Up Your Project Information” on page 64. Private A Private Project is stored locally. It can be accessed only by the user currently logged on to the editing machine.
Working with Projects Shared Project, under the Shared Avid Projects folder External An External Project can be saved to any directory, either local or remote. Depending on the file-system permissions set on the selected folder, other users or an administrator may or may not be able to access the project. The external option is particularly useful when you want to save the project on shared network drive to make project maintenance easier.
2 Starting a Project External Project, the editor can specify the location Avid Projects and Avid Users Folders When you create a new project or user profile, your Avid editing application creates files and folders in the Avid Projects and the Avid Users folders. Locations of Avid Project Folders By default, the system installs two Avid Projects folders: Private Shared Windows drive:\Documents and Settings\Windows login name\Documents\Avid Projects drive:\Documents and Settings\All Users\Shared Docum
Working with Projects n Windows XP drive:\Users\Public\Public Documents\Avid editing application\Avid Users Macintosh Macintosh HD/Users/Shared/Avid editing application/Avid Users (Windows only) The location of the Avid Users folder depends on the installation path for your Avid editing application. Files and Folders Created For Projects When you create a new project, your Avid editing application creates a folder with the name that you entered when you created the project.
2 Starting a Project 1 2 5 3 6 4 7 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.
Working with Projects 6 Element Description (Continued) Folder buttons The button you select will set the location where you can browse or create projects. Private: Local folder for the user currently logged in. Shared: Local folder that is visible to all users that have accounts on this system. External: Local or remote folder that any other users may have access to depending on the file permissions set on this folder. For more information, see “Working with Projects” on page 47.
2 Starting a Project Project Type Source Footage Transfer (Continued) Color Space 1080p/23.976 For film footage transferred to videotape, or high-resolution files from digital film cameras. YCbCr RGB 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.
Creating a New Project 5. Click the Format menu and select a project format that matches your media and delivery requirements. The rest of the options might change depending on the project format you choose. Example of the New Project dialog box 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.
2 Starting a Project Option SD HD Film Available for 23.976p, 24p, 25p, 720p, and 1080p film projects. Click the Film button and select a format for film gauge tracking from the Default Film Type menu. Audio Transfer Rate Available for 24p PAL projects. For more information, see “Audio Transfer Options for 24p PAL Projects” on page 1391. Matchback Available for 25i PAL, 30i NTSC, 720p, and 1080i Matchback projects only.
Setting Project-Naming Conventions Setting Project-Naming Conventions 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. 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.
2 Starting a Project Use the startup project to learn how to edit with your Avid editing application, before you capture any media of your own. You can explore the sequence in the Timeline to learn how it is assembled, and use the clips to practice viewing and editing techniques described in this guide. n If a sequence that was created in an older version of an Avid editing application contains effects or color corrections, you might need to update the sequence.
Opening and Closing Projects Browse button in the Select Project dialog box 2. Click the Browse button. The Browse for Folder (Windows) or Project Directory (Macintosh) dialog box opens.
2 Starting a Project 3. Navigate to the folder that contains the project you want. 4. Click OK (Windows) or Choose (Macintosh). 5. Select a project in the Projects list. 6. Click OK. The Project window, the Composer window, and the Timeline open with the User settings loaded. The title bar of the Project window contains the project name and the user profile selected in the Select Project dialog box.
Deleting a Project To turn off the automatic opening of projects so that you can select another project when you start your Avid editing application: 1. Deselect “Automatically Launch Last Project at Startup,” and then click OK. 2. Quit your Avid editing application and restart it. The Select Project dialog box opens. 3. Select a project and click OK. The Project window, the Composer window, and the Timeline open with the User settings loaded. To open the startup project: 1.
2 Starting a Project 4. If you see a message asking if you want to delete the selected project and associated bins, click OK The deleted project no longer appears in the Select Project dialog box. c n Deleting a project also deletes any bins that are in that project. Media related to a deleted project is not deleted with the project folder. For more information on deleting media files, see “Deleting Items from a Bin” on page 348 and “Deleting Media Files with the Media Tool” on page 451.
Changing Project and User Names c Quit your Avid editing application before you turn off your equipment. To turn off your equipment: 1. Turn off the system by doing the following: For a Windows system: a. Click the Start button, and select Shut Down. The Shut Down Windows dialog box opens. b. Click the menu, and select Shut down. c. Click OK. For a Macintosh system: t Select Apple menu > Shut Down. 2. If you have an Avid input/output device attached to your system, turn it off. 3.
2 Starting a Project 3. Type the new name of the folder. 4. Double-click the folder with the new name to open it. The folder contains profile, settings, and project files with the old name. 5. Change the old name of each file to the new name. n Do not change the name of the file MCState.avs in the Avid Users folder. 6. Close the windows, and restart your Avid editing application. The new project name or user name appears in the Select Project dialog box.
Avid Attic Folder To restore a project or user information from a backup storage device: 1. Mount the drive or insert the removable media that contains the backup copies you want to restore. 2. From the desktop, double-click the icons for the drive or storage media and for the internal hard drive (Windows) or for the Macintosh HD (Macintosh). 3. Drag the copies from the storage device to the appropriate folder on the internal hard drive (Windows) or Macintosh HD/Users/Shared (Macintosh).
2 Starting a Project n The oldest backup file is overwritten only if the second-oldest backup file is more than 2 hours old. Retrieving Files from the Avid Attic Folder (Windows) To retrieve a file from the Avid Attic folder: 1. Minimize your Avid editing application. 2. From the desktop, double-click the Avid Attic folder, located in: (Windows XP) drive:\Documents and Settings\All Users\Shared Documents\Avid editing application.
Avid Attic Folder 6. Select the backup bin file or files you want to retrieve. 7. Ctrl+drag the selected backup bin files to the desktop. This makes a copy of the files, leaving the original files in the Avid Attic folder. To copy backup files to a new bin: 1. Click the taskbar item for your Avid editing application to restore it. n If the taskbar is hidden, see “Using the Windows Taskbar (Windows Only)” on page 38. 2.
2 Starting a Project 7. Select the material you want to keep from the backup bin, and drag the files to the new bin. 8. Repeat steps 3 through 7 for any other backup bin files you copied to the desktop. 9. Select and delete the backup bins in the Other Bins folder. 10. Drag the backup bin files on the desktop to the Recycle Bin. Retrieving Files from the Avid Attic Folder (Macintosh) To retrieve a file from the Avid Attic folder: 1. Minimize your Avid editing application. 2.
Using Toolsets The bin folder displays the backup bin files and their creation dates. A backup bin file has the same name as the bin, with a number appended. For example, a bin named Source Clips might have backup bin files named Source Clips.1 and Source Clips.2. 6. Command+click the files you want to retrieve. 7. Option+drag the selected backup bin files to the desktop. This makes a copy of the files, leaving the original files in the Avid Attic folder. To copy backup files to a new bin: 1.
2 Starting a Project • Audio Editing • Capture You can change the toolset workspace, restore it to the default arrangement, or link it to other settings. For example, you might want each toolset to appear with a different color scheme. You can link the current toolset to custom User settings, or link several toolsets to named settings but leave the other toolsets linked to a default, unnamed setting. To open a toolset: t Select Toolset > toolset. To customize the toolset workspace: 1.
Using Toolsets The Link Toolset dialog box opens. 3. Click the Links to Current Toolset menu, and select Link to Unnamed Settings. 4. Click OK. The active toolset is linked to all the unnamed settings in the Settings list.
2 Starting a Project 72
3 Working with the Project Window The Project window provides controls for structuring and viewing important information about your current project. You can also modify User, Project, and Site settings from the Project window and display a list of effects.
3 Working with the Project Window Project window information is organized in tabs. Tab Function Bins Lets you create and open bins. See “Using the Bins Tab” on page 75. Settings Lets you view and modify settings. See “Using the Settings Tab” on page 81. Effects Lets you access a library of effects. See “Applying Effects” in the Help. Format Lets you view information about the format of the project. See “Using the Format Tab” on page 82.
Using the Bins Tab To close the Project window, do one of the following: t With the Project window active, select File > Close Project. t Click the Close button in the Project window. The Select Project dialog box opens. Using the Bins Tab When you create a project, your Avid editing application automatically creates a bin with the name of the new project, which displays in the Bins tab. You can rename this bin and create additional bins as you work in your project.
3 Working with the Project Window Creating a New Bin To create a new bin from the Project window: 1. Do one of the following: t Select File > New Bin. t Click the New Bin button in the Project window. A new (empty) bin opens and is given the name of the project as displayed in the title bar of the Project window. The new bin appears in the Bins list in the Project window with a default name highlighted and a number appended to it. 2.
Using the Bins Tab Project name in title bar (top) and default bin name based on Project name (bottom) in the Bins tab of the Project window. Opening and Closing Bins You can open a single bin or open multiple bins at once. You can also open a bin from another project. n c If you have the SuperBin enabled, see “Working with the SuperBin” on page 375. Never open a bin that is stored on a removable disk or equivalent device; otherwise, your Avid editing application cannot save your work.
3 Working with the Project Window The bin appears in the Bins list in a folder called Other Bins. The name Other Bins appears in italic. You can rename this folder. This option is useful when you want to open a bin not currently displayed in the Project window. n The Other Bins folder disappears from the Bins list when you delete all the bins in the Other Bins folder. Deleting bins from the Other Bins folder does not remove the bins from your system; only the pointers to the bins are removed.
Using the Bins Tab To view a list of only the folder contents and not the folders: t Click the Fast Menu button, and select Flat View. The Trash icon and its contents disappear until Flat View is deselected. 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.
3 Working with the Project Window c n Emptying the trash permanently removes the bins or folders from the drive. If you change the name of the Trash icon, you cannot empty the Trash. To view items in the Trash: 1. Click the arrow next to the Trash icon in the Bins list. 2. Click the bins or folders you want to keep (or view), and drag them from the Trash to the Bins list in the Project window. 3. Double-click the bin or folder to view it. To empty the Trash in the Bins list: 1.
Using the Settings Tab 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.
3 Working with the Project Window To view the Settings list: t Click the Settings tab in the Project window. To open a setting: t Double-click the setting in the Settings list. To view Help for a setting: t Open a setting and press the F1 key (Windows) or the Help key (Macintosh). 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).
Working with Color Spaces in HD Projects 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/59.94 HD project, you can change the project format to 30i NTSC.
3 Working with the Project Window Newer HD technologies can display detailed images with sharp changes in color. Because some color data is missing, YCbCr media does not take full advantage of HD display hardware. The limited color information available in YCbCr also means that the results of effects processing are not as good as they could be with RGB media. Understanding the RGB Color Space RGB produces higher quality images and effects, but takes up more space.
Changing the Project Color Space for an HD Project The project color space specifies how your Avid editing application processes effects in real time. Your Avid editing application supports native processing of effects in either the RGB or YCbCr color spaces. For example, this means that RGB media does not need to be converted to YCbCr for processing, maintaining maximum video quality until the final output.
3 Working with the Project Window Color Space menu in the Format tab of the Project window Your Avid editing application now displays video and processes real-time effects in the new color space. The final output is also in the new space. 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.
Using the Usage Tab Variable Description yy Indicates the last two digits of the year mm Indicates the month dd Indicates the day HH Indicates the hour MM Indicates the minutes SS Indicates the seconds 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.
3 Working with the Project Window 01 title1 02 title2 03 Title Only 100 project info 101 Time Project open 102 Capture tool open 104 Capture tool active 105 Captured Media bytes used 106 Rendered Effects bytes used 110 Effects rendering time 111 Title tool open 113 Title tool active 114 Title tool rendering 115 Capture tool capturing 116 Capture tool logging 117 user comments The values in the second column indicate the type of data in the line: 01 project info 02 time us
Using the Usage Tab 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 3. Press Enter (Windows) or Return (Macintosh). 4. Select File > Load Media Database. After the media database is loaded, the Usage window displays the number of files and disk space used for captured media and rendered effects. To update the display: t Click the Usage tab in the Project window. To prevent recalculation: t Reenter the toggleStatSpace command.
Managing Bins and Memory Item Description Total physical memory (Windows) or Total Mem (Macintosh) The total number of bytes of RAM (random-access memory). Available physical memory (Windows) The amount of RAM available for allocation by the Windows or or Free Mem (Macintosh) Macintosh system. Total page file The total number of bytes stored in the paging file. The paging file is used as virtual memory by the Windows system.
3 Working with the Project Window Bins containing sequences use more memory than bins containing master clips. For bins that contain a large number of sequences, you can free up memory and still keep your old sequences. Create an archive bin and move older sequences that you do not use anymore to the archive bin. Keep the archive bin closed. To free up memory: 1. Click the Info tab of the Project window. 2. Click the Clear Memory button.
Understanding User Profiles • Create a user profile on one system, export it to a server, and then import the same user profile from another system to the new system. When you export a user profile, you can select either a Personal or Group profile. - When you select Personal, the user profile performs an auto-load and an auto-save every time you open a project. Every time the user profile is updated, it saves the new profile information.
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.
Customizing the Avid User Interface 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 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 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. To assign workspace buttons, see “Assigning a Workspace Button” on page 103.
Working with Bins and Projects in an Avid Shared Storage Environment 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 For example, an editor creates sequences in one bin while an assistant recaptures media in another bin. At the same time, other users add audio effects or titles to other bins in the project. Each user performs tasks from their own computer. Your Avid editing application provides a locking mechanism to help you keep track of who is currently working in a bin. The method allows one user to write to a bin; multiple users can read the files in that bin.
Working with Bins and Projects in an Avid Shared Storage Environment Sharing Both Bins and Projects If you share bins and projects, you create and store the project folder and bins on the shared workspace (or copy an existing project, bins, and the related media files). Your Avid editing application identifies information from each computer using the shared workspace as follows: n • Creates a project folder for each computer that accesses the project.
3 Working with the Project Window The Project window opens. For a description of the elements specific to Avid shared storage in the Project window, see “Sharing Bins and Projects in Avid Shared Storage” on page 104. 3. Double-click a Bin icon to open one of the bins. The bin appears with a Bin Lock Status button.
Working with Bins and Projects in an Avid Shared Storage Environment You can click the red or green Bin Lock Status button in the bin to view a history file that shows which computers and users have modified the bin. To open a bin without controlling the lock: t Alt+double-click (Windows) or Option+double-click (Macintosh) the bin in 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.
3 Working with the Project Window Avid recommends that you do not use a common prefix for machine names. If you must use a common prefix, make sure all the names are the same length (ABC01, ABC02, ABC03, etc.). • 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.
Working with Bins and Projects in an Avid Shared Storage Environment Avid recommends that you institute policies where media files are deleted by the editor who created them, or if necessary, the deleting editors notify the editor who created the media files that a deletion has occurred. This editor can then switch to the desktop and back, and all other editors can see the deleted file go offline.
3 Working with the Project Window 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.
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 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 following are examples of buttons you might want to map: Buttons you use to subcatalog clips. Left to right: Make Subclip, Find Bin, and Add Locator.
The Command Palette The Blank Button The Blank button in the Other tab of the Command palette lets you replace a defined button with an undefined button. If you do not need a specific button on the Tool palette, you can replace this button with a Blank button. For more information on mapping the Blank button to a new location, see “Mapping User-Selectable Buttons” on page 115. Modifier Keys You can add modifier keys to functions already associated with keys and buttons.
4 Using Tools t Open the Mouse Settings dialog box from the Settings list in the Project window. 2. Select Tools > Command Palette. The Command palette opens. 3. Select Button to Button Reassignment at the bottom of the Command palette. 4. Click the tab from which you want to select a user-selectable button. 5. Drag the button from the Command palette to a button location on the other palette.
Using the Avid Calculator 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. For example, you can click the Play button in the Command palette to play the material in the Source monitor. To activate a command from the Command palette: 1. Select Tools > Command Palette. The Command palette opens. 2. Select Active Palette at the bottom of the Command palette. 3.
4 Using Tools 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. To convert your totals at any time to another format: t Click the Format menu, and select a different frame code or key number format.
Using The Console Window To review errors logged to the Console window: 1. When an error occurs, close the message box and select Tools > Console. 2. Scroll through the Console window to find a log of the error to use when you contact your Avid Reseller or Avid Customer Support. To get information with the Console window: 1. Select Tools > Console. The Console window opens. 2.
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.
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 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. When you select Clean, the utility changes the end timecode of a previous event to be less than that of the following event. Clean is the default. 6.
5 Logging 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. See “Converting Log Files with Avid Log Exchange (Macintosh)” on page 125. 2.
Avid Log Specifications 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 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. The tables in these topics follow this order. The tables use the following conventions: • A Title appears in the first column, without angled brackets or square brackets. For example, FIELD_DELIM is the first global Title. • A is surrounded by angled brackets.
Avid Log Specifications Title FIELD_DELIM [Enter] or Required [Return] This marks the start of the global Titles. Enter TABS to show that the file is Tab delimited. [Tab] [Enter] or Required [Return] VIDEO_FORMAT [Tab] [Enter] or Required [Return] FILM_FORMAT <16mm> <35mm,3perf> <35mm,4perf> [Enter] or [Return] AUDIO_FORMAT [Tab] <22kHz> <24kHz> <44kHz> <48kHz> [Enter] or [Return] Audio sampling rate for catpure. You can override this for individual clips.
5 Logging COLUMN Titles: Column Titles are case sensitive and must be spelled exactly as shown. Note that the first five Titles are required. Other Titles are optional but might be necessary for your project. This table lists only the column Titles that are relevant to shot log files. Some data, such as Creation Date, is gathered by the system. The table does not include Titles for such data. The maximum number of combined global, standard, and custom Titles in a log file is 64.
Avid Log Specifications Film TC [Tab] Title for the timecode used on the film. Ink Number [Tab] Title for the ink number used for the clip. KN Duration [Tab] Title for the length of the clip, expressed in feet and frames. KN End [Tab] Title for the ending key number for the clip. KN Start [Tab] Title for the starting key number for the clip. Labroll [Tab] Title for the lab roll ID for the clip. Lab rolls are a combination of several camera rolls.
5 Logging COMMENTS [Tab] Title for comments about clip. [Tab] Add any category of information you want. Add as many Titles as you want, but do not use more than a total of 64 global and column Titles in the file. Press the Tab key between each Title. Do not press the Tab key after the last Title. [Enter] or [Return] [Enter] or [Return] Press [Enter] (Windows) or [Return] (Macintosh) twice (do not press Tab) after the last Title.
Avid Log Specifications [Tab] Required Under End Title. Enter the video timecode for the last frame of the clip. <22kHz> <24kHz> <44kHz> <48kHz> [Tab] Under Audio Title. Enter the audio sampling rate for this clip only. If omitted, global entry applies. [Tab] Under Auxiliary Ink Number Title. Identify a second ink number for the start of the clip. [Tab] Under Auxiliary TC Title. Enter a Nagra timecode, Arri code, and so on, for the sync point.
5 Logging (matchback only) [Tab] Under Pullin Title. Identify the telecine pulldown of the first frame of the clip (pulldown phase). NTSC only. (matchback only) [Tab] Under Pullout Title. Identify the telecine pulldown of the last frame of the clip. NTSC only. [Tab] Under Reel # Title. Identify the reel, use numbers. [Tab] Under Scene Title. Identify the scene, use letters and numbers. [Tab] Under Shoot Date Title.
Avid Log Specifications Enter an additional line of data for each remaining clip. Sample Avid Log This is a sample Avid log for an NTSC video project. Formatting keys (such as [Tab] and [Enter] (Windows) or [Return] (Macintosh)) display in brackets. Heading [Enter] FIELD_DELIM [Tab] TABS [Enter] VIDEO_FORMAT [Tab] NTSC [Enter] AUDIO_FORMAT [Tab] 44kHz [Enter] TAPE [Tab] 001 [Enter] FPS [Tab] 29.
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 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 129. 2. Save your file as a text file in the Save As dialog box. You can use the file name extension .txt, but it is not required.
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 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 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. t To cue your source tape: Use the deck controls in the Capture tool to cue your source tape to the start or end point.
5 Logging 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. t To log using timecode: Type a timecode for the clip’s IN point, OUT point, or duration in the timecode text boxes next to the corresponding icon. Then press the Go to IN button or the Go to OUT button to scan the tape forward to the mark.
Logging Directly into a Bin 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. Using a Memory Mark When Logging You can add a memory mark to a particular location on a tape, then use the Go to Memory button to move through the tape to the marked location.
5 Logging 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. The Capture tool opens.
Understanding the Pulldown Phase 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. Type the start timecode in the Mark IN text box. 14. (Option) Enter a clip name and comment in the corresponding text boxes. 15.
5 Logging Set Pulldown Phase option in the Film and 24P Settings dialog box You set this relationship when you select the pulldown phase (sometimes called the pulldown frame or pullin frame), which is the video frame at which the master clip starts. The pulldown phase is designated A, B, X, C, or D. Film labs and transfer houses typically use the A frame to start the transfer. The illustration shows the relationship between film frames and video frames.
Understanding the Pulldown Phase 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. See “Entering Pulldown Information” on page 154.
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 > Choose Columns. 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 341. 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 n For 24p projects, you can set a default pulldown phase in the Film and 24p Settings dialog box. See “Setting the Pulldown Phase” on page 152 (24p projects only). For matchback projects, you need to log key-number information before you can log pulldown information. If you specify the pulldown phase in the Pullin column, you accomplish the following: • You ensure that clips start with the correct frame for the pulldown.
5 Logging If you have not keypunched your footage, you can determine pulldown according to clapsticks or any other distinctive frame at the beginning of the clip. It is easier to determine the pulldown if the frames depict motion. n For instructions on how to modify the pulldown phase, see “Modifying the Pulldown Phase After Capturing” on page 287. To determine the pulldown phase: 1.
Film-Related Log Information - If the timecode changes from the first to the second field, the fields came from a D frame. 5. Enter or edit the information in the Pullin column in the appropriate bin, as described in “Modifying the Pulldown Phase Before Capturing” on page 157.
5 Logging 3. Click the menu, and select the correct pulldown phase for timecodes ending in 0 or 5. 4. Click OK. The pulldown phase for each selected clip changes, based on the pulldown phase you select for 00:00:00:00. The Pulldown Phase setting also appears in the Film and 24p Settings dialog box (24p projects only). You can override that setting with the Modify Pulldown Phase dialog box. The selection in the Film and 24p Settings dialog box remains the same.
Film-Related Log Information - Other Formats: Enter other key-number formats in the Ink Number column. Type up to eight characters for the prefix, up to five characters for the footage count, two digits as the frame count, and then press Enter (Windows) or Return (Macintosh). The Avid editing application automatically calculates the ending key number (KN End), based on the timecode duration. c c Make sure the correct number appears when you press Enter (Windows) or Return (Macintosh).
5 Logging 5. In the TC24 column, enter timecode for original HDTV sources (1080p/24) or audio DATs created for PAL feature film productions that use in-camera timecode. n You can use the Duplicate command to convert timecodes from one format to another. For more information, see “Duplicating Bin Columns with Timecode Information” on page 357. Entering Ink Numbers To enter ink numbers: 1. In the Project window, click the Settings tab. 2. Double-click Film and 24p.
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 969. 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 1293.
Preparing the Hardware for Capture 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 989. Avid Nitris DX or Avid Mojo DX requires that the deck and the input/output hardware are genlocked to the same timing source when capturing or outputting a digital cut using the Avid Nitris DX or Avid Mojo DX.
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 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. For 720p HDV projects, Avid DNxHD and DVCPRO HD resolutions are listed for other media creation.
6 Preparing for Capture To disable resolutions: 1. Select Tools > Media Creation. The Media Creation dialog box opens. 2. Click one of the tabs that includes a Resolutions menu, and note the exact spelling of each resolution you want to disable. 3. Open a text file by doing one of the following: n t (Windows) Click the Start menu, and then select All Programs > Accessories > Notepad. t (Macintosh) Click Go > Applications, and double-click TextEdit. This file must be a plain text file.
Selecting Settings for Capture 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. (Windows) Name and save the file: a. Select File > Save As. b. Type DisabledRes in the File Name text box. c.
6 Preparing for Capture Because media files are very large, you can filter drives that are not suitable for media storage out of the list of available drives. Filtering drives in this way provides you with a convenient way to store media only on drives with sufficient space. n c If you are working in a network environment, see “Drive Filtering in Networked Workflows” on page 110. Your Avid editing application does not prevent you from using non-Avid drives, but Avid cannot ensure their reliability.
Selecting Settings for Capture t Select Filter Out Launch Drive to remove the drive on which your Avid editing application resides. The drive or drives you filter out do not appear in the other Media Creation tabs as possible locations where you can store media. They also do not appear in other drive selection menus in your Avid editing application except for the Import, Export, and Relink dialog boxes. n Your settings are not saved until you click OK. 4. Click OK to save your settings.
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 Command+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.
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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 3. Click the Add Channel button. The Channel dialog box opens. n Channel refers to the signal path for deck control, whether directly through a serial port, through a V-LAN® VLXi system connected to a serial port, or through a FireWire® connection. A direct serial port or FireWire connection allows one deck for each channel, while a V-LAN VLXi system allows multiple decks. 4.
Configuring Decks Option Description VLAN VLX Use if you are controlling decks through a V-LAN/VLXi connection 5. Click the Port menu, and select one of the following items: Option Description Avid DNA or OHCI Use if you selected FireWire for the channel. COM1 Use if you selected Direct or VLAN VLX for the channel.
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 1253. 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 241. 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 1 2 3 4 5 6 7 8 9 10 11 13 14 15 12 Top of Capture tool 1 Capture indicator 9 Record button 2 Trash 10 Channel Selection buttons 3 Capture/Log Mode button 11 Audio Channel Grouping buttons 4 Toggle Source button 12 Message bar 5 Video tool 13 Video and Audio Input menus 6 Audio tool 14 Subclip status indicator 7 Passthrough Mix tool 15 Video Lock icon 8 Edit to Timeline buttons (optional) 189
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 195.
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 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. n After deck control has been properly initialized, it remains active for all deck controllers throughout the session until you quit your Avid editing application. You must have V-LAN VLXi hardware to manage more than one deck at a time.
Setting Up the Capture Tool 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. Non-drop-frame timecode appears with colons. For more information, see “Understanding Timecode” on page 186. 3.
6 Preparing for Capture 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. If you deselect the TC button, the system captures with time-of-day timecode.
Setting Up the Capture Tool For more information, see “Preparing to Capture Audio” on page 201 and “Preparing to Capture Video” on page 218. n If you change the settings, the settings in the Video Input tool or in the Audio Project Settings dialog box automatically change to the settings you select. Detecting a Valid or Locked Sync Signal On systems using Avid input/output hardware, the Capture tool uses two icons to indicate if the sync source you are using is valid and locked.
6 Preparing for Capture To set the pulldown switch: t Click the Pulldown button in the Capture tool. When the pulldown switch is off, the button is inactive (gray), and a label explains that audio will be captured (sampled) at the same speed at which it was recorded (1.00). Pulldown button in the Capture tool When the pulldown switch is on, the button is green, and a label explains that you can capture audio sampled at 0.
Setting Up the Capture Tool Source Playback Speed Film to Video Transfer Settings (Set in Film Settings Dialog Box) NTSC MOS film-to-tape transfer with 24p NTSC Off (1.00) separate audio. Digital audio (DAT) or analog audio (Nagra) to sync with video in your Avid system. For direct input of separately recorded audio. Audio: 30.00 fps Picture Transfer Rate: With 2:3 pulldown Audio Source Tape TC Rate: 30.00 FTFT transfer or retransferring an effect.
6 Preparing for Capture For detailed information on available resolutions in Avid editing applications, see “Resolution Specifications” on page 1345 To select a resolution in the Capture tool: t Click the Res (Resolution) menu, and make a selection. Selecting a Target Bin You select a target bin as the destination for the master clips that you create when you capture and log at the same time.
Setting Up the Capture Tool By default, the Capture tool targets a single media drive volume for capturing the audio and video for each clip. You can also: • Target separate physical drives for audio and video tracks. You might want to target separate drives for media management, such as sending audio files to a Pro Tools® system for audio sweetening. Capturing audio and video to separate drives is not necessary for performance. • Target a drive group (a group of media drives).
6 Preparing for Capture To target separate drives for audio and video: 1. If the Capture tool is not already open, select Tools > Capture. The Capture tool opens. 2. Click the Single/Dual Drive Mode button to display the Dual Drive icon. Two Target Drive menus appear. The top one is targeted for video and the bottom one is targeted for audio. 3. Click each Target Drive menu, and select separate drives for audio and video. The names in bold in the menus have the most storage available.
Preparing to Capture Audio 3. Click OK. Your Avid editing application creates the drive group, and it appears in the Target Drive menu. When you capture, any clip that exceeds the capacity of a drive (whether that drive is empty or already contains media files) continues capturing onto another drive in the group. 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.
6 Preparing for Capture n Setting For more information, see Audio file format “Selecting the Audio File Format” on page 203. Audio input source “Selecting the Audio Input Source” on page 204. Some options depend on the audio configuration of your Avid editing system, so your system might not contain certain features and hardware that are covered in the documentation. The values you set in the Audio Project Settings dialog box are saved as Project settings.
Preparing to Capture Audio 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.
6 Preparing for Capture 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 1073. • 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 1074.
Preparing to Capture Audio n (Macintosh only) If you use the one of the Mbox family of audio devices to capture audio, the S/PDIF inputs appear in the Capture tool as Tracks 3-4. 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.
6 Preparing for Capture 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. For each input source in the Record/Input list that you want to map, click the matching Output Source menu from the Playback/Output list and select an output source.
Preparing to Capture Audio 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. For example, if the Master Volume control is set to disable sound from the Front Speaker output source, your Avid editing application leaves the source muted.
6 Preparing for Capture Component Description 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. • Meters show red for peaks approaching overload, between –3 dB and 0 (zero) dB. • Thin green lines at the bottom indicate signals below the display range.
Preparing to Capture Audio 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 1235. Before you capture, make sure the audio I/O device is properly calibrated. See “Calibrating Audio Hardware for Avid Adrenaline” on page 212. To check and adjust input levels using an audio input device: 1.
6 Preparing for Capture Using the Passthrough Mix Tool The Passthrough Mix tool lets you select the mix and adjust the volume and pan values of the source audio that you monitor. You can adjust the mix, volume, and pan values of multiple monitored channels, controlling either individual channels manually or several channels simultaneously by ganging them together. n The Passthrough Mix tool adjusts monitored audio only and has no effect on the recorded audio signal.
Preparing to Capture Audio 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. t Select Direct Mix to send the input signal to its corresponding output channel. In Direct Mix mode, the Pan Value display and pop-up sliders at the bottom of the Passthrough Mix tool are replaced by Channel Menu buttons. 5.
6 Preparing for Capture Calibrating Audio Hardware for Avid Adrenaline 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 Adrenaline hardware. You can use the Audio Project Settings dialog box to change your default audio hardware calibration if necessary. However, if you change your Avid editing application’s default, you must recalibrate your audio hardware to match.
Preparing to Capture Audio 5. Select Calibrate from the PH (Peak Hold) menu in the Audio tool. The Audio tool changes to Calibrate mode. The scales display a range of approximately 2 dB, and the meters indicate levels within this range. 6. Adjust the channel 1 input level by inserting a screwdriver into the Channel 1 trim pot (labeled Gain) on the Avid Adrenaline and turning it until the Audio tool’s on-screen meter reaches 0 VU. The input channel is now calibrated. 7.
6 Preparing for Capture The Audio Hardware Calibration window lets you change your audio hardware calibration. The calibration settings are stored in the Avid Nitris DX or Avid Mojo DX, and moved with the hardware if it is moved to another computer. If you delete the project, user, or site settings, or reinstall your Avid editing application, the settings are saved in the hardware.
Preparing to Capture Audio 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. Select the interface you want to calibrate: Analog XLR input, Analog RCA input, Analog TRS input, Monitor output, or Analog output. Options vary depending on your Avid input/output hardware.
6 Preparing for Capture 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. Connect the tone generator to the analog inputs on the back of the Avid Nitris DX or the Avid Mojo DX. 2. Double-click Audio Project in the Settings list of the Project window. 3. Click the Hardware tab. 4. Click Open Calibration window.
Preparing to Capture Audio 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. The Audio tool changes to Calibrate mode. The scales display a range of approximately 8 dB, and the meters indicate levels within this range. 12. Repeat this procedure for each channel.
6 Preparing for Capture 11. Click Play Calibration Tone. 12. Repeat this procedure for each channel. Using the Console Window to Check Audio Levels Once you have played back audio through the Audio tool, you can use the Console window to view a list of precise information about the peak levels. To check peak levels in the Console: 1. Select Tools > Audio Tool. The Audio tool opens. 2. Click the RP (Reset Peak) button to clear your system’s record of the most recent maximum peaks. 3.
Preparing to Capture 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. If you plan to make adjustments at the source deck, information in this section regarding the internal Waveform and Vectorscope monitors might be useful. Opening the Video Input Tool To open the Video Input tool, do one of the following: t Select Tools > Video Input Tool.
6 Preparing for Capture 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.
Preparing to Capture Video 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. The Video Input tool displays the appropriate parameters for the selected video format. For a description of each parameter, click the Video Input tool and press the F1 key (Windows) or Help key (Macintosh).
6 Preparing for Capture 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.
Preparing to Capture Video 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).
6 Preparing for Capture 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.
Preparing to Capture Video 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.
6 Preparing for Capture n Video Input settings do not restore the source format (Composite, Component, S-Video, DV, or SDI). The source format you select in the Video Input tool remains the default for that project until you select another format from within the project. This lets you establish a new format on a project basis when moving between systems, or from the offline to the online phase. The Video Input tool is not available on all models.
Preparing to Capture Video 4. Type Default, and click OK. You must use this spelling and initial capitalization. Adjusting Video Levels for Tapes Without Color Bars Color bars are the best way to set the video levels consistently. However, if you have a tape or series of tapes with no color bars, you might need to adjust levels by using the internal Waveform and Vectorscope monitors. n Calibrate your Client monitor before making these adjustments.
6 Preparing for Capture Capture Preparations Check List ! ! ! ! ! ! ! 228 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.
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 248.
Capturing and Logging at the Same Time You can log and capture at the same time with either a PAL or NTSC film-to-tape transfer as the source. However, when capturing an NTSC transfer, you must observe the following basic rules: • Specify the pulldown frame before capturing. See “Entering Pulldown Information” on page 154. • The mark IN must be an A frame, and you cannot capture with a mark OUT only, unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 152.
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 237. 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 c c Your Avid editing application can capture across timecode breaks, but it cannot capture across control-track 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 234. Capturing on-the-fly can cause incorrect pulldown and stuttering playback.
Capturing and Logging at the Same Time 3. Click the Timecode Source menu to select the deck. 4. Click the Tape Name display to open the Select Tape dialog box and identify the source tape. You can select the option Show other projects to display the tape names and associated project names for all bins that were opened in the current session. n Because the media file database does not open when you start your Avid editing application, tape names of all online media files do not appear automatically.
7 Capturing Media To capture with time-of-day timecode: 1. Select the proper Capture settings and set up the capture tools, as described in “Preparing for Capture” on page 163. 2. When selecting tracks, deselect the TC button. 3. Capture by using any of the techniques described in “Capturing and Logging at the Same Time” on page 230. Capturing Directly from a DV Device You can capture DV 25, DV 50, DVCPRO HD, and HDV media directly from a DV camera or deck (a DV device).
Capturing Directly from a DV Device c Select the DV 25 software codec when you are in an NTSC 23.976p or 24p project capturing DV 25 from analog or SDI. The DV 25 software codec lets you capture with standard or advanced pulldown. If you do not select the DV 25 software codec, you can capture only advanced pulldown. Selecting the DV 25 Software Codec To select the DV 25 software codec: 1. Double-click Capture in the Settings list in the Project window. The Capture Settings dialog box opens. 2.
7 Capturing Media Two user interface items, the DNA/1394 button in the Timeline window and the Special > Device menu, might be available to select the device without disconnecting your equipment, as follows: • If your Avid editing system has an Adrenaline, Avid Mojo, or Avid Mojo SDI attached, the DNA/1394 button and the Special > Device menu are available. The default is DNA, and when you select a new project, your Avid editing application automatically selects DNA.
Capturing Directly from a DV Device RS-422 Controlling a DV Device Configuration DV capture offset is primarily designed for configurations where an RS-422 controller is used to control a DV device and the DV stream is captured over a FireWire cable. For example, you might be working with an analog deck and a transcoder. You control the deck using RS-422, but the data moves from the deck to the transcoder, and then into your Avid editing application as a DV stream over a FireWire cable.
7 Capturing Media To adjust for this device behavior, set the DV capture offset to –6 frames. The result should be a frame-accurate capture. However, the results are dependent on device behavior. If the device behavior for sending streams across a FireWire cable is inconsistent, frame-accurate results on capture are also inconsistent. Capturing DV Material with Offset To offset the sequence for capture: 1. Click the Settings tab in the Project window. 2. Double-click Deck Preferences.
Frame Chase Capture Understanding Frame Chase Capture To understand how Frame Chase capture saves and manages media files, you can compare the Frame Chase capture process with conventional capture performed within an Interplay workgroup environment (and therefore using the MXF file format). Frame Chase capture is only available in an Interplay environment. Conventional Capture A conventional capture creates media files (one for each track) in a temporary location (Avid MediaFiles\MXF\1\Creating on a media
7 Capturing Media Your Avid editing application and Interplay might not know the true length of a capture in advance (because you can end a capture at any time). So the length of an in-progress clip is based on the expected duration of the clip when capture begins. This duration is either the duration indicated by IN and OUT points set in the Capture tool, or, if no marks are set, is a default duration that you define in the Capture Settings dialog box.
Frame Chase Capture Requirements and Guidelines for Frame Chase Capture You should be aware of the following when you are planning to perform Frame Chase captures: n • Frame Chase capture is only available on Avid editing applications that are part of an Avid Interplay workgroup environment. The media file format must be MXF. If your \ application is not connected to an Interplay workgroup, the “During capture, clip is updated in Interplay” setting in the Capture Settings dialog box is not available.
7 Capturing Media 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. When you batch capture, you open a bin, select the clips you want to capture, and select Clip > Batch Capture. Your Avid editing application automatically finds the start and end timecode for each clip and captures it.
Batch Capturing from Logged Clips 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. Click the Batch tab and select the following options: t Log errors to the console and continue capturing t Switch to the emptiest drive if current drive is full For additional options, see “Capture Settings: Batch Tab” on page 1243.
7 Capturing Media Batch Capturing Clips To batch capture clips: 1. Select the proper Capture settings and set up the capture tools, as described in “Preparing for Capture” on page 163. 2. Open the bin that stores the clips you want to capture. 3. Select the clips to batch capture: n t Select Edit > Select All. t Ctrl+click to select specific clips. If you are batch capturing the original source master clips used in the sequence, the sequence is updated automatically.
Batch Capturing from Logged Clips 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 248. 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 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 254. To proceed with the decompose process: t Click OK.
7 Capturing Media For example, if the starting timecode for a master clip is 1:00:10:00 and the resulting master clip after a decompose with handles causes the new master clip to begin at 1:00:09:00, batch capturing fails if there are any timecode discontinuities between 1:00:09:00 and 1:00:10:00. 10. Click OK. Your Avid editing application prompts you to load the first tape. 11. Load the tape into the tape deck if you have not already done so. 12.
Alternate Source Capture You can also use an alternate tape name if the original tape name was incorrectly logged. You can use any custom column in the bin as a source name when you batch capture in addition to Labroll, Camroll, and Soundroll, or you can correct for timecode offsets and store them in the Auxiliary TC column and batch capture from that. n n When you use an alternate tape source, the tape does not have to display in the list of tapes.
7 Capturing Media 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. Options depend on your project type and custom columns. Tape options can include: Tape, Camroll, Labroll, Soundroll, Custom Tape.
Using Capture Function Keys Press To on-the-fly can cause incorrect pulldown and stuttering playback. Do not use c Capturing the F1 or F2 keys for capturing 24-fps film that was transferred to NTSC video unless you have set the correct pulldown phase. See “Setting the Pulldown Phase” on page 152. F3, Add a locator to the current frame while capturing. Each Function key adds a different F5 through color locator. See “Adding Locators On-the-Fly While Capturing” on page 268.
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 Creating Subclips While Capturing You can create subclips on-the-fly while capturing, or you can create timed subclips. The maximum number of subclips you can generate while capturing a clip is 100. You instruct your Avid editing application to create a timed subclip automatically when you press a function key that you have mapped to the Timed Subclip button.
7 Capturing Media You can also press the F1 key at any time before pressing F2 again to remove the previous subclip marks and to start a new subclip IN point. The subclip appears in the target bin when you stop capturing. When capture is complete, a number appears between the subclip indicators to show the number of subclips created. 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.
Naming a New Tape from the Keyboard While Capturing For more information about locators, see “Using Locators” on page 522. 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.
7 Capturing Media 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 510. Press To K Stop the deck. L Shuttle the deck at 1x, 2x, 3x, 5x, 8x, 16x, or 24x normal speed. J Shuttle the deck at –1x, –2x, –3x, –5x, –8x, –16x, or –24x normal speed.
Using Dolby E 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.
7 Capturing 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 d
Using Dolby E Media 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. The button displays blue when the Keep Dolby E Material Safe option in the Audio Project Settings dialog box is set to Yes.
7 Capturing Media 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.
Live Capturing with External Timecode 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.
7 Capturing Media 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 1241. Capturing to the Timeline You can capture footage directly from tape to a sequence loaded in the Timeline in one step, bypassing several steps such as organizing and reviewing clips, marking edit points, and performing edits.
Capturing to the Timeline 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.
7 Capturing Media 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.
Remote Play, Capture, and Punch-In 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 238.
7 Capturing Media 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. Select Remote Play and Capture > port. 3.
Remote Play, Capture, and Punch-In 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 1307. To enable Remote Play: 1. Double-click Remote Play and Capture in the Settings list of the Project window. The Remote Play and Capture Settings dialog box opens. 2. Select Mode > Remote Play. 3. Select Device Code > device. 4.
7 Capturing Media 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. Double-click Remote Play and Capture in the Settings list of the Project window. The Remote Play and Capture Settings dialog box opens. 5. Select Mode > Remote Punch-In. 6. Click the Device Code menu, and select the appropriate device. 7.
Remote Play, Capture, and Punch-In The Audio Punch-In tool opens. Some of the features in the Audio Punch-In tool — such as the preroll and postroll options — do not appear when you open the tool in Remote Play and Capture mode. Input Channels buttons in the Audio Punch-In tool 11. Select the tracks you want to record to by clicking the Input Channels buttons. 12. Load a sequence in the Source monitor. 13. Using the controls on the external controller, set an IN point in the Timeline.
7 Capturing Media To install or change the system’s serial driver: 1. Quit your Avid editing application. 2. Right-click My Computer, and then choose Manage. The Computer Management window opens. 3. Click Device Manager in the left pane. 4. Expand the Ports (COM & LPT) by clicking the plus sign (+) in the right pane. 5. Double-click the Communications Port you are using. The Communications Port Properties dialog box opens. 6. Click the Driver tab. 7. Click the Update Driver button.
Relinking Clips by Key Number c Duplicate your sequence before relinking. If you relink to the original sequence, you will lose your links to the original media. To relink clips by key number: 1. After you finish editing the offline sequence, use the FilmScribe™ application to create a pull list of the clips used in the sequence. For information on using FilmScribe, see the FilmScribe documentation. 2.
7 Capturing Media 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.” Deselect this option if you know the new clips were captured with a different project name.
Modifying the Pulldown Phase After Capturing 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 448. 4. Copy the clips to the bin that contains the duplicated sequence. 5. Select the sequence and the original clips. 6.
7 Capturing Media A B X D A B C D Incorrect sequence (top, no movement between B and X frames) and correct sequence (bottom) Step backward (either one frame from the B frame or two frames from the X frame) to locate the correct A frame. Note the last digit of its timecode. Timecode for all A frames in the clip starts either with this digit or this digit plus 5. For example, if the A frame has the timecode 1:00:10:20, timecode for all A frames in the clip ends in either 0 or 5. c.
DV and HDV Scene Extraction The clip information is unlinked and you can modify it. 6. Type the correct letter for the pulldown phase in the Pullin column. If necessary, type a new timecode and key number. For multiple clips, you can use the Modify command or the Modify Pulldown Phase command. See “Modifying the Pulldown Phase Before Capturing” on page 157. 7. With the new clip information in the bin, batch capture the clip. See “Batch Capturing Clips” on page 250.
7 Capturing Media To set up DV and HDV scene extraction before capturing: 1. Double-click Capture in the Settings list of the Project window. The Capture Settings dialog box opens. 2. Click the DV&HDV Options tab. 3. Select DV or HDV Scene Extraction, depending on your type of project. 4. Select one of the following options: Option Description Add Locators Creates locator marks where the TOD information breaks occur while capturing.
Using the Panasonic VariCam Option Description Create Subclips Creates subclips where the TOD information breaks occur while capturing. Both Creates subclips and locator marks where the TOD information breaks occur while capturing. 7. If you have chosen to create subclips, select the bin where you want these subclips stored. 8. (Option) To cancel the process, press Ctrl+period (Windows) or Command+period (Macintosh). 9. Click OK.
7 Capturing Media - Select Special > Device > IEEE 1394. 4. Either select or deselect “Preserve VariCam Frames” in the Capture tool: 292 t When this option is deselected (the default), your Avid editing application observes the flags in the video stream and only captures those frames. This type of capture results in slow or fast motion depending on original recording speed.
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 1327. • Determine the source for the files. Consider copying all files to a single folder before you import. See “Importing Media Files” on page 296. • Review the information on using import settings in “Creating and Modifying Import Settings” on page 294.
Creating and Modifying Import Settings Custom setting name column in the Settings list of the Project window 2. Double-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). 5. Double-click the new Import setting. The Import Settings dialog box opens.
8 Importing Files 6. Select the appropriate options. For more information about Import settings, see “Import Settings” on page 1293. 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 1293. 4. Click OK.
Importing Media Files n If you are working in an HD project, you cannot select OMF as a file format. MXF is selected by default. 5. Click the Import tab. 6. Select the resolution and target drives. For more information on using the Media Creation dialog box, see “Selecting Video Resolutions and Media Drives” on page 169. The information you select is displayed in the Select Files to Import dialog box. 7. Click OK and close the dialog box. 8. Open the bin in which you want to store the imported files. 9.
8 Importing Files 3 File browser 8 Video Resolution menu 4 File to import 9 Media Drive menus 5 Files of Type menu 10 Disk Label (for XDCAM only) 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.
Importing Media Files t Click the Files of Type menu (Windows) or the Enable menu (Macintosh), and select an import file type to display only files of the selected file type in the source file list: Option Description Shot Log Use to import Avid Log Exchange (.ale) files containing clip information to a bin. For more information about Avid log specifications, see “Avid Log Specifications” on page 129. Graphic Use to import one of the supported graphics file types.
8 Importing Files 11. (Option) Click Options to open the Import Settings dialog box, select the options you want, and then click OK to save the settings. For a complete description of all options in the Import Settings dialog box, see “Import Settings” on page 1293. 12. Use the Look In menu (Windows) or the From menu (Macintosh) to locate the folder containing the source files. 13.
Importing with Multichannel Audio The mappings affect all media clips created when you import your source media. If you want to use different mixes for different master clips or different projects, create a custom Import Settings template for each separate type of mix and then import your clips. For information on creating custom Import settings, see “Creating and Modifying Import Settings” on page 294.
8 Importing Files 3. Click Edit. The Set Multichannel Audio dialog box opens. 4.
Importing Audio Files from a Music CD Button Track Format Stereo You must map source audio channels in mono or stereo pairs. For example, you cannot map A1 to a mono track and A2 and A3 to a stereo track. Instead, map A1 and A2 to mono tracks, and A3 and A4 to a stereo track. If the source media does not have an audio channel on A2, the Avid editing application ignores the channel. 5. Click OK to close the Set Multichannel Audio dialog box, and then click OK to close the Import Settings dialog box.
8 Importing Files 4. Type a decibel level from 12 to -96 to adjust the volume, or use the Up and Down arrows on the keyboard to locate the decibel level you want to apply to all the imported clips. 5. (Option) If you only want gain to apply to CD imports, select “CD only” to apply the gain to all the music files on the CD. 6. Click OK. When your Avid editing application imports the files, it applies the gain adjustment i to each file imported to a bin.
Setting Sample Rate Conversion Options Before Importing Audio Files If you choose to convert your source sample rates when importing audio files, you also have the option to skip the conversion of files recorded with pullup or pulldown sample rates. This option affects the import process in the following ways: • Skipping the sample rate conversion of audio files with .1% pullup or pulldown sample rates imports the files, bit for bit, with no change to the source audio file.
8 Importing Files 3. Click the Audio tab, and then select the following options, as appropriate: Option Description Convert source sample rate to project sample rate Selecting this option converts all source audio files to the sample rate of your project. Deselecting this option imports all files at the source sample rate. The default is to convert sample rates on import.
Photoshop Graphics Import Single-Layer Photoshop Graphics A single-layer graphic is a graphic file that was created either on a single layer or with multiple layers and subsequently flattened in Photoshop. Avid editing applications import this kind of graphic as a matte key or master clip, depending on the format of the Photoshop file. • If the graphic uses a transparent background or an alpha channel, your Avid editing application creates a matte key.
8 Importing Files Example of Multilayered Photoshop Graphics Import A multilayered Photoshop graphic might consist of a collage of still images over a background image, with a layer of text. Separate layers contain each image and the text. The goal is to edit the collage into a sequence, building it up one image at a time, and then add the text. The following illustration shows the graphics and layers in Photoshop.
Photoshop Graphics Import 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 Layer Option Supported Notes Blending Mode No To preserve the blending mode (Dissolve, Multiply, and so on), merge the layer into another layer that does not use a special blending mode. Only normal mode is supported. Opacity Yes The imported layer’s Level is set to the opacity specified in Photoshop. You can adjust opacity levels with the Foreground Level control in the Effect Editor.
Photoshop Graphics Import To import a multilayered Photoshop file: 1. Prepare the Photoshop graphic for import. For more information, see “Support for Multilayered Photoshop Graphics Import” on page 309. 2. Follow the standard instructions for importing a graphic, as described in “Importing Media Files” on page 296. To create the matte correctly, you need to click the Options button and select Alpha: Invert Existing. 3. After you select one or more files and click Open, a message box opens. 4.
8 Importing Files Digital Bars and Tone If you expect to output your final sequence as a digital cut that requires calibration before playback (a digital cut that will be broadcast, for example), in most cases you might need a clip of color bars. You can add the clip to the front of the sequence, or you can output the clip separately as an assemble or insert edit onto tape during digital cut.
Importing Color Bars and Other Test Patterns - (Macintosh) Click the Show menu, and select Graphic Documents. 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.
8 Importing Files A new subclip containing bars and tone appears in the bin. 13. Rename the clip as necessary. 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.
Setting XDCAM Import Options 4. Click the Files of Type menu (Windows) or the Show menu (Macintosh), select CamCutter, and then select the CamCutter bin by doing the following: a. From the desktop, select the FieldPak drive letter (Windows) or FieldPak volume name (Macintosh). b. Open the bin folder on the FieldPak. c. Select the CamCutter bins or select the .spl files you want to import. The Outakes.bin contains clips that were discarded by the Editcam operator.
8 Importing Files Use these settings to override the selections made in the Select Files to Import dialog box or to set default behavior when you import XDCAM media. For more information, see “Import Settings: XDCAM Tab” on page 1298. Importing XDCAM Media XDCAM and XDCAM HD devices store media as MXF OP1a interleaved files. Your Avid editing application does not use these files directly. Instead, you must first import the media.
Importing XDCAM EX Media • Copy the proxy media files to a separate location (for example, to a folder copied on an FTP site), transfer them to a local drive or removable disk, and import the proxy media without directly accessing the XDCAM device. See “Copying XDCAM Proxy Media to a Local Drive or a Server” on page 322. • Import proxy media, high-resolution media, or both using the Import function. See “Manually Importing XDCAM Media from the XDCAM Disk” on page 322.
8 Importing Files To import an XDCAM EX clip using Avid AAF: 1. With an XDCAM EX camera or reader attached to your system, insert an XDCAM EX card. 2. Launch the Sony XDCAM EX Clip Browser. n The Sony XDCAM EX Clip Browser application ships with your Sony camera or reader. For information about the Sony XDCAM EX Clip Browser, see Sony’s documentation. 3. From within the Clip Browser, choose Tools > User Configuration, and click the Conversion tab. 4.
Automatically Importing Proxy Media from an XDCAM Device n The XDCAM EX Clip Browser application should have come with your Sony camera or reader. For information about the Sony XDCAM EX Clip Browser, see Sony’s documentation. 3. From within the Clip Browser window, select the clips you want to export. 4. Right-click the clips and select Export > MXF for NLEs. This creates OP1a MXF media files that you import into the Avid editor. 5.
8 Importing Files 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. If you do not select a bin, or if you have more than one bin open, a dialog box opens and directs you to select from a list of open bins or create a new bin. 6. Insert a disk into your XDCAM device. The Import XDCAM Proxy from drive: dialog box opens. 7. Type a name in the Disk Label text box.
Importing Proxy Media from an XDCAM Disk 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. 10. (Option) Repeat this procedure for each XDCAM disc that holds media you want to import.
8 Importing Files Copying XDCAM Proxy Media to a Local Drive or a Server You might want to import proxy media when the XDCAM device is not available. For example, if you want an editor to start editing the XDCAM footage while the actual XDCAM disk is at another location, you can transfer the proxy media files to an FTP server. You can then download the files from the server, and an editor can import the proxy media and begin editing.
Importing Essence Marks as Locators in XDCAM Media For more information, see “Importing Media Files” on page 296 and “Using the Drag-and-Drop Method to Import Files” on page 329. n Your Avid editing application imports XDCAM media at the native resolution of the media on the XDCAM disk. The system ignores other resolution settings — for example, in the Select Files to Import dialog box.
8 Importing Files 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. You can mix the clips in the Timeline with any supported resolutions, add effects or titles, or perform any other editing function available in your Avid editing application. XDCAM proxy media is single-frame resolution media.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk 2. (Option) You can perform emergency play-to-air operations of the proxy media as an export, as a Send to Playback operation, or as a digital cut. Batch Importing High-Resolution XDCAM Media from the XDCAM Disk Once you finish editing your sequence with proxy media, you can replace the low-resolution media with the corresponding high-resolution media with the Batch Import command.
8 Importing Files 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. Open the bin, and select the sequences or master clips created with proxy media that you want to replace with high-resolution media. 7.
Batch Importing High-Resolution XDCAM Media from the XDCAM Disk 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. You can separate video and audio onto different drives. 12. Click Import. The high-resolution files import.
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 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 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. To select multiple files, Ctrl+click (Windows) or Command+click (Macintosh) the files and drag them to the bin. 7. (XDCAM only) The Import file(s) from XDCAM dialog box opens. Type a name in the Disk Label text box, and then click Import.
Reimporting Files 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. Instead, you can decompose the sequence, then reimport the resulting clips by opening the bin in projects that match each of the decomposed formats. n OMFI files can contain only one master clip when you reimport them. To reimport files: 1.
8 Importing Files 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 333. 8. If you want to remove clips from the list, select the clips you want to remove and then click Skip This Clip. The clips are removed from the list and are not imported. 9. Locate the sources for files that weren’t found by doing the following: a. Select a clip or clips displayed in red in the Selected Clips section. b.
Batch Import Dialog Box Batch Import Dialog Box The Batch Import dialog box lets you select a source file for each master clip that you selected in a bin. Your Avid editing application finds the source file automatically if the it is located in the same folder where you last imported the file. For information on working in the Batch Import dialog box as part of the reimporting process, see “Reimporting Files” on page 330. Batch Import dialog box. Top: Selected Clips area.
8 Importing Files 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. Clips not found in their original location display in red. Skip This Clip button Removes any clips that you select in the list so that they are not reimported.
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 336 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 245.
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 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. t Click All/None to select or deselect all the headings. 3. Click OK.
Bin Views Sorting Clips and Sequences You can automatically sort clips and sequences in Brief view and Text view only. If you need to view sorted clips in Script or Frame view, sort them in Text view first and then return to Script or Frame view. To sort clips in ascending or descending order: 1. With a bin in Text view, do one of the following: t Double-click the heading of the column that you want to use as the criterion.
9 Working with Bins Understanding Bin Views Use the Bin View menu (Text view only) to select different bin views. The Bin View menu appears to the right of the Fast Menu button. The following table describes the default bin views that are available. View Description Custom Lets you create and save customized views. The Name heading is only required column heading, which displays by default. Add, hide, or rearrange column headings to customize the view.
Bin Views Saving a Custom Bin View To save a bin view: 1. Open a bin and click the Text tab. 2. Resize, add, hide, or rearrange bin columns according to preference to customize your view. The Name column is the default and the only required column heading. The bin view name changes to an italic name with the file name extension .n to indicate that it no longer matches the original view.
9 Working with Bins To enter Frame view: t Click the Frame tab in the bin. Frame view in the bin. Top to bottom: Frame tab, Clip frame, Clip name, and Bin Fast Menu button 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.
Bin Views To align selected frames to an invisible grid: t Select Bin > Align Selected to Grid. To space the frames evenly to fill the Bin window: t Select Bin > Fill Window. To arrange frames in the order in which they are sorted in Text view: t Select Bin > Fill Sorted. To change the frame identifying the clip: 1. Select the clip that you want to change.
9 Working with Bins 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.
Bin Procedures 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 appears before the bin name in the bin’s title bar. The asterisk indicates that the changes to the bin have not been saved. Once you save the bin, the asterisk is removed.
9 Working with Bins n Selecting a single item deselects any other selections. 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.
Bin Procedures n If the destination bin’s display has been set to show reference clips, the referenced object types do not appear until you save the bin. For more information on setting the bin display, see “Setting the Bin Display” on page 378. 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.
9 Working with Bins 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.
Bin Procedures Examples of the Delete dialog box with one master clip selected (left) and with multiple clips selected (right) 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.
9 Working with Bins n When you select a title for deletion, you might see more than one resolution. (Macintosh) 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 information about the selected items. This example shows one sequence and one master clip selected for deletion. 3.
Bin Procedures Changing the Bin Background Color You can customize the background color of the bin. Changes affect only the currently active bin. Also, you can reset the bin background color to the default color for your Interface settings. To change the bin background color: 1. In the Settings list of the Project window, double-click Interface. The Interface Settings dialog box opens. 2. Select Allow Custom Bin Backgrounds, and then click OK. 3. Activate the bin you want to change.
9 Working with Bins Assigning Colors to Objects in a Bin You can assign colors to clips, subclips, sequences, and effect clips to help you manage and organize the bin objects. You can display colors in bins and in the Timeline. For information on displaying colors in the Timeline, see “Displaying Clip Colors in the Timeline” on page 650. Also, you can reset the clip color to the default color for your Interface settings.
Bin Procedures Locking and Unlocking Items in a Bin You can lock any items in a bin — including source clips, master clips, subclips, and sequences — to prevent deletion. When you lock clips in a bin, you lock their associated media files on your desktop as well. 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.
9 Working with Bins To unlock previously locked items: 1. Select the items in the bin. 2. Select Clip > Unlock Bin Selection. You can use the clip-locking feature along with archiving software to automatically archive all locked media files. 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.
Bin Procedures 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. For example, if you select a sequence as the object, the Select Sources command identifies every master clip, subclip, tape, and media file that is a source for that sequence.
9 Working with Bins 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 337. For information on modifying the information that appears in bin columns, see “Modifying Clip Information” on page 362.
Working with Bin Columns 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. The column disappears from the view, and surrounding columns close to fill the space. 3. When you delete a custom column, a confirmation dialog box opens.
9 Working with Bins To add a new custom column: 1. Click an empty area to the right of the current headings in the headings box. 2. Move any existing column to the right or left to create an empty area. 3. Type the column heading you want, and press Enter (Windows) or Return (Macintosh). Column headings must contain a maximum of 14 characters, including spaces. This places the pointer in the data box, beside the first clip in the bin. 4.
Working with Bin Columns 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. Use the default preset bin views.
9 Working with Bins Shortcut Description Enter (Windows, on main Enters any new information you type in the cell and moves the pointer down to the keyboard) or Return cell in the next row. You can continue to press Enter or Return to scroll down the (Macintosh) column until the last cell in the column highlights. The next time you press Enter or Return, the first cell in the column highlights. Shift+Enter (Windows, on Moves the pointer up to the cell in the previous row.
Working with Bin Columns Adding Timecode Columns to a Bin or the Media Tool To add timecode columns to a bin or to the Media tool: 1. Select Bin > Choose Columns. The Bin Column Selection dialog box opens. 2. Ctrl+click (Windows) or Command+click (Macintosh) the timecode columns you want to display. 3. Click OK. The timecode columns appear in the bin or the Media tool. Frame Counting for Timecodes The table shows the frame count for each timecode available for your Avid editing application.
9 Working with Bins The values for master clips, subclips, and sequences in the Start column convert to the appropriate timecode format and display in the column you selected. Modifying Clip Information You can change or modify the information in certain columns for your master clips, subclips, tapes, and other objects stored in the bin. This is useful if some of the data is incorrect or if you need to conform information for organizational purposes.
Modifying Clip Information You can modify information in bin columns. For example, you can type a new name for a clip or correct the start and end timecodes. For more information, see “Modifying Data in Bins” on page 368 and “Modify Command Options” on page 370. You can modify any data in the bin even while you log, prior to capture. After the footage is captured, however, you can modify information only in selected headings, with restrictions. For more information, see the following table.
9 Working with Bins Bin Column Heading Description AuxInk End Ending auxiliary ink number for the clip. You cannot modify this number. AuxInk Film Film gauge for the auxiliary ink number. Ctrl+click the cell, and then select the gauge. See “Selecting a Film Gauge” on page 373. Cadence 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.
Modifying Clip Information Bin Column Heading Description Field Motion Sets the default source parameter value for the Motion Adapter effect. Film TC Timecode you use on film. For 24p and 25p projects only. 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.
9 Working with Bins 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.
Modifying Clip Information 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.
9 Working with Bins 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.
Modifying Clip Information 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).
9 Working with Bins 5. Select an option or type information into the text boxes. For more information, see “Modify Command Options” on page 370. 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.
Modifying Clip Information 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.
9 Working with 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 740. Mixed, Mono, Stereo Copying Information from Another Cell in a Custom Bin Column To copy information from another cell in a custom column: 1.
Working with Film Information in 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.
9 Working with 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.
Working with the SuperBin Edgecode Type Edgecode Format Sample Edgecode Key Number XX NNNNNN NNNN+NN (Film type Film ID Feet on film+Frame in foot) KL 43 5146-0152+00 Edgecode (4 count) NNN-NNNN+NN (Identifier-Feet on film+Frame in foot) 103-9025+03 Edgecode (5 count) NNN-NNNNN+NN (Identifier-Feet on film+Frame in foot) 203-09025+03 Frames NNNNN 45678 Working with the SuperBin The SuperBin lets you open different bins in a single bin window and switch between the bins, keeping them open with
9 Working with Bins SuperBin button (left) and Close button (right) in the SuperBin To view a bin previously opened in the SuperBin: t Click the SuperBin button, and then select a bin. The bin reappears in the SuperBin. n If you have no other bins open in the SuperBin, you do not see a menu when you click the SuperBin button. To move an opened bin into the SuperBin: 1. Click the Bins tab in the Project window. 2. Double-click the open bin’s icon in the Project window.
Creating a Storyboard The clip or sequence moves into the bin in the Project window, and the bin opens in its own window. To copy a clip or sequence into the SuperBin: t Press and hold the Alt key (Windows) or the Option key (Macintosh), and drag a clip or sequence from an open bin window into the bin displayed in the SuperBin. Your Avid editing application copies the clip or sequence into the Superbin. n Any change you make to the copy affects the original clip.
9 Working with Bins 7. Select and drag one or several clips at a time to a new location to rearrange the clips in sequential order. 8. Enlarge or reduce the size of the frames as necessary. 9. Align the rearranged frames along invisible grid lines. 10. (Option) Change the font and background color for the storyboard. 11. When the storyboard is complete, select File > Save Bin. 12. To print the storyboard, select File > Print Bin.
Sifting Clips and Sequences Sifting Clips and Sequences When you sift clips and sequences, the bin displays only those clips and sequences that meet a specific set of criteria. For example, you can do a custom sift to display only those clips containing the word “close-up” in the heading column. The Custom Sift dialog box provides six levels of criteria. You can also sift on a timecode (or keycode) number within a specific range. For more information, see “Sifting Timecodes or Keycode Ranges” on page 382.
9 Working with Bins Only the clips or sequences that meet your criteria remain in the bin, with the word “sifted” added to the bin name. After you have sifted the clips in a bin, you can display the bin in a sifted or an unsifted state. To view the entire bin: t Select Bin > Show Unsifted. To view the sifted bin: t Select Bin > Show Sifted. The word “sifted” appears in parentheses after the bin name when you view the bin in its sifted state.
Sifting Clips and Sequences 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. Other columns define the beginning of a range, and the end of the range is determined by the Duration column.
9 Working with Bins 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.
Working with Restricted Material 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 Broadcast facilities sometimes need to manage digital rights by restricting the use of footage. You can mark restrictions on clips in Avid Interplay Assist.
9 Working with Bins 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.
Printing 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.
9 Working with Bins 386
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 low-resolution or compressed (proxy) media (MPEG-4). This lets you work with the compressed or low-resolution media in an off-line editing session and then later conform or link the compressed media to the corresponding high-resolution media. Your Avid editing application supports high-resolution XDCAM EX media. Sony’s XDCAM EX media is stored on a card.
XDCAM and XDCAM EX Media Resolution/Bit Rate Frame Rate/Raster XDCAM EX DV-AVI*: DV 25 411 DV 25 420 SD NTSC 30i SD PAL 25i DVCAM: DV 25 411 DV 25 420 SD NTSC 30i SD PAL 25i MPEG IMX (16 and 24-bit audio) MPEG 30 MPEG 40 MPEG 50 SD NTSC 30i and PAL 25i SD NTSC 30i and PAL 25i SD NTSC 30i and PAL 25i MPEG-4 (compressed media) SD NTSC 30i and PAL 25i n n Number of Audio Channels (maximum) 2 4 4 or 8 4 or 8 The above listed formats and resolutions support 16-bit audio, except where noted.
10 File Based Media - AMA Working with AMA XDCAM Multiple Resolution Media The XDCAM AMA plug-in allows you to link to low-resolution (proxy) or high-resolution audio or video media. To link to the AMA XDCAM multiple resolution media, see “Working with AMA Multiple Resolution Media” on page 427. The AMA multiple resolution feature supports specific XDCAM devices which include a /PROAV folder. For example, the Sony PDWU1 Professional Disc Drive Unit.
XDCAM and XDCAM EX Media Spanned Clips and XDCAM EX Spanned clips are clips that extend from one card to another. Avid supports working with spanned XDCAM EX clips in your Avid editing application. For more information about spanned clips, see “Spanned Clips and P2” on page 398. Ejecting an XDCAM EX Card (Windows only) To properly eject a card from an XDCAM EX device while your Avid editing application is running, choose to “Safely Remove Hardware” from your Windows Vista or Windows 7 system.
10 File Based Media - AMA Copying XDCAM or XDCAM EX Files to a FireWire or Network Drive After you insert the XDCAM EX cards or XDCAM disk, you can copy the media to a FireWire drive or a network drive and then eject the card or disk. You might find it convenient to copy several cards or disks to other drives so you can reuse the cards or disks. Your Avid editing application supports XDCAM and XDCAM EX copies as though they were actual cards or disks.
P2 Media The P2 AMA plug-in should be installed on your system. To link P2 media through the AMA method, use Link to AMA Volumes. For more information, see “The Avid Media Access (AMA) Workflow” on page 419 and “Linking Media with AMA” on page 425. For specific P2 workflow steps, see “Workflow for Editing P2 Clips with AMA” on page 437.
10 File Based Media - AMA Examples of MXF audio and video files contained in the Audio and Video folders. Top: four audio tracks for a single clip. Bottom: the corresponding video track. Panasonic P2 devices write individual MXF audio and video media files for each track of each clip. For example, a P2 clip that includes one track of video and four tracks of audio is stored on the P2 card as five individual media files.
P2 Media After you install the appropriate Panasonic driver, you can mount the cards as drives from any of these devices: Device Description PCMCIA card slot Notebook computers typically include a PCMCIA card slot that will accept individual P2 cards. P2 drive Panasonic offers P2 card-reading peripherals such as the AJ-PCD10 memory card drive. You can connect this drive, or card reader through a USB port, or you can install it as an internal drive on a desktop PC.
10 File Based Media - AMA To mount one or more P2 cards as drives: 1. Make sure your Avid editing application is not running. 2. Make sure the appropriate driver is installed. See “Installing the Panasonic P2 Drivers” on page 394. 3. Connect the card reader, camera, or deck to a USB port. 4. (Windows) Set up the P2 card reader. See “Preparing to Mount P2 Cards as Drives” on page 394. 5. Insert one or more P2 cards (up to five).
P2 Media You can connect a FireWire drive, for example, and store the contents of several P2 cards on it so you can keep using the cards in the camera. n You can work with media on a P2 card or work with media on another drive, but you cannot work with media that is stored in both places simultaneously. To avoid the problem, eject the P2 card after you copy the P2 files to the other drive. To copy the P2 cards to another drive: 1. On the drive, set up a folder for each P2 card you want to copy.
10 File Based Media - AMA For more information on workgroup support, see the Avid Interplay Help. n Some card slots of the P2 drive might require drive letters that have already been assigned to existing network drives. If your computer does not display all five card slots as drives, reassign the network drives or restart your system. 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.
Canon XF Media visible. To work around this, remove all the cards which contain chunks of the spanned clip and choose File > Unmount followed by File > Mount All (non-AMA method). All the master clips are visible. • 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.
10 File Based Media - AMA 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.
GFCAM Media 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.
10 File Based Media - AMA 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.
GFCAM Media 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.
10 File Based Media - AMA 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.
RED Media RED Formats and Resolutions The following table lists the formats and resolutions available when you work with RED media: Media Type Resolution RED R3D 2K 2:1 2K 16:9 2K ANA 3K 2:1 3K 16:9 3K ANA 4K 2:1 4K 16:9 4K ANA 4.5K Number of Audio Channels (maximum) 4 RED Files and Folders The RED Camera records a unique clip name and additional files that include the REDCODE RAW files and an optional QuickTime reference file placed in a clip folder (.RDC).
10 File Based Media - AMA Connecting the RED ONE Drive or Card 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 drive or card mounts as individual media drives on your desktop and then link to your Avid editing system through AMA. n See RED documentation for specific information about the RED ONE camera, REDFlash card and RED drive.
RED Media t Click the drive or card folder and drag it to the folder on the other drive. 5. Remove the drive. Adjusting RED Source Settings When you link to R3D (RED) files, the Avid editing system reads each REDCODE RAW file directly. You can then change the clip’s color values: color balance, exposure, and contrast in the Source Settings window. This color value information is encoded with the R3D file through an RLX, RSX or RMD file. These files hold the camera’s original color values of your clip.
10 File Based Media - AMA 3. Drag the video slider to the frame you want to view. The new frame displays and the histogram updates. The histogram is a tool that helps you more precisely adjust Source Settings. For more information about the histogram, see “Understanding the Source Settings Histogram” on page 412 4. Set the appropriate options: 408 Option Description Color Space Choose from: Camera RGB: as close to RAW REC.
RED Media Option Description 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 2.2 curve REDLog: maps the 12-bit sensor data on to a 10-bit curve with minimal loss REDSpace: based on REC.
10 File Based Media - AMA Option Description Brightness Adjusts the overall brightness of the image. Lifts blacks without affecting the white level. Click and drag the slider from -10.00 to 10.00. Default is 0.00. Contrast Adjusts the tonal range of the image, which usually improves sharpness and detail. When you increase the Contrast, it increases tonal separation between adjacent gray levels but decreases the total number of discreet gray levels in the image. Click and drag the slider from -1.
RED Media n If you make changes in the Source Settings window and then relink the clip through AMA again, you still keep all the parameters that you set. Using Source Settings Source Settings lets you choose from a selection of preset templates or you can create your own look. Each source setting has its own color values associated with it.
10 File Based Media - AMA Source Settings vary depending on the files or templates loaded on your system. Setting Origin Camera Metadata Settings Default Default Settings Default Grade (RSX) Settings RED Alert! filename RLX Setting RED Alert! Grade (RMD) Setting REDCINE-X Custom User created in Avid 3. Click Apply. The settings apply to the clip and if the clip is loaded in the Timeline, the video updates and displays in a Client monitor (if one is attached) and the Source monitor. 4.
RED Media 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. The vertical lines represent the black point (left) and the white point (right), so the area between them is the safe color range. The histogram plots color values that can be represented by the image bit-depth on the horizontal axis. Therefore, the width of the histogram is the same as the width of the image.
10 File Based Media - AMA 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.
RED Media 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.
10 File Based Media - AMA For information about render, see “Basics of Effects Rendering” in the Help. 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.
MXF Media For information on how to install the QuickTime codecs, see “Installing or Copying the Avid Codecs for QuickTime on Other Systems” in the Avid Help. 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.
10 File Based Media - AMA 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/23.976, 1080p/25, 1080p/29, 720p/59, 720p/50,1920 x 1080, 1280 x 720 8 Sony XDCAM EX 25Mbits 1080i/59.94, 1080i/50, 1080p/23.
The Avid Media Access (AMA) Workflow Number of Audio Channels (maximum) Company Resolution/Bit Rate Raster/Frame Rate Sony, Ikegami 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 n 4 or 8 4 1080i/59.94, 1080i/50, 4 1080p/23.98 pulldown, 1080p/29.
10 File Based Media - AMA To display metadata information in your bin, see “Adding a Metadata Bin Column Heading” on page 358. The following considerations and limitations apply: • When the AMA setting is activated, the non-AMA method does not appear in the File menu. Deactivate the AMA setting to display the File > Import P2 (and Import XDCAM Proxy) option. The AMA setting is on by default. • The Link to AMA File(s) menu choice is available for third-party AMA file based media plug-ins.
The Avid Media Access (AMA) Workflow 3. Click the Volume Mounting tab. 4. Select “Enable AMA Volume Management.” By default, this option is selected. If you deselect the option and then reselect it, you must quit and restart your Avid editing application. When this option is selected, the File > Import menu item is no longer available. 5.
10 File Based Media - AMA n Depending on your AMA Settings, every time you insert a card into a reader , the system creates a new bin whether the same card or device has been previously inserted or not. 8. To map source audio channels to multichannel or mono tracks in your clips, click the Link Options tab, and then click Edit. The Set Multichannel Audio dialog box opens. For information on setting multichannel audio options, see “Linking to AMA Multiple Resolution Media” on page 428. 9. Click OK.
The Avid Media Access (AMA) Workflow The mappings affect all media clips created when you link to your source media. If you want to use different mixes for different master clips or different projects, create a custom AMA Settings template for each separate type of mix and then create your linked master clips. Each stereo track requires two channels, but you can mix mono and stereo input channels for your linking operation as long as you do not exceed the maximum of 16 audio channels for each master clip.
10 File Based Media - AMA 5. Click the format buttons to select one of the following audio track formats for each pair of source channels: Button Track Format Mono Stereo You must map source audio channels in mono or stereo pairs. For example, you cannot map A1 to a mono track and A2 and A3 to a stereo track. Instead, map A1 and A2 to mono tracks, and A3 and A4 to a stereo track. If the source media does not have an audio channel on A2, the Avid editing application ignores the channel. 6.
The Avid Media Access (AMA) Workflow c. n Press Enter (Windows) or Return (Macintosh). The custom name column is the center column in the Project window. When you move the pointer over the custom name column, the pointer changes from a pointing finger to a text insertion bar. You can select this new setting whenever you link clips with AMA. Linking Media with AMA If you link to media which originates on a volume (XDCAM EX, XDCAM, P2, RED or GFCAM), use the File > Link to AMA Volume(s) option.
10 File Based Media - AMA 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. Bin(s) Based on Subfolders Places the clips in bin(s) based on their subfolders.
The Avid Media Access (AMA) Workflow 3. From the AMA Plugin Filter menu, select the type of file. Option Description All AMA Plugins Files Searches and displays all files. QuickTime Searches and displays only QuickTime files. MXF Searches and displays only MXF files. RED R3D Searches and displays only RED files. 4. Select the file(s) you want to link. Ctrl+click or Shift+click to select multiple files. 5. Click Open.
10 File Based Media - AMA Linking to AMA Multiple Resolution Media Before you link to low-resolution or high-resolution media, you need to select the video and audio quality in the AMA Settings Quality tab. The steps below highlight linking to low-resolution media. You can also link to high-resolution media. n For information about linking with AMA, see “The Avid Media Access (AMA) Workflow” on page 419. To link to low-resolution media: 1. In the Project window, click the Settings tab. 2.
The Avid Media Access (AMA) Workflow 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 425. 7. Select File > Link to AMA Volume. The Browse for Folder dialog box opens. 8. Navigate to the clips, and then click OK. The clips appear in the bin or bins depending on the bin options you select. Clips highlight in yellow. The Video column in the bin displays the project type of the clip.
10 File Based Media - AMA 4. Click the Highest Quality for your video (audio is always set to Highest Quality) and click OK. The highest quality clips replace the most compressed (low-resolution) clips in the bin, they highlight in yellow. If the bin contains clips from multiple volumes, you will be prompted to insert another disk. 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 Avid Media Access (AMA) Workflow 4. Click the appropriate resolution for your video in the Consolidate Preference section, and click OK. If a particular resolution is not available, it will be grayed out. 5. To consolidate the clip, follow the steps in “Using the Consolidate Command” on page 455. The resolutions you select in the Consolidate Preference area of the AMA Settings Quality tab displays in the Transcode/Consolidate dialog box when you consolidate or transcode.
10 File Based Media - AMA version of the movie is myMovie_DV.mov and the high-resolution version of the movie is myMovie_1to1.mov. You can relink to both of these versions, to see which clip works better in your sequence. At this time, Relink to AMA File(s) is only available with AMA QuickTime files. To relink to an AMA QuickTime file: 1. Link to an AMA QuickTime file. The clips highlight yellow in the bin. For information on linking, see “Linking Media with AMA” on page 425. 2.
The Avid Media Access (AMA) Workflow Using Virtual Volumes You can use a virtual volume to copy media from a card or disk. This lets you use the card or disk again. A virtual volume can be a folder on your desktop or a folder located on a server. However, the virtual volume folder should reside one level down from the root level in order for the system to display it as a virtual volume. The following are examples of virtual volumes: • C:\Desktop\BPAV • Z:\P2\Card 1 • Z:\GFPAK\ With the AMA method, al
10 File Based Media - AMA 5. Click OK. 6. Select File > Link to AMA Volumes. The media appears in the newly created bin. Repeat these steps for each type of media. Deleting Clips You can delete master clips, but you cannot delete media files that reside on drives. Your Avid editing application treats files as read-only devices. You can delete master clips and media files the same way you delete other master clips and media files.
Workflows for Editing with AMA You should be aware of the following: • Playback performance from an optical disk is very slow. To create a sequence with multiple effects or layered tracks, Avid suggests that you consolidate the media to a local drive, instead of working directly from the optical disk. • Avid has turned off redrawing of waveforms in the Timeline when you link to XDCAM clips that reside on a disk. This allows for a faster linking process.
10 File Based Media - AMA n For information on consolidating your sequence, see “Consolidating Media” on page 453. For information on transcoding your sequence, see “Using the Transcode Command” on page 459. 7. Remove the XDCAM disk or XDCAM EX card. 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.
Workflows for Editing with AMA For information on bin selection options, see “Linking Media with AMA” on page 425. 10. Select File > Link to AMA Volume. The Browse for Folder dialog box opens. 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.
10 File Based Media - AMA The system links the P2 clips automatically into a bin. n If you use multiple P2 cards and you remove one of the cards, your media displays offline. 4. Use the master clips to edit and output a sequence. 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.
Workflows for Editing with AMA 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. n n When you consolidate, if you want to keep your AMA clips linked to the original source, select the option “Keep Master clips linked to media on the original drive,” in the Copying Media Files dialog box. For information on consolidating your sequence, see “Consolidating Media” on page 453.
10 File Based Media - AMA Workflow for Editing RED Clips with AMA Once you have linked the RED clips from a RED drive or card, you can transcode the media from your sequence. Transcoding your media is helpful when you work with multiple resolutions. n You cannot consolidate the RED media in your Avid editing application. 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.
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 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. For information on mounting workspaces, see “Mounting Workspaces on an Avid Unity MediaNetwork System” on page 1126 and “Mounting Workspaces on an Avid ISIS System (Version 2.
11 Managing Media Files 3. Select “Auto-connect to LANshare at Launch.” 4. Click Connect, and then click OK. The dialog box closes, and auto-connect is set. Viewing Media with a 100Base-T Connection to Avid ISIS Avid editors can access MPEG-2 low-resolution video and MPEG-1 Layer II (or MP2) compressed audio stored on an Avid ISIS media network.
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 420. 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 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. c If you use the Media tool to delete selected media files, you no longer have access to visuals of the deleted material.
11 Managing Media Files 3. Do one of the following: t Select Edit > Delete. t Press the Delete key. The Delete Media dialog box opens. 4. Select the media objects that you want to delete: Option Description Video media file (V) After deletion, the master clip linked to that file is black, with the message “Media Offline” displayed. Related subclips and sequences are affected in the same way. Audio media file After deletion, the master clip linked to that file is silent.
Consolidating Media 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. It then makes copies of them, and saves the copies on a target drive that you specify. There are three basic reasons to use the Consolidate feature: n • To copy media onto one drive for storage or transfer to another system.
11 Managing Media Files (on drive B). Bottom: in this scenario, the original master clip is linked to a new copy of the original media file (on drive B), and the new master clip (which receives a .old.01 file name extension) is linked to the original media file. Subclips When you consolidate a subclip or group of subclips, your Avid editing application copies only the portion of the media files represented in the subclip and creates a new master clip that is the duration of the subclip and a new subclip.
Using the Consolidate Command Consolidating a sequence. Left: the original clips and their media files — consolidating breaks the links between the sequence and these clips. Right: the new clips and their copied media files — the sequence now links to these new clips. Using the Consolidate Command To consolidate master clips, subclips, or sequences: 1. If you are consolidating a sequence, duplicate the sequence to maintain links to the original files, if necessary, and render any unrendered effects. 2.
11 Managing Media Files 4. Select Consolidate in the upper left corner. 5. In the Target Drive(s) area, select a drive or drives. 6. Select the appropriate options. 456 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.
Using the Consolidate Command Option Description (Continued) 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). The handle length is the number of frames outside the IN and OUT points that you can use for dissolves and trims with the new, shorter master clips.
11 Managing Media Files Option Description (Continued) Target Audio Format Select either OMF (WAVE), OMF(AIFF-C), or MXF (PCM) audio format. See “Audio Projects Settings: Main Tab” on page 1234. 7. Click Consolidate in the lower right corner. The Copying Media Files dialog box opens. 8. Select an option for how you want your clips to link to the new media. n If you want to keep your AMA clips linked to the original source, select the option “Keep Master clips linked to media on the original drive.
Using the Transcode Command Using the Transcode Command The Transcode option in the Consolidate/Transcode dialog box lets you create new clips and new media files that use a different resolution. If you have a sequence composed of clips that use different resolutions, you can use the Transcode feature to create a sequence in which all clips use a single resolution. The Transcode option also lets you convert from OMF to MXF, and from MXF to OMF, except in HD projects where MXF is the only available format.
11 Managing Media Files 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 1157.
Using the Transcode Command The Create new clips check box in the Consolidate/Transcode dialog box 6. Click the Target Video Resolution menu, and select a video resolution. n If your project uses an HD resolution, you cannot select OMF as a file format. MXF is selected by default. 7. Select the appropriate options. Option Description Video and audio on same drive(s) Select to store the transcoded media files on the same target drive.
11 Managing Media Files Option Description (Continued) Include reformatted clips already at target resolution Select this option if you want to include reformatted clips in the sequence that are already at the target video resolution. Your Avid editing application does not normally transcode clips in a sequence that are already at the target video resolution. However, you might want to include reformatted clips at the target resolution to preserve the reformatting.
Refreshing Media Directories Bins contain references to media files based on the contents of the bin. Your Avid editing application does not maintain the entire database in memory at all times. Instead, it builds up a partial database for the bins that have been opened in the current session to preserve as much memory as possible for editing.
11 Managing Media Files n Refreshing media directories can take a long time to execute on systems that have large amounts of media online. To refresh media directories: t Select File > Refresh Media Directories. Deleting Unreferenced Clips and Media Unlike the bin files stored in project folders, media files require considerable storage space.
Finding a Related Media File The options for backing up media files include: n • Using the Consolidate feature, as described in “Consolidating Media” on page 453, to make copies of selected media files on a target media drive connected to the system or for transfer to another system. • Backing up smaller projects captured at low video resolutions to a removable storage device, such as a hard drive. • Archiving larger media files and folders to a network storage device.
11 Managing Media Files A related media file highlighted in Windows Explorer (Windows only) If more than one file is related to the clip, a message box asks if you want to see the next file. If you click OK, you need to bring the Explorer window forward by pressing and holding the Alt key while pressing the Tab key until you select the OMFI MediaFiles folder or the Avid MediaFiles folder.
Relinking Media Files source file name, timecode information, and channels captured. If the search is successful, the system establishes new links to the available media files. You can instruct the system to search specific drives or all available drives. n n To maintain the original capture settings for a subclip or sequence, use the Batch Capture command; do not use the Relink command.
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 471.
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 1151. 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 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. Click the “Relink to media on volume” menu, and select a specific drive volume that contains the original media files. 5. (Option) Select “Relink only to media from the current project.” 6. (Option) Select “Match case when comparing tape names.” 7. Click OK. The clips are relinked to the original media files.
11 Managing Media Files The clips are unlinked and display the message Media Offline. n To enable the Right-mouse button functionality on a multi-button mouse, see your Macintosh documentation. 3. (Option) If you have similar material from different sources, you can duplicate a set of clips, unlink the duplicates, and then modify the sources of the duplicates before capturing the new source material.
Archiving and Restoring Media Files to Videotape During the archiving process, the original media is archived to videotape. Media with effects is not recorded to tape because you can easily re-create the effects after the project is recaptured. However, the handles for transition effects are included in the archive file. The final sequence can be linked to the recaptured media to recreate the project.
11 Managing Media Files 7. Select the appropriate options. If the clips or sequences that you want to archive are not highlighted in the active bin, Archive to Videotape appears dimmed in the Clip menu. Option Description Archive Name Type a name for the archive in the Archive Name text box. ProjectArchive is the default name. The archive name is numbered incrementally beginning with 001 to indicate the order of the tapes.
Archiving and Restoring Media Files to Videotape The Archive Length area displays the calculated length of time required for archiving the media files. The archiving process might require more time than indicated because individual clips are not divided between tapes. 9. Under the “Enter the quantity of tapes available for the archive” area, do one of the following: t Type the number of blank videotapes needed for the archive next to the length of time of your blank tapes.
11 Managing Media Files Restoring an Archive from Videotape Restoring an archive from videotape is similar to performing a batch capture. The archiving process creates new master clips for sequences. During the restore process, each archived master clip is stamped with the archive tape name and archive timecodes. The original source information on the master clips remains unchanged.
Sequence and Clip Information Summary Your Avid editing application recaptures the archived sequences and clips, and relinks the selected clips and sequences to the new master clips. 11. Batch import any graphics and render all non-real-time effects. For information about batch import, see “Reimporting Files” on page 330. Sequence and Clip Information Summary You can generate a report to display information about the contents of a sequence.
11 Managing Media Files n If a plug-in is not loaded on your system when you generate the summary, if you select the option "Show Missing Effects Only" from the Sequence Report dialog box, the information displays "unavailable effect," in addition to the plug-in name, the plug-in ID (is this gone?), and other information associated with the effect. (Is the vendor and version number displayed). This is helpful when identifying the effect.
Sequence and Clip Information Summary 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 482. 4. Click Generate Report.
11 Managing Media Files 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 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 484
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 341 and “Using Script View” on page 343. 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 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. In the Source monitor, you can select a format for the Source clip tracking information only.
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.
Using the Info Window Option Description (Continued) In/Out Displays duration between IN and OUT points. Absolute Displays absolute time duration at present position. Remain Displays time remaining at present position. V1 TC (or EC) Displays the source track of the video on track 1, and the timecode (or edgecode). A1 TC (or EC) Displays the source track of the audio on track 1, and the timecode (or edgecode).
12 Viewing and Marking Footage 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.
Playing Video to the Client Monitor n You need to add the timecode track to the clip or sequence before the timecode tracking formats appear in the Timecode menu. For more information, see “Displaying Timecodes in a 24p or 25p Project” on page 360. When displaying TC 30 source or M 30 timecodes, the pulldown phase for NTSC reference is displayed. 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.
12 Viewing and Marking Footage There are two ways to connect a Client monitor to your Avid system: • Through your Avid input/output hardware device For details on connecting a Client monitor through your Avid input/output hardware, see the appropriate topic for your Avid input/output hardware device in “Connecting Cameras, Decks, and Monitors” in the Help. • For software only-systems, through an IEEE 1394 connection, analog connection, or dual-head display board.
Selecting the Video Display Settings Deactivating the Client monitor might be useful, for example, when you are screening material for clients and you want to make an editing change. You can deactivate the Client monitor display so that the client does not see your editing work while it is in progress, then activate the display to show the finished edit. The status of the Client monitor display does not persist between working sessions on your Avid editing application.
12 Viewing and Marking Footage To select Video Display settings: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Double-click Video Display. The Video Display Settings dialog box opens. The options available in the Video Display Settings dialog box vary depending on the model and configuration of your Avid editing application. 3. Select or modify the options for video display and click OK.
Playing Video to a Full-Screen Monitor For information about all options in the dialog, see “Video Display Settings” on page 1318. Some of these settings apply to playback and how effects are processed.
12 Viewing and Marking Footage If you do have 1394 selected from the Device menu, the Desktop Play Delay option lets you adjust the offset between audio and video playback on the Avid system. With a camera or transcoder connected to your system, when you play a sequence in the Timeline and the Composer (desktop) monitor plays back video and audio ahead of the camera or transcoder, you can adjust this offset.
Playing Selected Clips in a Loop 2. Click a button in the Tool palette. Your Avid editing application performs the function associated with the button. 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.
12 Viewing and Marking 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 513 and “Setting the Video Quality for Playback” on page 516.
Loading and Clearing Footage 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. n You can also load a series of clips into the Record monitor to create an instant sequence (rough cut) by pressing and holding the Alt key (Windows) or Option key (Macintosh) while dragging the clips from the bin to the Record monitor.
12 Viewing and Marking Footage 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. There are two options for clearing clips: • Remove the displayed clip and leave the monitor black but keep the clip loaded.
Controlling Playback n 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. Using Position Bars and Position Indicators You can quickly access frames or move within loaded footage by using the position indicators that appear in the position bars under the monitors (and in the Timeline when you are viewing a sequence).
12 Viewing and Marking Footage 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.
Controlling Playback 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. For more information about mapping user-selectable buttons, see “Understanding Button Mapping” on page 113.
12 Viewing and Marking Footage 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.
Controlling Playback 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.
12 Viewing and Marking Footage Keys Function 1, 2, 3, and 4 keys • 1 key—moves the footage 10 frames backward (NTSC or PAL) or 8 frames backward (progressive formats) • 2 key—moves the footage 10 frames forward (NTSC or PAL) or 8 frames backward (progressive formats) • 3 key—moves the footage 1 frame backward • 4 key—moves the footage 1 frame forward Home, End, Left Arrow, • and Right Arrow keys J, K, and L keys Home key—move to the beginning of a clip or sequence • End key—move to the end o
Controlling Playback Press the L Key To Play Footage at NTSC Rate PAL Rate 24p Rate 2 times 2x normal speed 60 fps 50 fps 48 fps 3 times 3x normal speed 90 fps 75 fps 72 fps 4 times 5x normal speed 150 fps 125 fps 120 fps 5 times 8x normal speed 240 fps 200 fps 192 fps t Press the J key to move backward at the same shuttle speed increments. t Press the K and L keys together for slow forward (8 fps for NTSC, 6 fps for PAL, and 6 fps for 24p projects).
12 Viewing and Marking Footage Playing Back to a DV Device If you are using Adrenaline, Mojo, or Mojo SDI input/output hardware, or if you do not have Avid input/output hardware attached to your system (software-only), you can play back DV media through a DV device. Your options for playback of media to a DV device vary, depending on whether the media is played back as DV 25, DV 50, or DVCPRO HD (DV 100). • You can play back DV 25 media through a DV device attached to a 1394 port on your computer.
Video Quality Options for Playback 3. Right-click the Video Quality Menu button, select Format, and then select the native format to be sent to the DV device: Format Availability DV 25 411 Enabled in any SD project DV 25 420 Enabled only in PAL SD projects DV 50 Enabled in any SD project DVCPRO HD Enabled only in HD 720p 59.94, 1080i 50, and 1080i 59.94 projects 4. (Option) If you are in an SD project, right-click the Video Quality Menu button, and then select Realtime Encoding.
12 Viewing and Marking Footage Your Avid editing application can only play back interlaced stereoscopic material using one of the Full Quality options. When you are working with interlaced stereoscopic material, other options are not available. For more information on stereoscopic material, see “Working with Stereoscopic Material” on page 1369. Your Avid editing application also provides an option that improves image quality during playback of mixed-format sequences where material requires resizing.
Video Quality Options for Playback Video Quality Name and Icon Description (Continued) Best Performance Processes and plays a subsample of the full image raster for the project that uses 1/16 of the image information. Uses a bit depth of 8 bits. This option subsamples 25% of the raster width. For interlaced projects, this option uses 50% of the lines in one field. For progressive projects, this option uses 25% of the scan lines.
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 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. • You can use the process of rough-cut or storyboard editing, which lets you instantly splice several prepared clips into a sequence, as described in “Creating an Instant Rough Cut” on page 566.
12 Viewing and Marking Footage 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. In the monitor, a Sawtooth icon appears on the right to indicate the mark OUT frame.
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 In most projects, subclips do not limit your access to the original, captured master clip material when trimming. Therefore, if you must trim beyond the marked IN to OUT boundaries of the subclip to make it longer or shorter, your Avid editing application accommodates the boundary adjustments during the trim.
Marking and Subcataloging Footage t Press the Alt key (Windows) or the Option key (Macintosh) while you click the Make Subclip button. Your Avid editing application creates the subclip and opens a dialog box that lets you select the destination bin for the subclip. Creating Subsequences You can use IN and OUT marks to create a new, shorter sequence from an existing sequence. This subsequence becomes an independent sequence and you can edit it in the same way you edit any other sequence.
12 Viewing and Marking Footage t Click the Audio Mark IN button to mark an IN point. t Click the Audio Mark OUT button to mark an OUT point. The Audio Marks appear in the Timeline and in the position bar beneath the monitors. Audio Mark IN and Mark OUT marks in the position bar To remove audio IN and OUT points: t Shift+click the Clear IN Mark, Clear OUT Mark, or Clear Both Marks button. Using Locators Locators are a type of electronic bookmark.
Using Locators Use Description Visual track alignments Use locators at matching points in synchronized audio and video tracks so that if the tracks lose sync, you can visually realign the locators in the Timeline to restore sync. For more information on sync, see “Working with Multiple Tracks” on page 684. Music cues Use locators to mark the IN and OUT points for music.
12 Viewing and Marking Footage 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 524. When you export sequences with locators as AAF files, the locator information is included. A Pro Tools editor can then choose to import the locators as Pro Tools as markers. The markers contain the same information as locators in your Avid editing system.
Using Locators 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. The information is stored with the marked frame.
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 3. Enter the track names as follows: V1, V2, V3, etc, A1, A2, TC1 Copying and Pasting Locators Using the Locators Window You can use the Locators window to copy a single locator or multiple locators and then paste them into another clip or a sequence. The copied locator is placed in the same frame position when it is pasted into the new clip. If the frame position does not exist in the new clip, then the paste does not occur.
12 Viewing and Marking Footage t Press Ctrl+C (Windows) or Command+C (Macintosh). 3. Load a sequence into the Record monitor or into the Timeline. 4. Click the Locator window and do one of the following: t Select Edit > Paste. t Press Ctrl+V (Windows) or Command+V (Macintosh). The locator is pasted into the sequence. To copy and paste locators using the Locators window and a text editor: 1. Select the locators in the Locators window by doing one of the following: t Click a single locator.
Using Locators 8. Click OK (Windows) or Print (Macintosh). The system prints the current view of locator information. To print the complete contents of the Locators window: 1. Make sure your printer is correctly set up. 2. Click the Locators window to make it active. 3. Press Ctrl+Alt+P (Windows) or Command+Option+P (Macintosh) to place the locator information in the Console window. 4. Select Tools > Console. The Console window opens. 5. Select File > Page Setup.
12 Viewing and Marking Footage The Locator edit window now does not open when you add locators. To keep the Locator edit window from opening: 1. Select Tools > Locators. The Locators window opens. 2. Select Disable Locator Popup Always from the Fast menu. The Locator edit window now does not open even if you double-click a locator.
Finding Frames, Clips, and Bins 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). 4. Enter the timecode for the frame by using the numeric keypad on the right side of the keyboard. If you have performed step 3 on a notebook computer or a keyboard that does not have a dedicated numeric keypad, use the standard keyboard number keys. Example of timecode entry with the numeric keypad.
12 Viewing and Marking Footage To cue a frame using frame offset timecode: 1. Click the monitor that is displaying the clip or sequence that you want to search. 2. (Option) If you are using a notebook computer or a keyboard that does not have a dedicated numeric keypad, press and release the left Control key twice quickly. This 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.
Finding Frames, Clips, and Bins PhraseFind (the phonetic find feature) is purchased as a separate option. Both Text find and PhraseFind can be used together or independently of each other. For information about the phonetic search option, see “PhraseFind” on page 551 For a table of all the options available in the Find Window, see “Find Window Attributes” on page 555. To open a search window: 1. Press Ctrl+F (Windows) or Cmd+F (Macintosh), or select Edit > Find. The Find window opens.
12 Viewing and Marking Footage 4. If you select Clips and Sequences, then select from the menu: Bins in Project Bins and Scripts in Project The system searches for the text criteria in all the bins/scripts within the project regardless if the bin/script is currently opened. Current Bin The system searches for the text criteria in only the bin/script that is opened and selected. 5.
Finding Frames, Clips, and Bins 10. With your text criteria entered, click Find or press Enter. A Cancel button appears and the system informs you that it is finding your text criteria. The results appear in the Results window. If you select Current Bin, the clips are selected in the bin and do not display in the Results window. The system displays the total number of items found after your search. n The system saves your last Find.
12 Viewing and Marking Footage The Match Frame button appears by default in the second row of buttons below the Source monitor. To match frame from footage in the Record monitor, you must map the button from the Other tab of the Command palette to the Record monitor palette or the Keyboard palette. For information about mapping buttons, see “Mapping User-Selectable Buttons” on page 115. To use Match Frame to locate the source clip for a selected frame or motion effect: 1.
Finding Frames, Clips, and Bins Your Avid editing application cues the sequence to the matching frame on the record side. If the frame exists in more than one place, the sequence cues to the first location of the match frame and continues through the sequence to subsequent locations each time you click the Reverse Match Frame button. 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.
12 Viewing and Marking Footage To find the bin in which a specific clip in a sequence is located: 1. Move the position indicator to the clip within the sequence. 2. Press and hold the Alt key (Windows) or the Option key (Macintosh), and click the Find Bin button. Your Avid editing application opens the bin and highlights the clip.
Sequence and Clip Information Summary Your Avid editing application cues to the requested frame and displays the frame. You can recapture as necessary. 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.
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 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 548. 4. Click Generate Report.
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 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.
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13 PhraseFind The PhraseFind option (phonetic find) finds audio dialogue throughout your bins in a single project. PhraseFind indexes all the audio in your bins (based on the language you choose) and then based on text criteria you enter. The system searches through all available columns in your bins for that specific criteria. The database returns the results of your find in the Results window. You can then filter those results to find exactly what you are looking for.
13 PhraseFind To select a language: 1. Press Ctrl+F (Windows) or Cmd+F (Macintosh), or select Edit > Find. The Find window opens. 2. Select your language from the Language menu. n Languages only appear in the menu if you have purchased additional language packs. The system indexes the data files. If you change the language, a dialog box opens asking if you are sure you want to change your language.
Starting an Audio (Phonetic) Find n The system creates a SearchData folder located in your Projects folder when you index text or phonetic searches. 2. Make sure a language is selected. 3. Type a word or phrase that describes the dialogue you are looking for in the text box. 4. Click the Clips and Sequences tab. n The Script Text tab and Timeline and Monitors tab do not apply to PhraseFind. 5.
13 PhraseFind The Results Window The results of your find display in the Results window for both Text Find and PhraseFind.You can then filter your findings to narrow your results. You can also choose to display specific columns, and sort or move columns. The system displays the total number of items Found after your search and the system also displays the number of items found After filtering. The system clears the Result window when you close the project.
Filtering Your Results When you double-click a clip in the Results window, the clip opens in the Source monitor. If you select multiple clips, the system opens that many Source pop-up monitors. n Loading the clip in the Source monitor is dependant on the option you have chosen for “Double-click loads object in” in your Bin Settings. Filtering Your Results You can narrow your search results to display less results. This is achieved by selecting specific columns and additional criteria.
13 PhraseFind 556 Results Window Attributes Description Find Click this button when you enter text in the textbox and you are ready for the system to search for your alphanumeric results. PhraseFind Click this button when you enter phonetic text in the textbox and you are ready for the system to search for your audio dialogue results. Cancel The Cancel button appears once you click either the Find or PhraseFind button. This cancels the search.
Find Window Attributes Results Window Attributes Description PhraseFind Index % and Bin Index % Indicates an approximate percentage to complete the indexing of your data files. Found Displays the total number of results found after your search. After filtering Displays the total number of results found after you filter.
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14 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
14 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 - 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.” Each new sequence is numbered incrementally until you rename it. - If a bin is not activated, the Select dialog box opens. Select the bin where you want to store the new sequence, or click New Bin to create and open a new bin, then click OK.
14 Creating and Editing Sequences 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).
14 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 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.
14 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.
Undoing or Redoing Edits For additional information on editing directly from the bin into the Timeline, see “Bin Editing into the Timeline” on page 682. To create a rough cut from a bin: 1. In the bin, sort the clips in the order in which you want them to appear in the sequence. For example, in Frame view, arrange the bin so that you can drag clips into the storyboard order you want. 2. Select the tracks for the edit. n If no sequences are loaded in the Record monitor, the Timeline has no features. 3.
14 Creating and Editing Sequences Undo and Redo commands in the Edit menu. Top: the Undo/Redo command for the previous edit. Bottom: the Undo/Redo List command. In the Undo/Redo List submenu, prior Redo commands appear in the upper part of the submenu, and prior Undo commands in the lower part. You can limit the Undo function to undo only record actions by selecting the Undo Only Record Events option in the Edit tab of the Composer Settings dialog box.
Editing Additional Clips into the Sequence Editing Additional Clips into the Sequence There are three primary edit functions for adding material to your sequence: • Insert (splice-in) • Overwrite • Replace edit In most cases, you perform three-point edits in which you set three marks—two in the source material and one in the sequence, or the reverse. The fourth mark is determined automatically. The way you set marks depends on the type of edit you perform.
14 Creating and Editing Sequences 4. Click the Splice-in button (yellow) to complete the edit. Performing an Overwrite Edit An overwrite edit replaces a section of the sequence with the selected source material. An overwrite edit replaces existing material and does not lengthen the overall duration of the sequence unless the material used to overwrite goes beyond the end of the sequence. 4 1 1 2 2 3 4 3 An overwrite edit.
Editing Additional Clips into the Sequence n By default, the Replace Edit button is located on the Edit tab of the Command Palette. You can use it from the Command Palette or map it to a monitor palette. For information about mapping buttons, see “Understanding Button Mapping” on page 113. Sync Point editing, which is similar to replace editing, lets you overwrite material in the sequence based on the alignment of position indicators in the source material and in the Timeline.
14 Creating and Editing Sequences To enable single-mark editing: 1. In the Project window, click the Settings tab. 2. Double-click Composer. The Composer Settings dialog box opens. 3. In the Edit tab, select Single Mark Editing. 4. Click OK. Mixing Frame Rates and Field Motion Types You can work with clips of any frame rate or field motion type (interlaced or progressive) in a project, regardless of the project’s type. For example, you can work with 30i clips in a 24p project.
Mixing Frame Rates and Field Motion Types Motion Adapter effects are different from other effects in several ways: n • You do not apply Motion Adapter effects manually. The Motion Adapter effect does not appear in the Effect Palette and does not have an effect icon. Your Avid editing application applies Motion Adapter effects and sets their parameter values automatically.
14 Creating and Editing Sequences Illustration Description 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. For more information, see “Viewing and Adjusting Motion Adapter Parameters” on page 575. In the bin, the Field Motion column provides field motion and frame layout information for a clip.
Mixing Frame Rates and Field Motion Types Mixed rate clips also display with their original frame rate appended to the clip name. For example, if you have a 24 fps clip named sunset that you edit into a sequence with a frame rate other than 24 fps, the clip name displays as sunset (24.00 fps). The illustration shows a mixed rate clip in the Timeline. To further distinguish mixed rate clips from other material in the Timeline, you can display them in distinct colors.
14 Creating and Editing Sequences 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. For more information, see “Using Adaptive Deinterlacing” in the Help. To view parameter values for a motion adapter and adjust the render type: 1.
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.
14 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 1318.
14 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.
14 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 54 and “Changing the Aspect Ratio for a 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 Your Avid editing application changes the aspect ratio of the monitors, and resizes and repositions any material in the project’s sequences that does not match the new aspect ratio so that it conforms to that aspect ratio. You see these changes when you next open and view an affected sequence. You do not need to re-edit the media into the sequence, and the source media remains unchanged. To recreate titles at the new aspect ratio: 1.
14 Creating and Editing Sequences When you change the Reformat attribute of a clip, it updates if it is loaded in a Source or pop-up monitor, and new edits into a sequence using this clip use the new Reformatting Option. However, previous edits using this clip continue to use the old value. If you want to update a sequence so that all versions of this clip in a sequence use the current Reformat attribute, refresh the Reformatting Options for the sequence.
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.
14 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 t Right-click the sequence in the bin, and then select Refresh Sequence > refresh command. The following table describes the commands available from the Refresh Sequence submenu: Command Description Motion Adapters/Timewarps Refreshes the sequence so that material with Motion Adapters or Timewarps use the current Field Motion attribute value from their source clip.
14 Creating and Editing Sequences 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. In both cases, the material you remove is placed into the Clipboard. The Copy to Clipboard function makes a duplicate of selected material in the sequence and leaves the material intact.
Lifting, Extracting, and Copying Material 3. Click the Copy to Clipboard button. The system copies the selected material to the Clipboard, and leaves the sequence untouched. Using the Avid Clipboard The Avid Clipboard is a cut, copy, and paste tool adapted to the special needs of the editing environment. The Copy to Clipboard function is useful for moving or repeating material in a sequence without moving multiple segments or for rebuilding the section at another location.
14 Creating and Editing Sequences The contents appear as a clip in the Source monitor, and the name “Clipboard Contents.n” appears above the monitor and in the Clip Name menu. The n is an incremental numbering of clips placed in the Clipboard during the session. t Press Alt key (Windows) or Option key (Macintosh) when you copy, lift, or extract the material. The contents appear as a clip in the Source monitor, and the name “Sequence name.Sub” appears above the monitor and in the Clip Name menu.
Playing Back a Sequence 3. Type your comments in the text box, and click OK. To display comments in the Timeline: t Click the Timeline Fast menu button, and select Clip Text. Playing Back a Sequence You can play a sequence at any time to see the results of your editing. You can view the sequence in the Record monitor or a Client monitor. You can also play back your sequence in a continuous loop by augmenting the Play In to Out command with the Alt key (Windows) or Control key (Macintosh).
14 Creating and Editing Sequences To start a playback loop: 1. Mark In and Out points in the sequence. To play back the entire sequence, mark the In point at the beginning and the Out point at the end. 2. Press and hold the Alt key (Windows) or Ctrl key (Macintosh) while you press the Play In to Out key, or click the Play In to Out button in the Play tab of the Command palette. The playback loop begins and continues until you press the space bar or click anywhere with the mouse.
Understanding Sync Breaks To play a limited duration of a sequence: 1. Map the Play Length Toggle button from the Play tab of the Command palette to a monitor toolbar button. For information about mapping buttons, see “Understanding Button Mapping” on page 113. 2. Move the position indicator to the location where you want to start playing the sequence. 3. Click the Play Length Toggle button.
14 Creating and Editing Sequences You encounter sync breaks and match frames in different circumstances: • You can encounter sync breaks in one or several video tracks, audio tracks, data track, or all. Sync-break offset numbers appear by default only in the affected tracks. • You encounter match-frame cuts whenever you perform an add edit or whenever you move a segment next to footage from the same clip and the timecode is continuous across the edit.
Fixing Sync Breaks 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 691. • 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.
14 Creating and Editing Sequences 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 709. 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. To fix sync when Segment editing: t Select and move the entire out-of-sync segment.
Understanding Sync Lock • You can sync lock any number of tracks in any combination. The tracks do not require matching timecode or common sources and can include multiple video tracks as well as audio tracks. • Sync lock affects entire tracks. This means that parallel segments in other sync-locked tracks are affected when you add, move, trim, or remove material anywhere in the sequence.
14 Creating and Editing Sequences To mark sync points with locators: 1. Move the position indicator to the point in the sequence where you want to maintain sync between two or more tracks. 2. Select all tracks where you want the locators to appear. 3. Click an Add Locator button. The system adds a locator to the enabled tracks in the Timeline and in the Record monitor.
Ganging Footage in Monitors Using Add Edit When Trimming When you trim with several audio tracks in sync, you can create an edit in the silent or black areas of the synced tracks. They occur in line with the track you trim, and they trim all the tracks at once to maintain sync. n You can also add an edit to filler. For more information, see “Working with Add Edits (Match Frames)” on page 700. To use the Add Edit button while trimming: 1. Move the position indicator to the edit that you want to trim. 2.
14 Creating and Editing Sequences 4. View the footage in any of the monitors. As you move through footage in one monitor, the footage in all other monitors freezes. The footage is updated when the play stops. Simultaneous full-motion playback is not possible, although the system maintains sync at all times. 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.
Autosyncing Clips 6. Select Sync Point Editing (Overwrites) in the Edit tab of the Composer Settings dialog box or select Special > Sync Point Editing. The orange mark on the Overwrite button signals Sync Point editing is active. 7. Select the source and record tracks for this edit, then click the Overwrite button. The system completes the sync point edit.
14 Creating and Editing Sequences • If the audio and video clips do not have matching source or auxiliary timecode, you must establish common sync frames. To do this, mark In points (or Out points) on both clips before you autosync. When you autosync using this method, the whole clip is taken into the subclip. • If you autosync clips of different lengths, the longer clip is truncated to the length of the shorter clip; video clips override audio clips.
Understanding AutoSequence Option Description Include audio from audio-only clips Use this option to keep the selected audio tracks with the audio-only clip. Specify which audio tracks you want to keep from the Start and End range. All audio tracks within this range will be kept. Off by default. Collapse Audio Tracks Use this option to remove any unused audio tracks and then move the audio tracks to the next available tracks.
14 Creating and Editing Sequences You can use the AutoSequence command with imported or AMA linked clips. You can also AutoSequence multiple clips together with non-continuous timecode, closing the gap on the filler in your sequence. This is helpful if you want to create a rough cut sequence with imported or linked clips. Use the following guidelines when you create a synchronized sequence: • Your original videotape must have continuous timecode.
Resyncing Subframe Audio 7. (Option) Press and hold the Alt (Windows) or Option key (Macintosh) while you select Bin > AutoSequence to build a sequence without filler. The system creates a sequence without gaps by placing the clips in ascending timecode order.
14 Creating and Editing Sequences n The batch import process does not create new clips; therefore, slipping at the perforation level is not available when you batch import audio clips from Avid editing application versions earlier than v10.5.3. • You cannot slip beyond the duration boundaries of the source master clip. • The sync adjustments you make are referenced in any cut list you output for any sequence that uses the adjusted subclip.
Creating Video and Audio Leaders When you enable phantom marks, your Avid editing application displays blue mark In or Out icons in the position bars below both the Source and the Record monitors. These phantom marks indicate one, two, or sometimes three edit points calculated by your Avid editing application to complete an edit. The following examples illustrate two typical scenarios. Setting One Mark In this example, you set only the mark In on the source side.
14 Creating and Editing Sequences To create leaders for picture tracks: 1. Create a black screen in the Title tool for tail leader, or a white screen for head leader. For information on using the Title tool, see “Creating Titles” in the Help. 2. (Option) Type a title onto the screen that says Tail Leader or Head Leader. 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.
Using MetaSync to Synchronize Metadata After you prepare the leader, you can splice the leader while you edit onto the audio tracks that you want to keep in sync. You can use the sync points for visually aligning tracks. 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.
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15 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
15 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.
Script Integration — Lining in the Digital Realm Additional setups The lines for each subsequent camera setup within the scene are labeled with the scene number (33 in our example) followed by a letter for each setup, followed by a slash and the number of the take within that setup. These lines can be any length, depending upon what portion of the script is covered by the particular shot. Off-screen dialog The jagged lines in the script represent the parts of dialog where the actor is off screen.
15 Script-Based Editing 1 2 3 4 5 6 7 1 Toolbar 5 Off-screen indicator 2 Slates 6 Color indicator 3 Takes tabs 7 Script mark 4 Takes 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.
Script Integration — Lining in the Digital Realm The Script window provides additional controls for matching back to clips in the source bins, loading and playing back takes, and searching for takes and script text. Script Integration Workflow The basic workflow for script integration is as follows: 1. The continuity person or an assistant creates the lined script in hardcopy form during shooting. 2.
15 Script-Based Editing 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. The script appears in a script bin, and opens in a Script window.
Working with the Script Window Script Window Behavior The Script window behaves in many respects like a bin: • When you make changes in the Script window, an asterisk appears in the title bar to indicate that the changes are not yet saved. • The Script window has the same auto-save functionality as bins, based on the auto-save options in the Bin settings.
15 Script-Based Editing For information on the settings, see “Script Settings” on page 1311. 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. To maintain the original formatting, however, export the script from your word processor by using the “Text Only with Line Breaks” option. If you export the script as “text” only, the formatting is lost. 2.
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.
15 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 n As you enlarge font size, the available sizes for the slate frames also increase. This is useful for presentation or screening purposes, when you need to display extra-large text and slate frames for a large audience or across a room. For information on enlarging slate frames, see “Working with Slates in the Script Window” on page 627. To select a single line of script: t Click anywhere in the line to highlight it.
15 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 n You can use the Find Bin and Find Script buttons to match back and forth between script and clips. For more information, see “Finding Clips and Script” on page 641. To add a page or scene number: 1. Select the line of the script at the beginning of the scene or page. 2. Click the Add Scene (AS) or the Add Page (AP) button in the Script window toolbar, or select Script > Add Scene or Script > Add Page. A dialog box opens. 3.
15 Script-Based Editing A dialog box opens. 3. Type a new number for the scene or page, and click OK. 4. If the renumbering affects page or scene numbers that precede or follow the current change, then repeat these steps as necessary. To delete a page or scene number: 1. Select the first line of the scene or page. You can also delete all page or scene numbering throughout a range of the script by selecting the range of lines or the entire script. 2. Press the Delete key. The Delete dialog box opens. 3.
Linking Clips to a Script 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 637. 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.
15 Script-Based Editing 6. Continue to apply clips to additional portions of the script until you have finished creating all your slates. Alternatively, you can create slates one at a time, place script marks, and fine-tune the lining of each scene before proceeding to the next portion of the script. Interpolating Position for Script Integration Interpolate Position matches a clip to a take and lets you see where a particular line in the script would appear in the clip footage.
Working with Slates in the Script Window Working with Slates in the Script Window Once you create a slate by dragging a clip into the Script window, you can manipulate the slate’s appearance and position. 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 630.
15 Script-Based Editing 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. For more information, see “Script Settings” on page 616. t Select or deselect Script > Show Frames. When Show Frames is enabled, a check mark appears to the left of the Show Frames command. When Show Frames is deselected, the Script window shows only the clip names for the takes.
Working with Slates in the Script Window 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.
15 Script-Based Editing 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. To restore a slate after deletion, you need to re-create the slate. See “Linking Clips to a Script” on page 625. Working with Takes in the Script Window Script integration provides a number of tools and techniques for manipulating the relationship between lined takes in the Script window and their source clips.
Working with Takes in the Script Window The new take appears in the slate and is applied to the selected region of the script. You need to manually adjust the take lines if the new take covers a region different from the existing slate. See the procedure below. To delete one or more takes: 1. Select the takes in the Script window. 2. Press the Delete key. The Delete dialog box opens. 3. Select Delete Takes, and click OK. The takes are deleted. c You cannot undo the deletion of takes.
15 Script-Based Editing To load multiple takes into the Source monitor: t Select multiple takes, and then double-click any take you selected. To play back a take, do one of the following: t Double-click a take to load it into the Source monitor, and then click the Play button or press the Play key. The clip plays back and stops when it reaches the end. t Select a take in the script, and then click the Play button at the top of the Script window.
Using Color Indicators in the Script Window 3. Click the Set Offscreen button. Using Color Indicators in the Script Window You can use color to indicate several pieces of information, including: • Preferred takes or takes used in the current active sequence. • Picture versus audio track used in the current active sequence. • Line changes in dialog. • Use of multiple cameras. To apply color to takes: 1. Select Script > Color > color. 2.
15 Script-Based Editing • Place marks in a playback loop in real time. For more information, see “Using Real-Time Screening and Marking” on page 635. • Place marks automatically using ScriptSync, if you have the ScriptSync feature in your Avid editing application. For more information, see “Marking with ScriptSync” on page 637 and “Moving or Deleting a Script Mark” on page 640. Once you have created script marks, you can load and play marked segments. You can also move or delete existing marks.
Script Marks 3. Click the Play button, or press the Play key. The take plays in the monitor. You can also step (jog) or shuttle through the footage, place the position indicator on the exact frame, or scrub the audio to find the exact line of dialog. The clip does not have to be playing. 4. When the playback reaches the selected line of dialog, click the Add Script Mark button or press the Add Script Mark key. The line is marked in the Script window with a small horizontal bar, and play stops. 5.
15 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 To stop the playback loop: t Press the space bar. Marking with ScriptSync Some Avid editing applications include the ScriptSync feature (purchased separately). ScriptSync uses phonetic-indexing technology from Nexidia™ to analyze the audio portion of a clip and match it to lines of the script text. To add script marks with ScriptSync: 1. Select one or more takes that include audio. 2. Double-click any line in the take to select the take and load it into a monitor. 3.
15 Script-Based Editing 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 638 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 before colon ‘:’ Select this option to skip all text before the first colon in a line of text. For example, select this option if your script uses the convention of placing a character’s name before a colon when the character begins to speak. Skip lines indented less than dialog Select this option if action is indented less than dialog in your script.
15 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.
15 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.
15 Script-Based Editing 3. Double-click the preferred take within the range of dialog that is marked with script marks. The marked section of the clip is spliced into the sequence.
16 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.
16 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 648 and “Timeline Fast Menu Options” on page 648.
Customizing Timeline Views Purpose Description (Continued) Complex audio work If you are doing advanced audio work with multiple tracks or fine-tuning difficult audio edits, you can hide video tracks and enlarge audio tracks while displaying waveform plots. If you enable per track settings in the Track Control panel to display waveforms on specific tracks, these settings are not saved in custom Timeline views.
16 Using the Timeline Purpose Description (Continued) 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. You cannot use Trim mode in this view. Using the Timeline Fast Menu You can customize the appearance of the Timeline by using various options from the Timeline Fast Menu.
Customizing Timeline Views Option Description (Continued) Clip Text Displays a submenu of clip text display options. Sync Breaks Displays a submenu of sync break display options; see “Fixing Sync Breaks” on page 595. Dupe Detection Enables color-coded dupe material display for V1 track; used in 24p projects and matchback projects. See “Dupe Detection” on page 701. Color Correction Displays indicator lines to show which segments have Source or Program color correction.
16 Using the Timeline Option Description (Continued) Zoom Back Restores the Timeline to the previous view before zoom; see “Zooming and Focusing in the Timeline” on page 668. Zoom In Zooms the Timeline into a detailed view for a selected area; see “Zooming and Focusing in the Timeline” on page 668. 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.
Customizing Timeline Views • Clips whose frame rate does not match the sequence frame rate (mixed-rate clips). • Clips that do not match the video resolution type of the project — for example, HD clips in an SD project, or SD clips in an HD project. • Clips to which you assign a local color in the Timeline. • Clips to which you assign a color in the bin. When working in a MultiRez environment, you can also use colors to track available resolutions.
16 Using the Timeline 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 1181. This option is only available if you are working in a MultiRez environment. Offline Colors clips that have offline media.
Customizing Timeline Views Option Description 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. n You can also display clip text that can help you to identify particular clips by selecting Clip Text > Clip Resolutions from the Timeline Fast menu. Timeline Local Colors clips to which you have assigned a local color in the Timeline.
16 Using the Timeline To reset the display colors for the Resolution Tracking, Offline, Mixed Rates, and SD/HD options: 1. Click the Timeline Fast Menu button, and select Clip Color. The Clip Color dialog box opens. 2. Click Default Colors. The Offline, Mixed Rates, and SD/HD color swatches reset to their default colors. Changing the Timeline Background or Track Color To change the background color of the Timeline: 1. Deselect all the tracks in the Timeline.
Customizing Timeline Views 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. The assigned local color appears in the clip in the Timeline. To remove a local clip color: 1.
16 Using 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. You can also display an edgecode track in the Timeline. By default, the Timeline displays all the tracks. You can hide the timecode tracks by deselecting them in the Show Track submenu of the Timeline Fast menu. The master timecode also displays in the Timeline ruler above the Timeline.
Customizing Timeline Views 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.
16 Using the Timeline 3. Click OK. 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.
Customizing Timeline Views 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.
16 Using the Timeline 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. Transition Manipulation Allows you to modify transition effects without using the Quick Transition dialog box. Trim Mode Allows you to enter traditional Trim Mode without selecting a trim tool. Source/Record mode Enters Source/Record mode.
Customizing Timeline Views 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 671.
16 Using the Timeline Track Control panel Component Description Waveform Turns on or off the waveform display for individual tracks. Clip Gain/Pan Turns on or off the clip gain, auto gain, and auto pan display for individual tracks. Inactive Removes a track from audio monitoring so you can play back your sequence without process the plug-in effects or automation for the inactive track. Solo Allows you to monitor a single track of audio without deselecting other tracks.
Customizing Timeline Views 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. This feature is useful when you edit with a sequence or subclip created from a sequence. You can also use it to look at the contents of any source clip in a Timeline display. n Heads and Tails view is disabled when you are displaying material from the Source monitor.
16 Using the Timeline 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. To hide the Timeline top toolbar: t Deselect Show Toolbar, and then click OK. Managing Customized Timeline Views You can save a customized Timeline view. Timeline views appear in the Settings list in the Project window. You can save, rename, and copy multiple views.
Customizing Timeline Views 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. Your Avid editing application applies the current Timeline view to the selected name and displays that name in the Settings list in the Project window.
16 Using the Timeline 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 115. The Timeline view button appears in the new location.
Navigating in the Timeline 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) Understanding the Timeline Position Indicator and Scroll Bar The position indicator in the Timeline marks your place in the sequence.
16 Using the Timeline 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. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens. 2. Select the Show Position Bar option in the Display tab. A check mark appears in the box. To deselect an option, click it again. 3. Click OK. The scroll bar changes to a position bar.
Navigating in the Timeline • You can use the Zoom In command in the Timeline Fast menu to select a portion of the Timeline of any size to instantly expand to fill the window, and the Zoom Back command to instantly restore the Timeline to its former size. The Zoom In and Zoom Back commands do not depend on the placement of the position indicator. You can select any portion of the Timeline to expand and contract.
16 Using the Timeline Your Avid editing application centers and enlarges the region of the Timeline immediately surrounding the position indicator. 4. To return the Timeline to its previous view, click the Focus button again. Controlling Movement in the Timeline While working in the Timeline window, you can use modifier keys to control the movement of both the position indicator and any segments that you move.
Working with Segments Working with Segments Your Avid editing application provides editing controls for moving, deleting, marking, and editing entire segments in the Timeline. A segment is a portion of a sequence between two clip transitions. There are two basic ways to edit segments: • Select one of the segment tools on the Timeline palette (Lift/Overwrite or Extract/Splice-in).
16 Using the Timeline Guidelines When Selecting Segments • You cannot simultaneously move segments separated along a track. You can, however, move segments separated on different tracks. • You cannot overlap the source and destination tracks. For example, you can move audio segments from A3 and A4 to A1 and A2, but you cannot move them from A3 and A4 to A2 and A3 (A3 overlaps). You can move mono audio tracks only to other mono audio tracks, and you can move stereo audio tracks only to stereo tracks.
Working with Segments To select segments with the pointer: 1. 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. 2. Click a segment in any track to select it. Shift+click to select additional segments. You can Shift+click a selected segment to deselect it.
16 Using the Timeline Linked Clips Media objects in bins can contain media on more than one track, such as a master clip with a video track and two audio tracks. When you add media to a sequence that come from the same source and share the same timecode, the Timeline displays the associated tracks. By default, the Avid editing application treats these tracks as linked so that when you select a segment, the application automatically selects any linked segments.
Working with Segments To enable or disable link selection in the Timeline, do one of the following: t Click the Link Selection button. t Press Shift+L. To select linked clips: 1. Click a segment with linked clips. The application selects all linked segments. 2. (Option) If you want to select additional linked clips, Shift+click additional segments. 3. (Option) If you want to deselect selected segments, Shift+Alt+click (Windows) or Shift+Option+click (Macintosh) a linked segment.
16 Using the Timeline Four-Frame Display When you begin to drag the segments, the interface changes to the four-frame display: n • The Source and Record monitors change to a four-frame monitor display. The two outer frames update while you drag the segment forward or backward in the Timeline, indicating the frames you pass as you drag the segment. The two outer frames in the four-frame display allow you to view and analyze the frames between which you might want to drop the selected segment.
Working with Segments When you release the segment into its new position, the actual lift (Overwrite) or extract (Splice-in) occurs. Until then, the segment position is preserved in the Timeline, allowing you to maintain your perspective of the sequence while selecting the new edit point. Suppressing Four-Frame Display The four-frame display of incoming or outgoing frames can occasionally slow the movement of segments as you drag them through the sequence.
16 Using the Timeline To move a segment and keep sync: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens. 2. Select the Segment Drag Sync Locks option in the Edit tab. 3. Click OK. 4. In the Track Selector panel, click the Sync Lock button for the video, audio and data tracks that you want to keep in sync. 5. Click the Extract/Splice-in button. 6. Click an audio or video segment, and drag it to the new location.
Working with Segments To perform a segment edit: 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.
16 Using the Timeline By default, your Avid editing application deletes the selected segment and leaves blank space or silence in its place (a Lift segment edit). You can use In and Out points to perform a standard Extract edit. You can also delete segments by using the Cut command. See “Cutting, Copying, and Pasting in the Timeline” on page 681. To delete segments quickly: 1.
Working with Segments 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. 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.
1 6 Using the Timeline Setting the Default Segment Edit Tool When you perform a segment edit without first selecting a segment edit tool, the Avid editing application uses the default segment tool for the edit. You can use the Timeline Settings dialog box to define which tool to use by default. Selecting a specific segment edit tool in the Timeline palette overrides the default tool. To set the default tool used for segment editing: 1. Double-click Timeline in the Settings list in the Project window.
Working with Segments For information on editing multiple clips directly from the bin into the RecordSource/Record monitor, see “Creating an Instant Rough Cut” on page 566. To activate bin editing: 1. Double-click Bin in the Settings list in the Project window. The Bin settings dialog box opens. 2. Select the “Enable edit from bin (Splice, Overwrite)” option. 3. Click OK. To perform a direct edit from a bin into your Timeline: 1.
16 Using the Timeline t Press the B key to perform an overwrite edit, which causes the clip to overwrite material of the same length in the sequence while maintaining the same duration of the sequence. The Timeline reflects the new edit. Working with Multiple Tracks Your Avid editing application lets you edit up to 24 tracks of video and 24 tracks of audio, including multichannel audio tracks, and one data track.
Working with Multiple Tracks Track Selector and Track Control panels, with Source tracks (left) and Record tracks (right). See the following table for a list of Track Selector buttons. Icon Button Video Track Monitor button Video Track, Source and Record Sync Lock button Audio Mono Track Monitor button Audio Stereo Track Monitor button Audio Track, Source and Record Timecode button The source side of the panel displays only those tracks available for the clip currently loaded.
16 Using the Timeline The following guidelines apply to track selection when you edit: • You can edit selected tracks on the source side directly into the sequence, assuming you have selected parallel tracks on the record side. • You cannot edit deselected tracks on the source side into the sequence, regardless of record track selections. • You cannot edit deselected tracks on the record side into the sequence, regardless of source track selections.
Working with Multiple Tracks Understanding Track Monitoring The following information describes how track monitoring functions and your options for monitoring tracks. For procedures on monitoring or soloing tracks, see “Monitoring and Soloing Tracks” on page 688. Monitoring Video The Video Track Monitor button determines whether you see video during playback. You can turn it off at any time to monitor only audio during editing.
16 Using the Timeline • To hear more than 16 tracks at once, you must mix down some of them to a maximum of 16. For more information, see “Mixing Down Audio Tracks” on page 795. • By default, all monitored audio tracks are selected for scrubbing. To isolate specific audio tracks for scrubbing, see “Soloing Audio Tracks” on page 744. • By default, Direct Out maps all audio tracks in numerical sequence to existing output channels.
Working with Multiple Tracks Track Selection panel, with video and audio tracks selected for monitoring To select a track for solo monitoring: 1. Ctrl+click (Windows) or Command+click (Macintosh) the Track Monitor button for the video track you want to solo monitor. 2. Click the Solo button for the audio track you want to solo monitor. The Track Monitor button changes to green with a black Monitor icon (video track) and the Solo button changes to green (audio track) to indicate solo monitoring.
16 Using the Timeline You can perform only one patch per edit, but there is no limit on the number of times you can patch from the same source track. Audio can patch only to audio, and video only to video. Also, you can only patch multichannel audio tracks to multichannel audio tracks, or mono tracks to mono tracks. Your Avid editing application dims the track selector buttons on tracks with unsupported track formats when you patch tracks.
Working with Multiple Tracks 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. The selected source track moves beside the record track to which it is patched as soon as you draw the arrow and release the mouse. The patched track remains highlighted in preparation for your edit. You can proceed to select any other tracks required for the edit.
16 Using the Timeline Top to bottom: Lock icon, Sync Lock icon, and Sync Lock All button in the Track Selector panel To lock tracks: 1. Select the tracks you want to lock (Source, Record, or both). 2. Do one of the following: t Select Clip > Lock Tracks. t Right-click in the Timeline, and select Lock Tracks. t If you want to lock a single track, right-click the track selector button and select Lock Track. The Lock icon indicates that the selected tracks are locked.
Working with Multiple Tracks “MetaSync Guide” in the Help. You can also add a data track, which is used for ancillary data. For more information, see “Preserving HD Closed Captioning and Ancillary Data” on page 1042. By default, new tracks are numbered consecutively. For example, if a sequence contains video tracks numbered V1 and V2, a new video track is numbered V3. However, you can customize the numbering, and you can also assign custom names to tracks.
16 Using the Timeline The Add Track dialog box opens. 2. (Option) Select the type of track you want to add (for example, a video or an audio stereo track) by clicking the Track Type menu, and selecting that option. 3. (Option) Select a track number other than the default number displayed in the dialog box by selecting another number from the Track Number menu. 4. Click OK. One of the following occurs: - The new track appears in the Timeline and in the Track Selector panel.
Working with Multiple Tracks The Delete Track(s) dialog box opens. 3. Click OK. The tracks are deleted. 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. You can also split a clip or sequence with stereo tracks to mono from a bin.
16 Using the Timeline 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.
Working with Multiple Tracks All stereo tracks in the Timeline split into two separate mono tracks, with the new mono tracks added below each original stereo track. . A copy of your original sequence is saved to your bin as [sequence_name].Copy.[number]. 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.
16 Using 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.
Performing a Quick Edit Using the Top and Tail Commands 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. Press and hold the Alt key (Windows) or Option key (Macintosh), click the frames representing the clip you want to move, and drag the clip to its new position. The sequence is rearranged to match the changes you made.
16 Using the Timeline t Click the Tail button to extract footage from the position indicator to the end of the clip or segment. Working with Add Edits (Match Frames) The Add Edit function places an artificial edit point between frames of a clip. The edit appears in the Timeline as a transition between two clips, but when you play the clip, the footage appears unchanged because the frames are continuous. This form of edit is also known as a match frame.
Dupe Detection 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. Alt+click (Windows) or Option+click (Macintosh) the Add Edit button. The edit appears on all tracks with filler in the sequence at the position indicator. To remove match-frame edits: 1.
16 Using the Timeline Two duplicate frames marked above the clip in the Timeline by the automatic Dupe Detection feature Orange bars mark the first set of duplicate frames, green bars mark the second set, and so on. You can use Dupe Detection while you edit to locate duplicate frames, and remove them as the sequence evolves. Activating Dupe Detection n c You can change the handle size used by Dupe Detection in the Edit tab of the Timeline Settings dialog box.
Dupe Detection 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. In 16mm film editing (using the multiple-strand method), labs sometimes use the zero-frame cutting method to avoid seeing each splice in a 35mm blowup print. In this method, the negative is conformed along with the handles so that the cuts appear as soft frame handles rather than jumps in the resulting 35mm blowup.
16 Using the Timeline Adjusting Handle Length in Dupe Detection To adjust handle lengths in Dupe Detection: 1. Double-click Timeline in the Settings list in the Project window. The Timeline Settings dialog box opens. 2. Click the Dupe Detection Handles menu in the Edit tab, and select the number of handle frames. The typical 35mm safety frame setting is 0.5 frame (amounting to a 1-frame total with both sides of a cut). 3. Click OK. The selected value is applied to the head and tail of every event.
Tracking Color Frame Shifts To quickly view more frames as you scroll: t Drag the resize box in the lower right corner of the Timeline for a full-screen view. You can reduce the size of Timeline tracks to wrap the sequence around several times. As you continue to scroll, each strand of the Timeline wraparound is updated.
16 Using the Timeline Example of color-framing boxes. Top: color sync signals are in phase and the boxes align horizontally. Bottom: color-sync signals are out of phase. 3. Trim one frame at a time on one side of the transition or the other until the green boxes align and the color-frame phase bars stop blinking. If you pay attention to color framing while editing, you do not need to think about it when assembling your master tape.
Printing the Timeline To find flash frames: 1. Set the maximum frame length that you want to detect: a. In the Project window, double-click the Timeline Setting. The Timeline Settings dialog box opens. b. Click the Edit tab. c. In the option Find Flash Frames Shorter Than, type the maximum number of frames you want to detect. The default is 10, which indicates the system will detect clips with 9 or fewer frames. d. Click OK. 2. Click the Timeline to activate it. 3.
16 Using the Timeline 708
17 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.
17 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 Small Trim display — replaces Record monitor in two-monitor view. Outgoing and incoming frames appear side-by-side on the right, with playback loop parameter controls above them, and with frame offset counters and Trim buttons beneath them. 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.
17 Working with Trim Edits n When you click the Trim Mode button with the Record monitor active, the system enters Big Trim display. If you click the Trim Mode button again, the interface switches back to the Record monitor. This toggle feature is useful if you like to trim quickly as you finish your sequence. 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.
Trim Settings Overview 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 721.
17 Working with Trim Edits 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 115. 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.
Selecting Trim Sides 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.
17 Working with Trim Edits t Shortcut Key Selection 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. The Trim Counter frame indicators: A-side (left) and B-side (right). The counter is purple when the side is active.
Selecting Trim Sides To change only the trim rollers on the video tracks: t Alt+click (Windows) or Option+click (Macintosh) either the outgoing monitor or incoming monitor, or either the A-side or the B-side. The trim rollers change only on the video tracks. To return to the last position of the trim rollers: t Press the Alt key when you click the Trim Mode button. Selecting Additional Transitions You can select additional transitions for trimming in different contexts.
17 Working with Trim Edits 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. Tail frames on two clips selected for simultaneous trimming across an overlap edit To select transitions on clips linked by common source and timecode: 1.
Overwrite Trimming 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.
17 Working with Trim Edits Ripple Trimming If you make a single-roller trim on either the outgoing or the incoming frames of your transition on an unlocked track, you can move the rest of the your sequence in the direction of the trimmed segment while maintaining the duration of all other clips. Ripple trims “ripple” the effects of your trim along the sequence.
Dual-Roller Trimming 2. Click and drag in the direction you want to trim. The new outgoing frame displays in the Source monitor as you trim, and all segments located on the selected tracks move with the trim. 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.
17 Working with Trim Edits By default, when you click the Trim Mode button, the trim rollers are set for dual-roller trimming. For more information about selecting trim sides, see “Selecting Trim Sides” on page 714. 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.
Reviewing Trim Edits 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. - To move the transition to an exact point in the timecode, type a timecode number larger than 99, including frames. For example, type 102 to enter 1 second and 2 frames (1:02).
17 Working with Trim Edits Preroll length text box (top left), postroll length text box (top right), and transition effect duration text box (bottom) n You must display two rows of buttons in the Composer window to see the trim controls. For more information, see “Composer Settings” on page 1247. 4. To stop the playback loop, click the Play Loop button again. 5. To deselect trim points, click the Source/Record Mode button. To review footage starting from the previous transition: 1.
Using Dual-Image Playback During Trims t Press and hold the K key while pressing the J or L key to step slowly backward or forward through the footage. When you find the frame where you want to relocate the transition, release the K key to complete the trim. t Press the J or L key once to play at normal speed, or more than once to shuttle at higher speeds. When you see the frame where you want to relocate the transition, press the space bar or the K key to complete the trim.
17 Working with Trim Edits To trim during a playback loop: 1. Select a transition for trimming. For more information, see “Selecting Trim Sides” on page 714. 2. Click the Play Loop button to repeatedly play the selected transitions. n To make adjustments to the playback loop for preroll, postroll, or intermission intervals, see “Reviewing Trim Edits” on page 723. 3. Press a keyboard equivalent to perform a Trim function.
Extending an Edit To create an overlap edit: 1. Perform a straight-cut edit between two clips, including audio and video tracks: t If the timing of the video edit is crucial, mark edit points according to video. t If the timing of the audio transition is crucial, mark edit points according to audio. 2.
17 Working with Trim Edits The Extend button appears in the Trim tab of the Command palette. You can map the Extend button to a custom location. For information on the Command palette and button mapping, see “Understanding Button Mapping” on page 113. The adjustment appears in the Timeline. After the Extend edit. The edit point on the video track moves backward to the location of the Mark In point.
Slipping or Sliding Segments Sync Lock icon (top) and Sync Lock All button (bottom) in the Track Selector panel 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.
17 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 Four-frame display for slip and slide trimming. Left to right: outgoing video at position indicator, head and tail frames of the selected clip, incoming video at position indicator. 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).
17 Working with Trim Edits To select segments for slip or slide trimming: 1. Position the mouse pointer over one of the transitions for the segment you want to trim so the pointer changes to a trim icon, and double-click the transition to select the segment for slip trimming. 2. To select a segment for slide trimming, press Alt key (Windows) or Option key (Macintosh) and double-click the transition.
Trimming in Two Directions t Click the Trim Mode button on the Tool palette. t Press the Escape key. To slip a shot in Source/Record mode: 1. Select the tracks for the clips to be slipped. 2. Move the position indicator within the shot that you want to slip. 3. Slip the shot by doing one of the following: t Click the Slip Left button to slip the shot one frame left (revealing later material from the source clip).
17 Working with Trim Edits To trim in two directions: 1. Select one or both of the trim tools on the Timeline palette, and then click the outgoing (A-side) or incoming (B-side) monitor to define which side of the transition to trim. The pointer changes to an overwrite trim or a ripple trim icon over either the A-side or the B-side of the transition, depending on the position of the pointer. 2. Shift+click the other transitions in the Timeline you want to trim. 3.
Using the Transition Corner Display c n The Transition Corner Display applies only to the trimming of transition effects (for example, dissolves, wipes, picture-in-picture, and so on). It is not designed for trimming key, image, or segment effects. The Transition Corner Display feature is only available when you use Big Trim display. To ensure that you use Big Trim display when you make a trim, select “Never use Small Trim mode” in the Features tab of the Trim Settings dialog box.
17 Working with Trim Edits 736
18 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.
18 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 762.
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.
18 Working with Audio 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. Click the Destination Track menu, and select the target auxiliary timecode bin column for recording the audio timecode.
Working with Multichannel Audio Tracks If you duplicate a clip in a bin and modify the track format in the copy, you can create a sequence that contains both a stereo and a mono instance of the same master clip. This does not cause a problem with editing, playback, or any other operation. You can also split stereo tracks in the Timeline into two mono tracks. for more information, see “Splitting Stereo Tracks to Mono Tracks” on page 797. To set the multichannel audio format for audio tracks: 1.
18 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 750 and “Displaying Gain and Automation Pan Values” on page 752).
18 Working with Audio 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.
The Track Control Panel 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. Making Tracks Inactive Unlike muted audio tracks, inactive or unmonitored audio tracks process no plug-in effects or automation.
18 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.
Using Audio Scrub When you play footage forward or backward at: You can scrub: Normal speed 16 tracks Two times normal speed 16 tracks Three times normal speed 2 tracks Greater than three times normal speed 0 tracks To ensure an audio track is monitored during scrubbing: t Enable the Audio Track Monitor button in the Track Control panel for the selected track.
18 Working with Audio Adjusting Digital Scrub Parameters The default parameters for the number of frames you hear as you scrub are zero frames of outgoing audio (behind the position indicator) and one frame of incoming audio (ahead of the position indicator). To isolate frames for marking or trimming, the default parameters are sufficient.
Audio Displays in the Timeline n The Play Buffer Size in Samples option and the Tool Buffer Size in Samples option appear only if your Avid editing application is not using Avid input/output hardware (software-only). 2. Click in a text box and type a new number of outgoing or incoming frames on the source side, the record side, or both. The new parameters take effect. Performing Digital Audio Scrub To locate an audio edit point by using digital scrub: 1.
18 Working with Audio You can also view a graph for automation pan and gain information in the Timeline. For more information, see “Displaying Gain and Automation Pan Values” on page 752. If you have a sequence with several different sample rates, you can identify a specific sample rate by color. For more information, see “Identifying Sample Rates by Color” on page 753.
Audio Displays in the Timeline To display audio waveforms for all tracks: 1. To search for a point in a known section of the tracks, zoom in and show more detail in the sequence to isolate a section of the audio. With less audio to display, the system draws the waveform plot faster. 2.
18 Working with Audio To display audio waveforms for selected tracks: 1. Click the Timeline fast menu and select Audio Data > Allow Per Track Settings. 2. Click the Timeline fast menu and select Audio Data > Allow Per Track Settings, and then click the Waveform button in the Track Control panel for the tracks you want to display audio waveform plots. The waveform appears in the selected tracks. You can turn off all waveforms on selected tracks by disabling Allow Per Track Settings.
Audio Displays in the Timeline To turn on the display of clip gain values and automation gain values for selected tracks: 1. Click the Timeline fast menu and select Audio Data > Allow Per Track Settings. 2. Click the Clip Gain button in the Track Control panel for the tracks you want to display clip or automation gain information, and select Clip Gain or Auto Gain. The gain values appear in the selected tracks. 3.
18 Working with Audio Depending on which sample rate you selected for your project, the color black is displayed on those clips. For example, if you selected 48 kHz from the Sample Rate menu in the Main tab in the Audio Project Settings dialog box, the sample plot of these clips (48 kHz) is displayed as black, and the sample plot of all other clips with different sample rates (32 kHz and 44.1 kHz) is displayed as white. Example of mismatched sample rates displaying with different colors in the Timeline.
Audio Displays in the Timeline Adjusting Volume You can adjust your speaker or headphone volume without leaving your Avid editing application. You can also mute audio in several ways: • Using the Master Volume button in the Timeline • Using the Mute button in the Play tab of the Command palette The Mute button lets you quickly make all audio tracks inactive or active during editing. This is convenient when you fine-tune complex audio and video edits, making it possible to shift quickly between the two.
18 Working with Audio The Volume Control slider appears. 2. Continue to click and hold, and drag the volume control to the audio level you prefer. 3. Release the mouse button. To adjust the volume control (models using Avid input/output hardware): t n Adjust the volume control on your Avid input/output hardware to the desired audio level. Adjusting the volume control affects the volume only while you work in your Avid editing application.
Displaying Audio Formats in Bins 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. Click Audio Format in the list to select it. 3. Click OK. The Audio Format column appears in the bin.
18 Working with Audio n Track Channel 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.
18 Working with Audio n If the sequence in the Timeline is stereo or is direct out without being surround sound, the four analog XLR outputs remain silent and only the left and right speakers are active. 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.
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.
18 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 769. 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 777.
Using the Audio Mixer Tool 1 2 3 7 4 8 9 5 6 Top part of Audio Mixer tool Element Description 1 Audio Loop Play button Lets you adjust audio effects while looping over a portion of audio. This button is also available in the Play tab of the Command palette. For more information, see “Adjusting Volume While Playing a Clip Gain Effect” on page 774. 2 Render Effect button Lets you render audio effects.
18 Working with Audio Element Description (Continued) 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. Click the Panes buttons Which Set of Tracks to Display in Mix Panes button to change it to Grp 2, which displays tracks 9-16.
Using the Audio Mixer Tool Element Description 1 Track Solo and Track Lets you solo or mute selected tracks. The values persist when you switch to another 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 766. 2 Track Selection Menu buttons Lets you enable tracks for mixing audio.
18 Working with Audio t Type values into the Volume Level display. Track Selection in the Audio Mixer Tool and in the Timeline When you select a track in the Audio Mixer tool, your Avid editing application selects the corresponding track in the Timeline. Similarly, when you select an audio track in the Timeline, your Avid editing application selects the corresponding track in the Audio Mixer tool.
Rendering and Unrendering Order for Audio Effects Colors Description Both lights are blue. The fader matches the current Timeline volume. Only top light is blue. The fader is higher than the Timeline volume. Only bottom light is blue. The fader is lower than the Timeline volume. Both lights are gray. Either there is no fader controller or mixer attached to the system or the Avid system does not recognize the fader controller or mixer.
18 Working with Audio 4. Audio Fade or Dissolve (Quick Dissolve button — real-time, can be rendered). 5. Automation Gain and Pan (Audio Mixer tool in Automation Gain and Pan mode — real-time). Changing an audio effect unrenders any audio effect that follows it in the render order but does not affect audio effects that precede it in the render order.
Using Clip Gain and Pan Mode This workflow lets you apply effects to an audio clip in a way similar to the signal flow in a mixing console. In this workflow, clip gain is like a trim level, where you can lower (attenuate) or increase (amplify) the levels of a clip before applying any other effects. For example, when importing a sound file from an audio CD, you notice when the level of the clip is very high and close to clipping (distortion).
18 Working with Audio When the Audio Mixer tool is in Clip Gain and Pan mode, you can adjust the volume and pan values for entire clips only. You can use Automation Gain and Pan mode and Live Mix mode to adjust volume and pan levels within a clip in the Timeline. For more information, see “Using Automation Gain and Pan” on page 777 and “Using Live Mix Mode” on page 785. The default volume for master clips is set to zero (that is, with no attenuation) when you first capture the media.
Using Clip Gain and Pan Mode The Audio Mixer tool opens. 4. Select Clip Gain and Pan mode by doing one of the following: t Click and hold the Audio Mixer mode button, and select Clip Mode from the menu. t Click the Audio Mixer mode button and cycle through the Audio Mixer mode settings to Clip. 5. In the Audio Mixer tool, select the audio track to be adjusted by doing one of the following: t Click the Track Selection Menu button for the appropriate audio track.
18 Working with Audio - Alt+click (Windows) or Option+click (Macintosh) the Level slider to reset the value to 0 dB. Top to bottom: Volume Level display, Gang buttons, Audio Level sliders, and Pan Value display in the Audio Mixer tool 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.
Using Clip Gain and Pan Mode Audio Mixer Fast Menu: Clip Gain and Pan Mode The commands in the Audio Mixer tool Fast menu operate differently, depending on the types of points you set within the clip or sequence, as described in the following table: Points Set Description Both In and Out points Commands apply adjustments to selected tracks between the points. In point only Commands apply adjustments to full clips from the In point to the end of selected tracks.
18 Working with Audio Note the following: • The commands in the Fast menu appear dimmed until you select a track. • Levels set in master clips carry across to the sequence after you edit the clips. • Clip gain values are the values for the entire segment; for example, you cannot set gain for a portion of a segment without affecting the entire segment. To set gain for a portion of a segment, use Automation Gain and Pan mode. For more information, see “Using Automation Gain and Pan” on page 777.
Using Clip Gain and Pan Mode n For additional ways to change the volume while playing audio, see “Understanding Automation Gain or Automation Pan Recording” on page 781. To adjust volume while playing a Clip Gain effect: 1. Do one of the following: t Select an existing Clip Gain effect. t Identify an area of the clip with In and Out points. t Place the position indicator over an audio clip. 2. Click the Audio Loop Play button in the Audio Mixer tool.
18 Working with Audio Modifying How Your Avid Editing Application Interprets Pan The way you record footage in the field and capture it with your Avid editing application affects the way sound pans between the speakers. By default, the system pans mono audio tracks 1 and 3 to the left speaker output and pans mono tracks 2 and 4 to the right speaker output. When you adjust pan values on multichannel stereo tracks, you pan the stereo mix of the left/right audio pair for the clip.
Using Automation Gain and Pan and A2. Panning all the audio to center eliminates the distraction of having to listen to left and right speakers, in turn. It also smooths the playback of the edited sequence because all shots are panned to center. To adjust the pan on clips: 1. In a bin, select the clips you want to pan to the center. 2. Select Clip > Center Pan. A dialog box opens and asks you to confirm the pan. 3. Click OK. The system pans all the selected clips to the center.
18 Working with Audio Example of the graphic representation of keyframes and gain ramps in the Timeline. Gain values in decibels are highlighted on the left. Your Avid editing application uses a linear ramp to change the volume or pan from one keyframe to the next. You adjust automation gain and pan directly in the Timeline or by using the Audio Mixer tool. Using Automation Gain and Pan in the Timeline To use Automation Gain and Pan to adjust volume or pan in the Timeline: 1.
Using Automation Gain and Pan If you expand the audio tracks enough, you can display volume data. The following illustration shows the expanded audio track with volume data. 4. Click the Add Keyframe key on the keyboard (“) or the Add Keyframe button on the Tool palette to add keyframes along the Timeline. Your Avid editing application adds a keyframe to each enabled track. A straight line appears in the selected audio track. The line shows the current gain level for that track in the Audio Mixer tool.
18 Working with Audio t To snap to the decibel lines, press and hold the Ctrl key (Windows) or the Command key (Macintosh) while you drag the point. t Move a keyframe horizontally to move the start or end of a ramp. Place the pointer over a keyframe. When the pointer changes to the hand pointer, press and hold the Alt key (Windows) or the Option key (Macintosh), click the keyframe, and drag it.
Using Automation Gain and Pan Feature Description Record button Starts and stops the recording. Record status light Appears black when there is no activity, green during a preroll, red during recording, and blue during a postroll. Cancel button n Stops a recording without saving the recorded data. In the Audio Mixer tool, the Record Status light appears gold during the Hardware Calibration test. Preroll text box Lets you provide a visual cue before the recording begins.
18 Working with Audio For information about using an external controller, see “Using an External Fader Controller or Mixer to Record Automation Gain” on page 820. Using the Audio Mixer Tool for Automation Gain and Pan You can record automation gain or automation pan information without using an external fader controller or mixer.
Using Automation Gain and Pan 10. Decrease the number of keyframes: a. Click the Track Selection Menu button for the track to enable the Fast menu. b. Click the Audio Mixer Tool Fast Menu button, and select Filter Automation Gain on Track or Filter Automation Pan on Track. 11. Repeat step 10 until you have decreased the number of keyframes to an acceptable level. You should remove as many excess keyframes as possible while still maintaining the volume changes.
18 Working with Audio Command Description (Continued) Filter Automation Pan on Removes approximately 50 percent of the automation pan keyframes in Track the marked region. Adjust Auto Gain/Pan on Opens a dialog box for making incremental adjustments to all current Track settings across segments in the marked regions of selected tracks.
Using Live Mix Mode The position indicator moves to the next or previous audio keyframe. Using Live Mix Mode Live Mix mode lets you temporarily override existing Automation Gain and Pan settings currently applied to a sequence. The most common way to use Live Mix mode is with a 002 or Command|8 attached as a control surface. When you use an external controller you can play the audio and override existing automation gain and pan settings in real time.
18 Working with Audio Entering Live Mix Mode To enter Live Mix mode: 1. Select Tools > Audio Mixer. 2. Do one of the following: t Click and hold the Audio Mixer Mode button and select Live Mix Mode from the menu. t Click the Audio Mixer Mode button and cycle through the Audio Mix mode settings to the Live mode setting. The Audio Mixer tool changes to Live Mix mode. Using Live Mix Mode with an External Controller To use the 002 or Command|8 as a control surface in Live Mix mode: 1.
Using Live Mix Mode 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). 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.
18 Working with Audio 4. Enter Live Mix mode in the Audio Mixer tool (see “Entering Live Mix Mode” on page 786). 5. Play and listen to the audio. 6. While the audio plays, you can adjust the faders or turn the pan knobs on the controller. This temporarily adjusts the audio without changing the automation gain or pan settings. 7. (Option) Change to Automation Gain and Pan mode and play the audio.
Using Live Mix Mode The Live Mix mode settings are not tied to the sequence. If you load a different sequence into the Timeline, the Live Mix mode settings on the controller (and in the Audio Mixer tool) do not change. You can think of the Live Mix mode as an external mixer connected to the Avid editing system. Changing to another sequence has no effect on the Live Mix mode settings.
18 Working with Audio Live Mix Mode Example The following illustration shows the Live Mix mode settings on two tracks in the Timeline. Track A1 is at 0 dB, and the volume of track A2 is set to -45. The Live Mix mode settings are not represented in the Timeline, but you can hear the difference when you play the audio. Live Mix level settings at 0 dB and -45 dB The following illustration shows a sequence in the Timeline with Automation Gain applied.
Fading and Dipping 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.
18 Working with Audio For an overview of when to use clip gain and when to use automation gain, see “Audio Gain Staging and an Audio Editing Workflow” on page 768. 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.
Fading and Dipping Audio 6. If you selected Custom Start, type the number of frames before the transition to begin the effect in the “Start n frames before cut” text box. Otherwise, leave the default value in the text box. 7. (Option) Click the Target Drive menu, and select a media drive other than the default. 8.
18 Working with Audio After rendering, the audio dips smoothly from the higher levels of the adjacent segments of the track to the lower level applied to the middle segment. 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 794. • You can perform sample rate conversion as part of a Transcode operation.
Mixing Down Audio Tracks 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.
18 Working with Audio 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.
Splitting Stereo Tracks to Mono Tracks 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.
18 Working with Audio 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.
Using the Audio EQ Tool 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. 1 2 3 4 5 7 6 8 9 Top part of the Audio EQ tool Button Description 1 Audio Loop Play Lets you make adjustments to an EQ effect while you play the effect.
18 Working with Audio Button Description 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.”) 9 Bypass RT EQ Lets you instruct the system to ignore all the EQ effects. This button is also available in the Audio Mixer tool and the Output tab in the Audio Project Settings dialog box.
Using the Audio EQ Tool • The second band is the parametric midrange. This band has two bandwidth values, 1/4 octave and 2 octaves. These values control the width of the curve. For more information, see “Audio EQ Examples” on page 806. • The third band, the high shelf, has four turnover points (6 kHz, 8 kHz, 12 kHz, and 15 kHz). The high shelf affects all frequencies from the high shelf turnover point to 20 kHz. The horizontal center line of the graph is 0 (zero).
18 Working with Audio 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. Bottom: EQ Range slider showing the center point of the parametric midrange curve. The Audio EQ tool lets you emphasize or de-emphasize audio frequencies.
Using the Audio EQ Tool 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. To stop playing the loop, click the button again or click anywhere in the Timeline. 7.
18 Working with Audio 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.
Using the Audio EQ Tool If there is no EQ setting on the currently selected clip, selecting Set EQ In/Out deletes the EQ settings on all clips within the In to Out range. For example, because there is no EQ setting on the third audio clip in the following example, Set EQ In/Out deletes the EQ effect from the first and second audio clips. Set EQ In/Out applies only to the audio track currently selected by the Audio EQ tool.
18 Working with Audio 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. Assume that a bass drum in the sound track is very pronounced. You want to use the Audio EQ tool to de-emphasize it, but there are voices on the same track as the music. The human voice covers a wide range of frequencies, and the challenge is to preserve the bass frequencies of the voices while de emphasizing the bass drum sound.
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.
18 Working with Audio Predefined EQ templates in the Audio EQ tool Fast menu 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.
Using the Audio EQ Tool 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. If you create an EQ effect, you can use it again as a template in another sequence or on another track. Your Avid editing application stores predefined EQ templates in a special bin named Site_EQs_Bin.avb.
18 Working with Audio Adjusting EQ While Playing an Audio Effect You can use the Audio Loop Play button to create or change an EQ effect while a clip is playing. Use the same procedure as described in “Adjusting Volume While Playing a Clip Gain Effect” on page 774. If the clip has no existing EQ effect before you start, you do not hear any changes until you click the Audio Loop Play button to stop and replay the effect.
Recording Voice-Over Narration Audio Punch-in Tool Features You can use the Audio Punch-in tool to record voice-over narration directly into the Timeline. However, you can only record to mono tracks when you use the Audio Punch-In tool. You can “rehearse” the voice-over while listening to the sequence. The voice-over is not recorded while you rehearse. You can continue to rehearse until you get it right. While recording, you can watch and listen to the sequence and hear the playback of edited sound tracks.
18 Working with Audio Audio Punch-In Tool Feature Description 4 Go to Mark In button Moves the position indicator to the In point. If there is no In point, your Avid editing application goes to where the position indicator was previously located or to the start of the sequence. 5 Cancel button Stops a recording without saving the recorded data. 6 Audio Tool button Opens the Audio tool so you can monitor and adjust the audio levels during recording.
Recording Voice-Over Narration Audio Punch-In Tool Feature Description 14 Target Bin menu Lets you choose a target bin. 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.
18 Working with Audio 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. Select the input source and input channels that correspond to your hardware setup, and set other values in the window as appropriate. To select the input channels you want, click and hold the appropriate Input Channels button. 4.
Recording Voice-Over Narration The Record button blinks bright red while recording, and the Play In/Out button is a steady green. The Audio Meter Channel button in the Audio tool becomes an I and changes to orange. 8. Continue to click the Record button to record additional voice-overs. During the audio punch-in process, you have the ability to record over the duration of the sequence or from the In point to the Out point. 9. Click the Stop button, or press the space bar to stop play and recording.
18 Working with Audio 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 813. 4. As you record, monitor the previously recorded audio tracks along with your current recording from the meters in the Audio tool and from the sound on the speakers. Using Peak Hold While Recording Voice-Over Narration Peak Hold lets you customize the meter displays, and sets and plays back the internal calibration tone.
19 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.
19 Using External Audio Devices n • JL Cooper FaderMaster Pro MIDI automation controller — This device lets you make fine adjustments to audio clips. This unit does not support flying faders, which means that the faders do not move automatically as you record audio gain information and they must be zeroed manually prior to recording. For information on setting the faders manually, see “Interpreting Position Indicator Lights” on page 766.
Feature Digi 002 (MC/NC only) Command|8 MC Control MC Mix MC Transport Latch mode (also known as Snap mode) Yes Number of steps of 1024 fader accuracy Yes Yes Yes No 1024 1024 1024 Not applicable a. The Digi 002 can be used as a standalone audio mixer but not at the same time as it is being used as an automation gain or automation pan controller or control surface. The following table compares supported third-party external controllers and mixers.
19 Using External Audio Devices 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 830. On the Yamaha 01V/96 or on the Yamaha 01V, you must press the On button to gain control of a moving fader.
Adjusting the Volume or Pan of Individual Keyframes Depending on the fader controller or mixer, you might have to click the fader’s On button before moving the fader. 6. Click the Record button again to stop recording. 7. Click the Audio Loop Play button to play the clip and test your results. 8. To decrease the number of keyframes, click the Audio Mixer Tool Fast Menu button, and select Filter Automation Gain on Track — In/Out. (Click the Track Selection button for a track to enable Filter Automation.
19 Using External Audio Devices Your Avid editing application displays the values in the Pan Value display for the corresponding track in the Audio Mixer tool. For information on connecting a fader controller or mixer, see “Using an External Fader Controller or Mixer to Record Automation Gain” on page 820. n The position indicator lights do not apply to automation pan.
Using the 002 and the Command|8 When you attach the 002 to your Avid editing system, all of its audio input and output connections are live. However, the Avid input/output hardware device and the 002 remain as two separate audio sub-systems. They are not combined to increase the number of available audio channels. Audio I/O works as follows: n • The system creates a list of input options based on the audio devices that are present. For example, 002 analog, 002 S/PDIF, and Avid DNA analog.
19 Using External Audio Devices For more information on connecting the 002 hardware to your Avid input/output hardware and on audio and video synchronization, see “Using the Avid Input/Output Hardware” in the Help. Using the Command|8 with Your Avid Editing System The Command|8 is primarily a control surface. You can use it for controlling aspects of the user interface as well as for automation gain and automation pan recording.
Using the 002 and the Command|8 6. From the Port menu, select one of the following: t Windows - “002 Control Port” or “C|8 Surface” t Macintosh - Command|8 Port 1 7. From the Gain Controller Port menu, select a controller for automation gain or automation pan recording. The Gain Controller Port menu displays all COM or MIDI ports that are available on the system. 8. (Option) Click Edit Settings to view or modify the button assignments.
19 Using External Audio Devices Groups of controls in the 002 Controller Settings dialog box. Top left: Console View controls, Display Controls and Foot Switch. Center left: Keyboard Modifier switches. Bottom left: Open Command Palette button. Right: Transport and Navigation controls. The following illustration shows the Command|8 Controller Settings dialog box.
Using the 002 and the Command|8 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. To view the different button settings on the Controller Settings dialog box: t Press the Shift, Control, Option, or Command key while viewing the Command|8 Controller Settings dialog box.
19 Using External Audio Devices 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. Click Menu to Button Reassignment on the Command palette. As you move the mouse over a button, the cursor changes to a menu icon. 7. Click the button on the dialog box that you want to change. The system highlights the button. 8. Select a menu command. For example, select Tools > Audio Punch-In.
Using the 002 and the Command|8 To ensure that you perform the correct operation when you press a button on the control surface: 1. Map some buttons to menu commands that makes a particular window or tool active. For example, on the 002, the F5 key is mapped to Tools > Timeline by default for Windows systems. Pressing the F5 button on the 002 makes the Timeline active. 2. (Option) To see the function of a mapped button, hold the cursor over the button to view the tooltip.
19 Using External Audio Devices Position indicator lights 2. Click the Timeline Fast Menu button and select Audio Data > Auto Pan. 3. Move the blue position indicator to the section of audio that you want to adjust and mark In to Out points. 4. Set Preroll and Postroll values, if necessary. 5. Click the Record button to start recording your actions. 6. Listen to the audio and turn the pan knob for the track.
Using Mbox Family Audio Devices To use Latch Mode: 1. Click the Latch Mode button for the appropriate tracks on the controller. You can click the button before or during a recording session. 2. Set In and Out points, and click the Record button. The system begins playing the section and the faders move accordingly. 3. When you want to make an adjustment, move the fader to change the volume. The system immediately begins recording. 4. When you are finished adjusting the section, release the fader.
19 Using External Audio Devices Device Connection Type Input/Output Types Mbox 2 Mini USB Analog Mbox 2 Micro USB Analog (monitor audio only; no input/output available) Mbox (3rd Generation) USB Analog, S/PDIF, MIDI Mbox Pro (3rd Generation) 1394 Analog, S/PDIF, MIDI, Word Clock In Mbox Mini (3rd Generation) USB Analog Mbox (3rd Generation) devices support audio sample rates up to 96 KHz. For a full description of MBox specifications, see the documentation that came with your device.
Using Mbox Family Audio Devices 6. Click the Peripheral menu, and then select your Mbox device. 7. Close the Audio Project Settings dialog box. Once you configure the Mbox device, you can select the audio input interface in the Capture tool and the Audio Punch-in tool. For more information, see “Preparing to Capture Audio” on page 201 and “Recording Voice-Over Narration” on page 810. You can also use your device to monitor output audio by connecting headphones or speakers to the Mbox device.
19 Using External Audio Devices t (Windows XP) Click Avid Mbox Pro. The Mbox Pro Control Panel opens. 4. Select your headphone output, and then click the Audio Source menu and select Stereo Mix 1. 5. Close the Mbox Pro Control Panel. 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.
Configuring USB-to-MIDI Software for External Controllers The term “fader controller” applies to the following third-party controllers: c • JL Cooper FaderMaster Pro MIDI automation controller • JL Cooper MCS-3000X MIDI automation controller • Yamaha 01V/96 or Yamaha 01V digital mixing console To reduce traffic on the USB, connect the USB-to-MIDI converter only if you need to use the JL Cooper FaderMaster Pro, JL Cooper MCS-3000X, Yamaha 01V/96, or Yamaha 01V fader box.
19 Using External Audio Devices - The Recording Status Light changes to gold. Position indicator lights 10. If the lights do not change to blue, see “Troubleshooting MIDI Connections” on page 837. 11. To disable the hardware calibration, click the Audio Mixer Tool Fast Menu button, and select Calibrate Hardware Sliders. The Recording Status Light changes to black. 12. Move the sliders on the external fader controller. The corresponding sliders move in the Audio Mixer tool.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems Troubleshooting MIDI Connections Do the following if the Audio Mixer tool does not respond to the external fader controller: 1. Make sure the MIDI hardware devices are connected and configured. For more information, see “Connecting Serial and MIDI Port Devices” in the Help. 2. Check that the MIDI cable connections are correct. Check that the cables are connected from Out to In and from In to Out. 3.
19 Using External Audio Devices n Pro Tools|HD Native audio hardware is supported only in some co-installation configuratons, and for Pro Tools v9.0 the HD hardware is supported only on Macintosh systems and 32-bit Windows systems. For more information about co-installation, see the ReadMe documentation that came with your Avid editing application.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems 4. Click Edit. The ASIO Control Panel opens. 5. (Optional) Click the Buffer Size menu and select a buffer size. Generally, smaller buffer sizes are preferable. However, if you experience any problems with performance (such as clicks and pops during recording or playback), try increasing the Buffer Size setting. 6. Click tthe Device menu and select the audio device connected to your HD or Native hardware. 7. Click Advanced.
19 Using External Audio Devices 8. Select the options you want for your audio input/output operations. For more information on the settings in the Hardware Setup dialog box, see “Configuring Your Pro Tools|HD Native System” in the Pro Tools|HD Native User Guide that came with your Pro Tools system. Your Avid editing application uses only 8 channels of audio output. Also, the application controls the audio sample rate, not your HD or Native hardware. 9. Click OK to close the Hardware Setup dialog box. 10.
Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems To configure the CoreAudio driver: 1. Do one of the following: t If your Avid editing application is running and you have an audio sequence loaded in the Source/Record monitor, click Play and then click the CoreAudio Manager icon in the dock. t Double-click the CoreAudio Manager file (located in /Applications/Digidesign/). The CoreAudio Manager opens. 2. (Optional) Click the Buffer Size menu and select a buffer size.
19 Using External Audio Devices 4. Select the options you want for your audio input/output operations. For more information on the settings in the Hardware Setup dialog box, see “Configuring Your Pro Tools|HD Native System” in the Pro Tools|HD Native User Guide that came with your Pro Tools system. Your Avid editing application uses only 8 channels of audio output. Also, the application controls the audio sample rate, not your HD or Native hardware. 5. Click OK to close the Hardware Setup dialog box.
Using a GPI Device with the Audio Punch-In Tool Understanding GPI Trigger Signals Your Avid editing application sends three different GPI trigger signals under the following circumstances: Trigger Signal Sent When Play Out Playback begins. Recording with the Audio Punch-In tool ends but playback continues because a postroll value is set in the Audio Punch-In tool (that is, the signal is sent when the Stop button in the Audio Punch-In tool changes to blue).
19 Using External Audio Devices Example of Linking GPI Actions to Trigger Signals You can configure the GPI to respond to each signal sent by your Avid editing application in a specific manner. For a simple indicator light, you might create a GPI setting linking the Record Out signal from your Avid editing application to the GPI Set action (to turn the light on) and a setting linking the Stop Out signal from your Avid editing application to the GPI Reset action (to turn the light off).
Using a GPI Device with the Audio Punch-In Tool IN OUT IN OUT IN OUT IN OUT IN OUT IN OUT SERIAL LAN CF AC 1 SERIAL PARALLEL REF 2 SERIAL A 3 TIMECODE A IN OUT 4 5 SERIAL B 6 TIMECODE B IN OUT LAN CF AC VLX TRANSMITTER VLX 2R DUAL RECEIVER Top left: GPI terminals on the VLXi-GT GPI (for connections to external hardware). Top right: V-LAN connection (from VLXi-GT to V-LAN VLXi controller) and terminator (required when cable length is more than 50 feet (15.24 meters).
19 Using External Audio Devices 4. Click the Port menu, and select the serial port to which the V-LAN VLXi is connected. 5. Click OK. The Autoconfigure message box opens. 6. Click Yes. The connected GPI is automatically detected and appears in the Deck Configuration dialog box. Working with GPI Settings You must create a separate GPI setting for each trigger signal you want the GPI to recognize. For example, you would need one setting for the Record Out signal and another for the Stop Out signal.
Using a GPI Device with the Audio Punch-In Tool 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. In the Project window, double-click Deck Configuration. The Deck Configuration dialog box opens. 2.
19 Using External Audio Devices GPI Option Description Pulse Duration Leave this setting at its default value; it does not alter the length of the Pulse action in the GPI. GPI Control Enable When you deselect this option, you disable the GPI but keep the GPI settings. This is useful for troubleshooting purposes. Edit Click to edit an existing GPI node setting. Delete Click to delete an existing GPI node setting. Add Click to add another GPI node setting.
20 Using Avid Artist Series Controllers This section includes topics that provide information on configuring and using the Avid Artist Series controllers: Avid Artist Control, Avid Artist Transport, and Avid Artist Mix with your Avid editing application. These controllers employ the EUCON™ (Extended User Control) protocol, which allows for integrated control of your Avid editing application and EUCON-compatible devices.
than your other Ethernet connection. For more information on configuring your Ethernet connections, see “Configuring Ethernet Connections (Macintosh)” on page 851. You can change port assignments in the EuControl Settings application if necessary. • Avid also recommends that you disable the network interface you use for your Artist Series controller in the ISIS Client Manager preferences. This prevents ISIS from trying to use the Ethernet port assigned to EUCON for your shared storage operations.
Configuring Avid Artist Series Controller Settings You use the Controller Settings dialog box to configure your Avid editing application so that it can communicate with your Artist Series controllers. To configure your Avid editing application for an Artist Series controller: 1. Double-click Controller Settings in the Settings list of the Project window. The Controller Settings dialog box opens. 2. Select Controller > EUCON Controller. 3. Click OK.
To configure Ethernet ports on a Macintosh system: 1. Connect your Artist Series controller to either the Ethernet 1 or Ethernet 2 port on your Macintosh system. 2. Select the Apple menu > System Preferences. 3. In the Other area, click Euphonix. The Euphonix dialog box opens. 4. Click the Network Interfaces menu and select either Ethernet 1 or Ethernet 2, depending on which Ethernet port you want to use for your Artist Series controller. 5. Close the Euphonix dialog box. 6.
9. If the Ethernet connection you want to use for your corporate network or shared storage connection is not at the top of the network connections list, select that Ethernet connection and drag it to the top of the list. For more information on setting the service order, see the Apple Help for your Macintosh system. 10. Click Apply, and then close the Network dialog box.
3. Click the Automatically add: menu, and select one of the following: t To add all controllers listed in the All Surfaces list — which lists all devices available on your subnet — select All Surfaces. This setting is useful when you are the only person running EuControl on your network. t To add only those controllers listed in the My Surfaces, select My Surfaces Only. Since only one user at a time can control a surface, this avoids claiming surfaces needed by other users on your network.
6. (Option) If you want more than one workstation to access your Artist Series controllers, do the following: a. Select the workstation in the All Workstations list and click Add. b. Select the workstation in the My Workstations list and click Attach. A check mark appears in the Attached column in the My Workstations list. The workstation can now access the Artist Series controllers connected to EuControl. 7. Close the EuControl Settings application.
Artist Control and Artist Transport can control multiple applications, each with its own soft key assignments. Since the EuControl application responds dynamically as you move between applications, soft key assignments might change in the Soft Keys tab as the active application changes. Changing the focus to the desired application and then to the EuControl application restores the current assignments. You can save your soft key assignments at any time while using EUCON.
Customizing Avid Artist Series Controls You can modify the default Soft Key functions of the controls on your Artist Series controller by mapping them to buttons and keyboard shortcuts in your Avid editing application. You can also add custom key sequences, EUCON commands, pages to the surface controls or the touchscreen, and jog and shuttle wheel functions for some devices. The following procedure provides a generic description of how to customize your controller.
The Artist Transport controls for the Touchscreen. 3. Do one of the following: t Select a button whose function you want to customize, and click Command. t Double-click a button whose function you want to customize. The Soft Key Command Editor opens. 4. Specify the action you want to associate with the control button.
The Soft Key Command Editor organizes the default commands as they appear in the Command palette or in menus. 5. Close the Soft Key Command Editor. The Soft Key tab updates and displays the new function. 6. Click Save. 7. Close the EuControl Settings application. To add a function to the Artist Series controls: 1. In the EuControl application, click the Soft Keys tab. 2.
3. If the display does not include any blank keys, click the Page menu and select a new page. You can also click the Add button to add a new page. 4. Do one of the following: t Select a blank key and click Command. t Double-click a blank key. The Soft Key Command Editor dialog opens. 5. Click Add and select one of the following: - Key - EuCon - Page - MC - Wheel 6. In the Details column, select the function you want to associate with the new soft key.
Moving Through Footage with Artist Series Controllers Moving Through Footage with Artist Series Controllers You can use your Artist Series controller to control how you move through footage. Depending on the functions available on your controller and the default and customizable controls, you can use the following methods: • The Jog wheel 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.
20 Using Avid Artist Series Controllers Automation Gain and Pan on Artist Series Controllers Some Artist Series controllers provide fader strips, each with a touch-sensitive fader, that control audio tracks for recording gain. Faders control assigned tracks and reflect changes made in the audio track properties, such as automation gain. Some Artist Series controllers also provide pan soft knobs that control audio tracks for recording pan automation.
Recording Automation Gain and Pan with Artist Series Controllers Button Function Shift + REC N Controls and indicates automation mode. The current mode is not indicated. SEL Y Controls and indicates if a track is selected or deselected. Once you record your gain or pan automation, you can use the Artist Mix or the Artist Control to modify gain or pan values on any audio keyframe selected in the Timeline.
20 Using Avid Artist Series Controllers 8. Listen to the audio and adjust the slider or the pan control on the Artist Series controller for the track. The system displays the slider values for the corresponding track in the Audio Mixer tool as you adjust the gain or pan. 9. Click the Record button again to stop recording. 10. Click the Audio Loop Play button to play the clip and test your results. 11.
Using the Latch Mode Feature on Artist Series Controllers 2. Set In and Out points, and click the Record button in the Audio Mixer tool. The system begins playing the section and the faders move accordingly. 3. When you want to make an adjustment, move the fader or pan soft knob to change the volume. The system immediately begins recording. 4. When you are finished adjusting the section, release the fader or pan soft knob.
20 Using Avid Artist Series Controllers 866
21 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.
21 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 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. Do one of the following: t If you want to add a new insert, click an [Empty] insert button. t If you want to replace an existing insert, click the appropriate insert button.
21 Using Audio Plug-Ins RTAS plug-inserts in the Track Control panel RTAS tool: Select Track, Select Insert, and Select Effect buttons (left), Bypass button (center), and Save Effect button (right) You can modify the parameters of the effect as you play your sequence so you can hear how your modifications affect the sound of your audio. n If you have more than one insert on a track, you can dynamically change the plug-in controls that display in the RTAS tool as you play your sequence.
Real-Time AudioSuite Plug-Ins The Compressor/Limiter Dyn 3 plug-in window displayed in the RTAS too dialog box. You can also open the RTAS tool by selecting Tools > RTAS or right-clicking the Record Track button for the track where you want to edit an insert and selecting RTAS tool. You can use the buttons in the RTAS tool to select a specific insert to edit. 3. (Option) If you want to change the plug-in effect for your insert, click the Select Effect button and select a new plug-in. 4.
21 Using Audio Plug-Ins 7. To save your changes, do one of the following: t Click the Save Effect icon in the RTAS tool. t Close the RTAS tool. Moving and Copying RTAS Inserts You can move and copy RTAS inserts from one track to another. However, you can only move mono inserts to mono tracks and stereo inserts to stereo tracks.
Real-Time AudioSuite Plug-Ins Removing RTAS Inserts on a Track Removing an insert deletes the effect from the track. To remove an RTAS insert: 1. Do one of the following: t Select Tools > RTAS. t Right-click the Record Track button for the track where you want to edit an insert and select RTAS tool. t Click the RTAS insert button for the RTAS effect. The RTAS tool opens. 2. Click the Select Track button and select the track where you want to delete an insert. 3.
21 Using Audio Plug-Ins t Drag the RTAS effect template from the bin to a segment on the track where you want to apply the effect. The Select Insert dialog box opens so you can select the insert where you want to apply the effect. The RTAS effect is applied to the track. Avid AudioSuite Plug-Ins Your Avid editing application supports AudioSuite, the Avid host-based, file-based plug-in specification.
Avid AudioSuite Plug-Ins n AudioSuite Plug-ins supported by Avid appear in the Plug-In Selection menu in the AudioSuite window. Using Avid AudioSuite Plug-Ins You can use AudioSuite plug-ins in two ways. • You can apply a plug-in to a clip in the Timeline and then create a rendered effect. For more information, see “Applying an AudioSuite Plug-in to a Clip in the Timeline” on page 875. • You can use the controls in the AudioSuite window to create a new master clip.
21 Using Audio Plug-Ins n 3 Render Effect button 9 Status display 4 Fast Menu button 10 Plug-In Selection menu 5 Effect icon 11 Target Drive menu 6 Display/Hide Master Clip Controls button If you want to use plug-ins that operate on stereo pairs or that change the length of the audio clip, use the methods described in “Creating New Master Clips with AudioSuite Plug-Ins” on page 879. To apply an AudioSuite plug-in to a clip in the Timeline: 1.
Avid AudioSuite Plug-Ins Common Buttons in the AudioSuite Plug-In Dialog Box The contents of the plug-in dialog boxes vary, but the top six buttons are always visible. Buttons unavailable for a plug-in appear dimmed. The following illustration shows the Gain plug-in. Common buttons in the AudioSuite Plug-In dialog box 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.
21 Using Audio Plug-Ins AudioSuite Fast Menu The AudioSuite Fast menu lets you do the following: • Apply an existing AudioSuite template. See “Using AudioSuite Effect Templates” on page 883. • Set, render, or remove AudioSuite plug-ins. The menu text differs, depending on whether you have In to Out points in the sequence. The following commands appear in the menu: Command Description Global The segment has no In points. The command affects all the plug-ins on the enabled tracks.
Avid AudioSuite Plug-Ins Creating New Master Clips with AudioSuite Plug-Ins You can use AudioSuite plug-ins to create new master clips. This lets you use multiple input and output channels and to change the length of the media. You can perform the following operations on the media you create: • Apply AudioSuite plug-ins to more than one track at the same time. For example, a plug-in might let you process two separate tracks as a stereo pair.
21 Using Audio Plug-Ins 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. The system automatically chooses a preview track and displays a blue Speaker icon on the track.
Avid AudioSuite Plug-Ins Control Description 7 Handle Length for End of Lets you add filler at the end of a master clip. The value represents the number Master Clip (seconds) text of seconds to add. For example, use this feature to add filler at the end of a box master clip when you use a reverb effect to add a reverb trail to the end of the clip. Select the value before you run the plug-in. 8 Load In Source Monitor button Loads the current source master clip into the Source monitor.
21 Using Audio Plug-Ins For stereo and multichannel processing of mono audio clips, the plug-in creates a master clip with the number of tracks equal to the number of output tracks from the plug-in. For example, a plug-in that operates on stereo pairs creates a two-track master clip. A plug-in that operates on multiple tracks creates a master clip with the same number of tracks that were selected in the AudioSuite window.
Avid AudioSuite Plug-Ins 8. Click the Activate Current Plug-In button to open the plug-in’s dialog box. For more information, see “Common Buttons in the AudioSuite Plug-In Dialog Box” on page 877. 9. Make any changes, and click the Preview button to preview the effect. 10. Either render the plug-in from the Plug-In dialog box, or return to the AudioSuite window. For more information on rendering, see “Rendering AudioSuite Plug-in Effects” on page 878.
21 Using Audio Plug-Ins To add a template to the AudioSuite Fast menu: 1. Open the bin containing your AudioSuite templates. 2. Select File > Open Bin. A dialog box opens. 3. Navigate to the AudioSuite Site bin file in the following location: (Windows) drive:\Program Files\Avid\Avid editing application\ SupportingFiles\Site_Effects\Site_AudioSuite_Bin.avb (Macintosh) Macintosh HD/Applications/Avid editing application/ SupportingFiles/Site_Effects/Site_AudioSuite_Bin 4.
Core Avid Audio Plug-Ins AudioSuite Plug-in Limitations The following limitations apply to the AudioSuite plug-ins: • Avid does not support some plug-ins that perform analysis passes on the audio data. This includes plug-ins that use playlist information to cache analysis data. • If you want to use plug-ins that change the length of an audio clip or that operate on multiple inputs at the same time, use the method described in “Creating New Master Clips with AudioSuite Plug-Ins” on page 879.
21 Using Audio Plug-Ins n Other audio plug-ins might get installed on your system for use with Pro Tools, or you might download plug-ins. Avid does not recommend using unsupported plug-ins with Avid editing applications. Avid supports other RTAS and AudioSuite plug-ins that do not install with your Avid editing application. You can use these plug-ins on a trial basis and then purchase them through Avid. These plug-ins have their own detailed documentation.
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description AIR Kill EQ Removes the Low, Mid, or High broadband frequency range from an audio signal. For more information, see “AIR Kill EQ (RTAS)” on page 900. AIR Lo Fi Lets you bit-crush, down-sample, clip, rectify, and mangle the input signal. For more information, see “AIR Lo Fi (RTAS)” on page 900. AIR Multi-Chorus Applies a thick, complex chorus effect to the audio signal. For more information, see “AIR Multi-Chorus (RTAS)” on page 903.
21 Using Audio Plug-Ins Audio Plug-ins Plug-In Description D-Verb™ Provides a studio-quality reverberation or ambience processing to single or multiple tracks. For more information, see “D-Verb (RTAS and AudioSuite)” on page 921. DC Offset Removal Removes an audio artifact that is common in digital audio files. A DC offset is caused by poorly calibrated analog-to-digital converters (A/Ds), and can produce clicks and pops on clip edit transitions if not removed.
Core Avid Audio Plug-Ins Audio Plug-ins Plug-In Description Normalize Finds the peak value in the source audio file and scales the entire file proportionally to that maximum value. For more information, see “Normalize (AudioSuite)” on page 938. PhaseScope Provides signal level and phase information by way of multichannel metering for stereo tracks only. For more information, see “PhaseScope (RTAS)” on page 938. Ping-Pong Delay Lets you add a delay to an audio clip to create a ping-pong echo effect.
21 Using Audio Plug-Ins Parameter Description Rate Lets you adjust the rate of the low frequency oscillator (LFO) applied to the delayed signal as modulation. The higher the setting, the more rapid the modulation. You can select either a sine wave or a triangle wave as a modulation source, using the LFO Waveform selector. Depth Lets you adjust the depth of the low frequency oscillator (LFO) applied to the delayed signal as modulation.
Core Avid Audio Plug-Ins Parameter Description Tone Lets you shape the timbral quality of the distortion. Clipping • Pre Shape — Lets you increase or decrease a broad gain boost (or attenuation) of treble frequencies in the processed signal. Pre-Shape is essentially a pre-distortion tone control that makes the distortion bite at different frequencies. Set to 0%, the Pre-Shape control doesn’t affect the tone at all.
21 Using Audio Plug-Ins Parameter Description Sync When you enable Sync, the delay time synchronizes to the tempo of your audio sequence. When you disable Sync, you can set the delay time in milliseconds independently of the tempo. The Sync button is lit when it is enabled. Delay When you enable Sync, the Delay control lets you select a rhythmic subdivision or multiple of the beat for the delay time (based on the tempo).
Core Avid Audio Plug-Ins Parameter Description Delay Section • EQ Env Mod Feedback Mode Mix L/R Ratio — Lets you set the ratio of left to right delay times. If you move the control all the way to the left (50:100), the left channel delay time equals half the right channel delay time. If you move the control all the way to the right (100:50), the right channel delay time equals half the left channel delay time. • Stereo Width — Lets you adjust the width of the delay effect in the stereo field.
21 Using Audio Plug-Ins Parameter Description High Gain Adjusts the frequency to boost the high end. Low Gain Adjusts the frequency to boost the low end. Tune Lets you set the center frequency for low and high-end enhancement. Harmonic Generation • Low — Sets the center frequency for the bass boost. • High — Sets the center frequency for the treble boost. Lets you generate additional high-frequency harmonics, which can brighten up dull signals.
Core Avid Audio Plug-Ins AIR Filter Gate (RTAS) You can use the Filter Gate effect to chop up the audio signal into staccato rhythmic patterns with variable filtering, amplitude, and panning. The following table lists the AIR Filter Gate plug-in parameters: Parameter Description Pattern Lets you select from a number of preset rhythmic patterns that the gate will follow. Gate • Attack — Lets you adjust the duration of the attack as a percentage of the step duration.
21 Using Audio Plug-Ins AIR Flanger (RTAS) You can use the Flanger plug-in to apply a short modulating delay to the audio signal. The following table lists the AIR Flanger plug-in parameters: Parameter Description Sync Synchronizes the modulation rate to the audio sequence tempo. When you enable Sync, you can select a rhythmic subdivision or multiple of the beat for the Flanger modulation rate. When you disable Sync, you can set the delay time in milliseconds independently of the sequence tempo.
Core Avid Audio Plug-Ins Parameter Description Rate Lets you select from the following rhythmic values: • 16 (sixteenth note) • 8T (eighth-note triplet) • 16D (dotted sixteenth-note) • 8 (eighth note) • 4T (quarter-note triplet) • 8D (dotted eighth-note) • 4 (quarter note) • 2T (half-note triplet) • 4D (dotted quarter-note) • 2 (half note) • 1T (whole-note triplet) • 3/4 (dotted half note) • 4/4 (whole note) • 5/4 (five tied quarter notes) • 6/4 (dotted whole note) • 8/4 (
21 Using Audio Plug-Ins Parameter Description EQ Provides controls for cutting lows from the Flanger signal, and inverting phase. • Phase Invert — When enabled, Phase Invert flips the wet signal’s polarity, which changes the harmonic structure of the effect. • Low Cut — Lets you adjust the Low Cut frequency for the Flanger, to limit the Flanger effects to higher frequencies. Feedback Lets you adjust the amount of delay feedback for the Flanger. At 0%, the delay repeats only once.
Core Avid Audio Plug-Ins AIR Fuzz-Wah (RTAS) You can use the Fuzz-Wah plug-in to color the audio signal with different types and varying amounts of transistor-like distortion. The following table lists the AIR Fuzz-Wah plug-in parameters: Parameter Description Fuzz Turns the distortion effect on and off. Drive Sets the level of gain in the Fuzz algorithm. Mix (Fuzz) Lets you balance the amount of dry signal with the amount of wet (distorted) signal.
21 Using Audio Plug-Ins Parameter Description Mix (overall) Lets you balance the amount of fuzz-processed signal with the amount of wah-processed signal. At 50%, there are equal amounts of fuzz and wah signal. At 0%, the output is all fuzz, and at 100% it is all wah. AIR Kill EQ (RTAS) You can use the Kill EQ plug-in to remove the Low, Mid, or High broadband frequency range from an audio signal.
Core Avid Audio Plug-Ins Parameter Description Anti-Alias Provides control over anti-aliasing filters that you can use before and after downsampling to reduce aliasing in the resampled audio signal. • On — Lets you enable or disable the Anti-Alias filter. Disabling the filter creates a much grittier sound. • Pre — Lets you adjust the anti-aliasing filter cutoff applied to the audio signal before resampling. The filter is applied as a multiplier of the sample frequency (Fs) between 0.12 Fs and 2.
21 Using Audio Plug-Ins Parameter Description LFO Lets you apply a Low Frequency Oscillator to modulate the Sample Rate. 902 • Sync — Synchronizes the LFO Rate to the audio sequence tempo. When you enable Sync, you can select a rhythmic subdivision or multiple of the beat for the LFO Rate. When you disable Sync, you can change the modulation rate independently of the sequence tempo.
Core Avid Audio Plug-Ins Parameter Description Env Mod Provides Envelope Modulator control over an envelope follower that can affect the sample rate. You can use this for accentuating and enhancing signal peaks (such as in drum loops) with artificially generated high-frequency aliasing. Distortion • Attack — Sets the time it takes to respond to increases in the audio signal level. • Release — Sets the time it takes to recover after the signal level falls.
21 Using Audio Plug-Ins Parameter Description Mod • Pre Delay — Sets the Pre-Delay in milliseconds. • Waveform — Selects a triangle or a sine wave for the LFO. This affects the character of the modulation. The sine wave has a gentler ramp and peak than the triangle wave. Voices Sets the number of layered chorus effects that are applied to the audio signal. The more voices you use, the thicker the effect.
Core Avid Audio Plug-Ins Parameter Description Delay Taps Provides five Taps (delay lines). Each tap provides the same set of controls. You can edit the controls for each tap independently of the other taps. • On — Turns the selected tap’s signal on or off. • Delay — Sets the length of delay for the tap, relative to the main Delay setting. • Level — Changes the output level of the tap. • Pan — Pans the audio signal from the tap left or right in the stereo field.
21 Using Audio Plug-Ins Parameter Description EQ Provides tonal control over the reverb signal. • Low Cut — Adjusts the frequency for the Low Cut filter. For less bass, raise the frequency. • High Cut — Adjusts the frequency for the High Cut filter. For less treble, lower the frequency. Reverb Time Changes the length of the reverberation’s decay. Mix Lets you balance the amount of dry signal with the amount of wet (processed) signal.
Core Avid Audio Plug-Ins Parameter Description Rate When you enable Sync, the Rate control lets you select a rhythmic subdivision or multiple of the beat for the Phaser Modulation Rate. When you disable Sync, you can change the phaser rate independently of the sequence tempo.
21 Using Audio Plug-Ins Parameter Description Phaser Provides control over the effect’s center frequency and number of phaser stages (or poles). LFO • Center — Lets you change the frequency center (100 Hz to 10.0 kHz) for the phaser poles. • Poles — Lets you select the number of phaser poles (stages): 2, 4, 6, or 8. The number of poles changes the character of the sound. The greater the number of poles, the thicker and more sweeping the sound.
Core Avid Audio Plug-Ins Parameter Description Early Reflections Changes the perceived location of the reflecting surfaces surrounding the audio source. Reverb simulates early reflections by using multiple delay taps at different levels that occur in different positions in the stereo spectrum (through panning). Long reverberation generally occurs after early reflections dissipate.
21 Using Audio Plug-Ins Parameter Description Room Controls the overall spatial feel of the simulated room. High Frequencies Low Frequencies • Ambience — Affects the attack of the reverb signal. At low settings, the reverb arrives quickly, simulating a small room. At higher settings, the reverb ramps up more slowly, emulating a larger room. • Density — Changes the rate at which the sound density of the reverb tail increases over time. Higher Density settings create a smoother reverberated sound.
Core Avid Audio Plug-Ins The following table lists the AIR Spring Reverb plug-in parameters: Parameter Description Pre-Delay Determines the amount of time (0–250 ms) that elapses between the original audio event and the onset of reverberation. Reverb Provides control over the diffusion and stereo width of the reverb signal. • Diffusion — Changes the rate at which the sound density of the reverb tail increases over time. Higher Diffusion settings create a smoother reverberated sound.
21 Using Audio Plug-Ins Parameter Description Mode Lets you specify the method by which the Stereo Width plug-in will create the artificial stereo field. • Adjust — Adjusts the existing stereo width of the signal by M-S encoding, equalizing the S component with the Low/Mid/High controls and boosting/attenuating it with the Width control, then M-S decoding back to stereo. The Delay control delays the right signal relative to the left for an additional widening effect (known as “Haas panning”).
Core Avid Audio Plug-Ins Parameter Description LFO Provides controls that let you apply a Low Frequency Oscillator to modulate the Formant setting. Sync — Synchronize the LFO Rate to the audio sequence tempo. When you enable Sync, you can select a rhythmic subdivision or multiple of the beat for the LFO Rate. When you disable Sync, you can change the modulation rate independently of the sequence tempo.
21 Using Audio Plug-Ins Parameter Description Envelope Modulates the Formant setting by using an envelope follower. This allows you to accentuate and enhance signal peaks in rhythmic material. Mix • Thresh — Sets the amplitude threshold at which the Formant setting begins to be modulated by the envelope follower. • Attack — Sets the time (10.0 ms to 10 seconds) it takes to respond to increases in the audio signal level. • Release — Sets the time (10.
Core Avid Audio Plug-Ins Parameter Description Envelope Provides an envelope follower for controlling the Cutoff frequency, which allows you to control the envelope’s shape and depth of modulation. LFO Mode Output • Attack — Sets the time (10.0 ms to 10 seconds) it takes to respond to increases in the audio signal level. • Release — Sets the time (10.0 ms to 10 seconds) it takes to recover after the signal level falls.
21 Using Audio Plug-Ins Bomb Factory BF76 (RTAS and AudioSuite) The Bomb Factory BF76 plug-in is a compressor modeled after the solid-state (transistor) 1176 studio compressor. Introduced in the late 1970s, the 1176 offers a much different compression sound than other compressors.
Core Avid Audio Plug-Ins Parameter Description Gain Lets you adjust the input volume of the chorus to prevent clipping or to increase the level of the processed signal. This slider is set to a default of +3 dB. If you recorded your source audio close to peak level, this +3 dB default setting might cause clipping. Use this control to reduce the input level. Sum Inputs button When you use the Chorus plug-in in Stereo mode, a Sum Inputs button appears next to the right channel Gain slider.
21 Using Audio Plug-Ins Compression reduces the dynamic range of signals that exceed a chosen threshold by a specific amount. Limiting prevents signal peaks from ever exceeding a chosen threshold, and is generally used to prevent short-term peaks from reaching their full amplitude. Used judiciously, limiting produces higher average levels, while avoiding overload (clipping or distortion), by limiting only some short-term transients in the source audio.
Core Avid Audio Plug-Ins Parameter Description Graph display Shows a curve that represents the level of the input signal (on the x–axis) and the level of the output signal (on the y–axis). The orange vertical line represents the threshold. Use this graph as a visual guideline to see how much dynamics processing you are applying. Side-Chain panel The side-chain is the split-off signal used by the plug-in’s detector to trigger dynamics processing.
21 Using Audio Plug-Ins Parameter Description Ratio Sets the compression ratio, or the amount of compression applied as the input signal exceeds the threshold. For example, a 2:1 compression ratio means that a 2 dB increase of level above the threshold produces a 1 db increase in output. Values range from 1:1 (no compression) to 100:1 (hard limiting). Limiting generally begins with the ratio set at 10:1 and higher.
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.
21 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 Parameter Description Levels panel Input/Output level meters Show peak signal levels before and after processing. • Green indicates nominal levels • Yellow indicates pre-clipping levels, starting at –6 dB below full scale • Red Indicates full scale levels (clipping) n Unlike scales on analog compressors, metering scales on a digital device reflect a 0 dB value that indicates full scale (fs)—the full-code signal level. There is no headroom above 0 dB.
21 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.
21 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.
21 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.
21 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.
21 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.
21 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.
21 Using Audio Plug-Ins 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 176.4 kHz; and from 731 Hz to 36 kHz in sessions with sample rates of 48 kHz, 96 kHz, or 192 kHz. Reducing the sample rate of an audio file has the effect of degrading its audio quality.
Core Avid Audio Plug-Ins Parameter Description Distortion/Sat The Distortion and Saturation sliders provide signal clipping control. uration The Distortion slider determines the amount of gain applied and lets clipping occur in a smooth, rounded manner. The Saturation slider determines the amount of saturation added to the signal. This simulates the effect of tube saturation with a roll-off of high frequencies. Output Meter The Output Meter indicates the output level of the processed signal.
21 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 multichannel 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).
21 Using Audio Plug-Ins 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.
21 Using Audio Plug-Ins Parameter Description Gain The Gain controls set the input level, in tenths of a decibel. Set the input level so that the plug-in can adequately handle amplitude peaks in the selection. Dragging the slider to the right increases gain, and dragging the slider to the left decreases gain. Coarse and Fine Adjust the pitch by dragging either of the two faders, or by typing values in the Coarse and Fine text boxes.
Core 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.
21 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 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. Since some Sci-Fi controls (such as Resonator) can cause extreme changes in signal level, adjusting the Input Level is particularly useful for achieving unity gain with the original signal level. The range of this control is from –12 dB to 0 dB.
21 Using Audio Plug-Ins Parameter Description Envelope Follower Causes the selected effect to dynamically track the input signal by varying with the amplitude envelope of the audio signal. As the signal gets louder, more modulation occurs. This can be used to produce a very good automatic wah-wah-type effect. When you select the Envelope Follower, the Mod Amount slider changes to a Mod Slewing control. Slewing provides you with the ability to smooth out extreme dynamic changes in your modulation source.
Core Avid Audio Plug-Ins Option Description Signal Lets you select the waveform: • Sine • Square • Sawtooth • Triangle • White Noise • Pink Noise Use the rms and peak buttons to switch the calibration of the generated signal between RMS and Peak modes. Peak generates the signal at the maximum possible level without clipping. RMS generates the signal at levels consistent with the root-mean-square value, or the effective average level of the signal.
21 Using Audio Plug-Ins Parameter Description Source and Destination The Source text boxes display the length of the current selection before processing in each of the listed formats. All the text boxes in both columns update dynamically, so a change made to one value is immediately reflected in the values displayed in the other text boxes. The text boxes in the Destination column display and control the length of the selection after processing using the current settings.
Core Avid Audio Plug-Ins Parameter Description Min Pitch The Min Pitch slider lets you select the minimum (lowest) pitch that is used in the plug-in’s calculations during the time compression and expansion process. The slider has a range of 40 Hz to 1000 Hz. By controlling the minimum pitch, you can focus the time compression and expansion process for maximum efficiency depending on the audio’s spectral shape.
21 Using Audio Plug-Ins Parameter Description Audio You use the Audio parameter controls to select the most appropriate time compression and expansion mode for the type of material you want to process, and to attenuate the gain of the processed audio to avoid clipping.
Core Avid 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.
21 Using 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.
Core Avid Audio Plug-Ins This capability is useful, since Mute buttons mute all channels of a multichannel track and do not allow muting of individual channels within the track. The following table lists the Trim plug-in parameters: Parameter Description Phase Invert Inverts the phase (polarity) of the input signal to change the frequency response characteristics between multi-miked sources or to correct for miswired microphone cables.
21 Using Audio Plug-Ins 954
22 Exporting Frames, Clips, or Sequences This chapter describes how to export files for use with another system, application, or platform.
22 Exporting Frames, Clips, or Sequences 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 Preparing to Export a Sequence When you export part or all of a sequence — for example, to create an OMFI file, an AAF file, a QuickTime file, an AVI file, or a graphic sequence — you might want to prepare the sequence in advance in one or more of the ways described in the following table. These preparation tasks can speed the export process or otherwise help with your workflow. Preparation Task Description Make sure all media for the sequence is online.
22 Exporting Frames, Clips, or Sequences Preparation Task Description Consider consolidating the sequence before You cannot export OMFI files that are larger than 2 GB. OMFI export. Consolidating the sequence to create smaller source clips saves time and disk space. In addition to consolidating in advance, you can also consolidate as part of the export. For more information, see Using the Consolidate Command and Guidelines for Exporting OMFI and AAF Files.
Exporting With the Send To Templates The last three options are only available when you send to Pro Tools over an Avid shared storage system using Send To > Pro Tools on Avid Unity. Option Description Avid Video Consolidate Audio Select this option to send to a Avid Pro Tools system that supports playback of Avid standard definition (SD) video using a video peripheral.
22 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.
22 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. Template Description DigiDelivery You can export a sequence directly to DigiDelivery®, the file-exchange service from Avid.
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.
22 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. 964 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.
22 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.
22 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 1262. For information on creating custom settings, see “Customizing Export Settings” on page 969. 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.
22 Exporting Frames, Clips, or Sequences 6. Select the appropriate file type and options based on the descriptions in “Export Settings” on page 1262. 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.
Guidelines for Exporting OMFI and AAF Files Understanding OMF Interchange OMF Interchange® (OMFI) is a platform-independent file format that stores both the digital media (video, audio, graphics, animation) and the information describing how the media is edited together to form a final sequence. This editing information, called a composition, is the OMFI representation of the sequence created in your Avid editing application.
22 Exporting Frames, Clips, or Sequences OMFI and AAF Export Method 1: Compositions with Linked Media Avid editing applications can export an OMFI or an AAF file that contains only the editing information about a selected master clip or sequence. The file also contains links to the media used in the clip or sequence. You transfer the OMFI or AAF file to the other system, and also either transfer the media files or recapture the media.
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.
22 Exporting Frames, Clips, or Sequences AFE files are based on AAF (Advanced Authoring Format) technology. AFE files, however, are especially designed for sharing project information among Avid applications. AFE files let you transfer one or more bins, their contents, and information about the contents, including master clips, subclips, titles, and sequences. To create an AFE file: 1.
Exporting QuickTime Movies n If you are editing an offline sequence that you want to finish on Avid DS, make sure to consult the conform information in the Avid DS documentation, which contains important information about the most efficient way of preparing a sequence for the conform process. 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.
22 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 A set of Avid codecs for QuickTime are installed automatically when you install your Avid editing application. You can use these codecs to export QuickTime files from your Avid system, or to export QuickTime files from third-party applications for fast import into an Avid system.
22 Exporting Frames, Clips, or Sequences To copy the Avid QuickTime Codecs from one system to another system: 1. On your Avid system, open one of the following folders: (Windows) drive:\Program Files\QuickTime\QTComponents (Windows) drive:\Windows\System32 (Macintosh) MacintoshHD/Library/QuickTime 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.
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 977. 2.
22 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 1277. 9. Click Save As Custom Profile. 10. Browse to the location where you want to save the .prx file. 11.
22 Exporting Frames, Clips, or Sequences See “XDCAM and XDCAM EX Formats and Resolutions” on page 388 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.
22 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 1285. 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.
22 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.
23 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.
23 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 999. • Set audio output levels and other output options, as described in “Preparing for Audio Output” on page 1002. • Mix down multiple audio tracks, if necessary, as described in “Mixing Down Audio Tracks” on page 795. • Prepare the record tapes, as described in “Preparing Record Tapes” on page 1009.
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.
23 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 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.
23 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 992.
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 997.
23 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.
23 Generating Output Some monitors only support one SD HDMI format. See your monitor documentation for more information. 5. (Option) Click the VBI menu (if available) and select Preserve to preserve 5 lines above each field in NTSC or 8 lines above each field for PAL. 6. Display color bars for calibrating: - If you edited digital bars and tone into the sequence, go to the head of the bars and tone and click Play.
Calibrating for Video Output - R Gain and B Gain sliders (HD component RGB output — Avid Adrenaline only) 11. If you want to save this setting, click the Settings menu and select Save As, then type a name, and click OK. n Output settings are Project settings, available to all users and all projects on the system. For information on connections on the Avid input/output hardware, see “Using the Avid Input/Output Hardware” in the Help.
23 Generating Output 7. Select Tools > Capture. With the Capture tool active, the input signal passes through to the output channels. 8. Select an output format in the Video Output tool. You can precisely match only one output format at a time in phase with the reference signal. In most cases, you should select either Composite or Serial Digital. 9. Calibrate any of the available controls in the Video Output tool while checking the external Waveform and Vectorscope monitors.
Preparing for Converting HD Formats Video Standard Level NTSC-EIAJ 0.0 IRE PAL 0.3 V (not applicable for SMPTE bars) For White level (gain), adjust the Y Gain slider to place the white level at the following settings: Video Standard Level NTSC 100 IRE NTSC-EIAJ 100 IRE PAL 1.0 V (not applicable for SMPTE bars) Adjusting Phase Controls The Video Output tool provides controls for adjusting horizontal phase globally for output.
23 Generating Output To set options for crossconverting a sequence: 1. Select Tools > Video Output Tool. 2. Click the Options tab. 3. Click the Downconvert menu, and select OFF. 4. Click the Crossconvert menu, and select the format that you want to output. To set options for downconverting a sequence: 1. Select Tools > Video Output Tool. 2. Click the Options tab. 3. Click the Crossconvert menu, and select OFF. 4. Click the Downconvert menu, and select the format that you want to output.
Preparing for Converting HD Formats Crossconversion and Downconversion Formats The following table lists the available crossconversion and downconversion formats for each HD format. Not all formats are available for all Avid editing configurations. n Raster Type selection does not affect the conversion options for HD projects, with the exceptions noted in the table. HD Sequence Format Crossconverted HD Format Downconverted SD Format 720p/59.94 1080i/59.94 30i NTSC 720p/23.976 1080i/59.
23 Generating Output Considerations for Crossconversion and Downconversion You should be aware of the following when crossconverting or downconverting HD formats: • You can select an HD crossconvert format for output or an SD downconvert format for output, but you cannot output both at the same time. • Avid recommends using crossconverted sequences for preview or reference only. When using digital cut to output the HD master sequence to tape, use the native frame rate of the sequence.
Preparing for Audio Output 2. Click the PH (Peak Hold) menu, and select Set Calibration Tone. The Set Calibration Tone dialog box opens. 3. Type new values for the tone level and frequency text boxes, and click OK. To play back the tone: t Click the PH (Peak Hold) menu, and select Play Calibration Tone. To check the adjusted tone level in the meters: t Switch the In/Out toggle buttons to O for Output.
23 Generating Output Output Gain slider (master attenuator) in the Output tab of the Audio Project Settings dialog box 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.
Preparing for Audio Output 6. Watch the levels in the meters, and adjust the master attenuator to the level that you want. n To adjust levels for individual tracks, use the Audio Mixer tool. See “Using the Audio Mixer Tool” on page 762. 7. Close the Audio tool. 8. Close the Audio Project Settings dialog box. Setting Audio Output Options The Audio Project Settings dialog box contains options for audio output, such as how audio tracks in the sequence are mapped to output channels.
23 Generating Output - Select Mono to map all the monitored tracks to a pair of mono channels, with all channels panned to center and pan effects bypassed. - Select Direct Out to map monitored tracks directly to up to sixteen channels of output (depending on how many audio output channels are currently enabled in your hardware configuration). By default, Direct Out maps all audio tracks in numerical sequence to existing output channels.
Preparing for Audio Output Options vary depending on the type of input/output hardware you have attached to your system. For more information, see “Audio Project Settings: Output Tab” on page 1236. 6. (Option) To disable the customized volume, real-time EQ, or automation gain effects you applied with the other audio tools, click the Effects tab and select Clip Gain, RT EQ, or Auto Gain in the Effect Bypass panel. 7. Close the Audio Project Settings dialog box.
23 Generating Output For example, if you have 8 channels of HD SDI output enabled and attempt to change the sample rate to 96 kHz, the system displays the message. In this example you can switch the project to 96 kHz, but if the SDI outputs are enabled, the system will convert all audio output to 48 kHz. c This affects all audio outputs, not just the SDI outputs. That means AES/EBU output will be converted and any Analog output will also be converted.
Preparing Record Tapes Preparing Record Tapes There are two basic methods of recording to tape: • Frame-accurate recording by using the Digital Cut tool to record your sequence onto either a prestriped tape (a tape with prerecorded control track and timecode) or a partially striped tape • Manual recording by using controls on the record deck Each of these methods requires different treatment of the record tapes.
23 Generating Output To manually record bars and tone: 1. Select Tools > Video Output Tool and Tools > Audio Tool. 2. In the Video Output tool, click the Test Patterns menu, and select a color bars pattern. 3. In the Audio tool, click the PH (Peak Hold) menu, and select Play Calibration Tone. See “Setting the Calibration Tone” on page 1002. 4. Set the record deck to Local for manual recording. 5.
Using ExpertRender to Prepare Effects for a Digital Cut - The switch for internal timecode should be set to Regen (regenerate) or Slave Lock, not Preset. - After you record 15 to 30 seconds of timecode onto the record tape for jam syncing, return the Local/Remote switch to Remote for deck control from within your Avid editing application. 5. When you are ready to record, select additional options in the Digital Cut tool, as described in “Recording a Digital Cut to Tape (Remote Mode)” on page 1016.
23 Generating Output 4. Select “Prepare effects for Digital Cut,” and then click OK. Using the Digital Cut Tool The Digital Cut tool provides controls when you record a sequence to tape. The Digital Cut tool has the following operating modes: • Remote mode 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 1016.
Using the Digital Cut Tool • Select the tracks to record to on the tape (Enable Track button – Remote mode only). • Add black at the end of a digital cut. 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.
23 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 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 1252. Auto-configure Lets you automatically configure the selected deck with the default deck settings for that deck. Check Decks Helps to reestablish deck control if the power to your decks was off or the decks were disconnected when you opened the Digital Cut tool.
23 Generating Output 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 n n If your SD sequence contains HD clips whose frame rate does not match the sequence frame rate, you might need to take additional steps to ensure that you do not drop frames. For more information, see “Considerations When Working with Mixed Rate Clips” on page 579. You can use ExpertRender to render effects before beginning the digital cut. See “Using ExpertRender to Prepare Effects for a Digital Cut” on page 1011. 7. (Option) Select Stop on Dropped Frames.
23 Generating Output Option Description Mark In Time Ignores the sequence timecode. Establish a specific IN point on the record tape by cueing and marking with the deck controls. 13. (Option) Select Custom Preroll, click the menu, and select the number of seconds to indicate how many seconds the tape rolls before the digital cut starts. This option overrides the Preroll setting in the Deck Settings dialog box. 14.
Using the Digital Cut Tool Crash Recording Through Remote Deck Control If your deck does not support insert editing, or you do not need to start a digital cut cleanly at a particular timecode, you can perform a crash record. You can crash record through local deck control, see “Recording a Digital Cut to Tape (Local Mode)” on page 1019, or you can crash record through remote deck control.
23 Generating Output 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 1012. 2. Load a sequence into the Record monitor. (You cannot access digital cut options without a sequence loaded.) 3. Select Output > Digital Cut. The Digital Cut tool opens. 4. Select the Output Mode and Bit Depth, as described in “Output Mode Resolution Options” on page 1021.
Output Mode Resolution Options 9. Select Local in the Deck Control options area. 10. Click the Sequence Track buttons to select the audio, video and data tracks you want represented in the digital cut. The display of tracks in the Digital Cut tool varies according to the tracks existing in the sequence. 11. For 23.976p, 24p, and 25p projects, select an output format as described in “Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects” on page 1024.
23 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.
23 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 1012. 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.
23 Generating Output Digital Cut Tool Output Format (Play Rate) Target Project or System, and Recording Media 23.976 (NTSC) NTSC TV; video screenings; digital audio workstations (DAWs) that support pulldown Picture and sound to NTSC tape; sound to video-referenced audiotape 24 (NTSC) Audio for film projection; DAWs (video for reference only) Picture and sound to NTSC tape; sound to DAT or mag tape Description Plays back the sequence at 23.976 fps (film rate).
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.
23 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.
23 Generating Output The value you select also sets the rate for LTC output, if any, without changing the play rate of the media being output (24 NTSC). n Your Avid editing application can generate LTC at 29.97 fps only. No LTC will be output if you select 30.00. To indicate the destination timecode rate: 1. Select Output> Digital Cut. 2. Click the Dest. TC Rate menu, and select 29.97 fps or 30.00 fps.
Digital Cuts and Audio To perform an insert edit with pulldown: 1. Use IN and OUT points to mark the segment you want to insert. 2. Select Output > Digital Cut. The Digital Cut tool opens. 3. Deselect the Entire Sequence option. 4. Select Remote in the Deck Control options area. 5. Select Sequence Time to start the recording at a timecode existing on tape that matches the start timecode of the sequence. 6. Click the menu, and select Insert Edit.
23 Generating Output n You cannot control some analog audio decks from the Digital Cut tool. If the deck does not have a serial control port, you need to select Local when you record the digital cut. Your output choice in the Digital Cut tool automatically sets the pulldown switch. If you perform an audio-only digital cut, your Avid editing application plays the video tracks in the Client monitor to ensure the most accurate audio sync. A message appears at the bottom of the Digital Cut tool.
Understanding DV Digital Cut Delay To change the default pulldown phase for a sequence: 1. Open the bin that holds the sequence. 2. Check if the Pullin column appears. If not, do the following: a. Click the Bin Fast Menu button, and select Title Onlys. b. Ctrl+click (Windows) or Command+click (Macintosh) Pullin. 3. Type A or B in the Pullin column. - Pullin A: The first frame of the sequence plays back as two fields, the second frame as three fields, the third frame as two fields, and so on.
23 Generating Output For example, suppose the DV digital cut delay is set to 0 frames. The digital cut is expected to begin with the first frame of the sequence being recorded on the IN point designated on the tape. In this example, the IN point is set to frame number 6. This is where the recording would begin on the tape. However, due to the behavior of the particular DV device, the digital cut does not perform as expected. The first frame of the sequence recorded on the tape is actually the fourth frame.
Using FilmScribe Your Avid editing application includes EDL Manager, an application with powerful features and sorting capabilities to help you prepare an EDL. For more information on specific features and capabilities of EDL Manager, see the EDL Manager Help. To start EDL Manager: t Select Output > EDL. Using FilmScribe The FilmScribe application, available with some Avid editing applications, provides tools for creating frame-accurate cut lists and change lists from 23.
23 Generating Output 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.
Vertical Blanking Information 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.
23 Generating Output You might want to preserve the following vertical blanking information: • Edgecode or key number information for a film project You might want to preserve edgecode information to easily identify the source film reel for a clip. In this case, the edgecode information would have been originally inserted during the telecine process.
Vertical Blanking Information 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.
23 Generating Output 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.
Vertical Blanking Information Your Avid editing application performs the following operations when capturing a frame: 1. It captures the entire frame (including the 5 or 8 extra lines per field) as an uncompressed frame. 2. It compresses the frame if compression is selected. The following problems may occur: • If the frame contains vertical blanking information, the picture quality of the entire frame might be slightly degraded due to the added entropy or complexity from the vertical blanking lines.
23 Generating Output Feature Meridien Current Is VBI information preserved when you apply effects? Not always Yes (see “Editing a Sequence with Vertical Blanking Information” on page 1040.) Can you use a two layer effect to wipe in VBI information? Yes No Can VBI information affect compression quality? Yes Yes Can compression affect VBI quality? Yes n For example, a color effect can modify the VBI information on a Meridien system.
Preserving HD Closed Captioning and Ancillary Data Your Avid editing application can capture and preserve any of the following four types of ancillary data by default: • Closed Captioning (CEA 608, CEA 708): Closed captioning ancillary data packets are captured from the HD-SDI source according to the SMPTE 334M standard. • Program Description (AFD): AFD ancillary data packets are captured from the HD-SDI source according to the SMPTE 334M standard.
23 Generating Output • At this time, the following resolutions/projects are not supported with a data track: RGB, 720p/23, 720p/25 and 720p/29.94. • Data tracks are supported when you export a sequence to a playback device through the Transfer > Send to Playback option (exporting a sequence with Data tracks to an Avid Interplay Transfer environment). For information about Send to Playback with a Data track, see your Avid Interplay documentation.
Preserving HD Closed Captioning and Ancillary Data If the clip does not meet all the requirements to extract an ancillary data clip, a dialog box appears that informs you of the problem. Open the Console window (Tools > Console) to get more information about the problem. 3. Click Continue or Cancel. The system adds the Data track with the clip to the Timeline. The clip in the bin displays D1 in the Track column.
23 Generating Output Data Track Method Legacy Method Edit Yes Yes Capture Yes (Avid Nitris DX or Avid Mojo DX only) No Transcode No No Consolidate Yes No Mixdown Yes No Import (AAF) Yes Yes Export (AAF) Yes No 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
Preserving HD Closed Captioning and Ancillary Data n Data Track Method Legacy Method Import (AAF with embedded media) Not Applicable Not Applicable Yes (with Avid Nitris DX, Avid Mojo DX or Avid Adrenaline only) Yes (with Avid Nitris DX, Avid Mojo DX or Avid Adrenaline only) Export (AAF with embedded media) Not Applicable Not Applicable Yes (with Avid Nitris DX, Avid Mojo DX or Avid Adrenaline only) Yes (with Avid Nitris DX, Avid Mojo DX or Avid Adrenaline only) Even though Avid preserves anci
23 Generating Output • You must output through the HD-SDI port of your Avid input/output hardware. Ancillary data is only supported through the HD-SDI input/output of your Avid hardware. • Ancillary data is not supported when crossconvert or downconvert is enabled. • You cannot playback a D-track in Legacy mode. Controlling Ancillary Data through a Settings Window - Data Track Method This feature is only available with an Avid Nitris DX or an Avid Mojo DX.
Preserving HD Closed Captioning and Ancillary Data Controlling Ancillary Data through a Settings Window - Legacy Method This feature is only available with an Avid Adrenaline. You can turn the ancillary data option on and off and set the slots through the Media Creation Settings. To switch the ancillary data feature on and off through a Settings window: 1. Do one of the following: t Double-click Media Creation in the Settings list. t Select Tools > Media Creation. 2. Click the Capture tab. 3.
23 Generating Output Controlling Ancillary Data with a Console Command (Legacy Method only) You can turn the ancillary data option on and off and set the slots with Console Commands. To switch the ancillary data feature on and off with a Console command: 1. Select Tools > Console. 2. Type the following command: Embeddnxcc To set the default for ancillary data preservation for all four slots: 1. Select Tools > Console. 2.
Preserving HD Closed Captioning and Ancillary Data Option Description On/Off A value of 1 or 0 DID A hex number (for example, 0x61) SDID A hex number (for example, 0x60) For example: - To turn off data slot 1, type Embeddnxccoptions 1 0 To set data slot 2 to hold CEA 708 data, type Embeddnxccoptions 2 1 0x61 0x01 - To set data slot 4 to hold a custom data type, type Embeddnxccoptions 4 1 0xaa 0xbb where aa and bb are the DID and SDID of the custom data type To view the current status of each sl
23 Generating Output Depending on the options you select, ancillary data clips along with the video and audio clips you selected to capture, appear in the bin. Performing a Data Mixdown With the Data Track method, a data mixdown lets you combine several clips into one new master clip. You can use data mixdown after you finish building your sequence and want to make it into one piece. Data mixdown is useful when you want to: • Combine multiple ancillary data clips into one master clip.
Preserving HD Closed Captioning and Ancillary Data To export to an XDCAM device: 1. Connect your XDCAM HD device. 2. Select the appropriate mode on your XDCAM HD device that corresponds to the video format that you will be exporting. For example, set your XDCAM device to 1080i 59.94 if you want to export a clip or sequence at XDCAM-35 1080I/59.94. 3. Select the sequence or clips to export, or select the data track. 4.
23 Generating Output 8. Select a video format. Select XDCAM-50, XDCAM-35, XDCAM-25, or XDCAM-17. For HD, a single disk can have clips with mixed bit rates (17.5, 25, and 35 Mbits). Additionally, a sequence that is being exported to an HD XDCAM disk can have mixed bit rates, as well. If you use the Sony PDW HD1500 or the Sony PDW 1500 XDCAM device, export of up to 8 tracks of audio is supported for the MPEG IMX and XDCAM HD 50 Mbits formats.
24 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.
24 Conforming and Transferring Projects Transferring to Avid DS You can find specific information for transferring projects to Avid DS in the Avid DS Conform Guide (available from the Avid DS Support Center or the Avid Customer Support Knowledge Base.) 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 1409. Use an NTSC 30i project for offline editing, then open a new 720p/59.94 project for online editing.
24 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.
24 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 1056 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 1377.
24 Conforming and Transferring Projects Transfer Option Description Move the project folder along with a This option lets you transfer complete project information, but you need removable media drive from one to use the desktop operating system to copy and transfer files. See system to another. “Transferring Project Files and Media Files Using Nonshared Storage” on page 1075.
Conforming Workflow 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. If you transferred both project files and media, and your media is compatible, the original project appears in your list of projects.
24 Conforming and Transferring Projects Recapture Option Description Decompose the sequence and recapture the new clips This option captures only enough media to re-create the sequence. You can specify the length of handles, which you can use for minor revisions. This method is more flexible than capturing from the sequence because it creates new clips that you can sort and selectively capture. This method uses minimal storage and can be one of the fastest methods for recapturing.
Conforming Workflow Then use the Audio tool to monitor the audio levels (see “Understanding the Audio Tool” on page 207). You can quickly check the peak values of the sequence (see “Using the Console Window to Check Audio Levels” on page 218). Step 6: Batch Import Graphics If you are working with master clips or sequences that contain imported material, you can use the Batch Import command to reimport the source files.
24 Conforming and Transferring Projects If a title opens and the system does not recognize the font, you see a dialog box that lets you substitute the font in the title for one that is installed on the system. This replacement creates a font mapping, which is saved as a Site setting. For information on changing the font mapping, see “Redefining a Font Replacement” on page 1066.
Conforming Workflow Once you have defined a font replacement, your Avid editing application uses that definition across all projects and all users of the system. If you want to switch to a different replacement font for a title, you must redefine the font replacement. n If you replace the font for a title and return that title to an Avid editing application on a Macintosh system, the new font information is associated with the title.
24 Conforming and Transferring Projects You might need to choose a different rendering method for motion effects after recapturing media in a final online resolution. Consider promoting traditional motion effects to Timewarp effects. For more information, see “Playing and Rendering Motion Effects” in the Help. Step 9: Render Effects as Needed Although many effects play in real time, you might need to render some complex effects or plug-in effects.
Transferring Project and Media Files Between Avid Editing Systems Transferring Project and Media Files Between Avid Editing Systems The following topics describe the options and methods you can use to transfer project files and media between Windows systems, between Macintosh systems, and between Windows and Macintosh systems. There are two basic methods for transferring projects: • Moving project folders, settings, and media files between the systems.
24 Conforming and Transferring Projects Method Requirements Restrictions Fibre Channel drive None For compatibility information, see the Avid Drive Striping Tables. External 1394 (FireWire) drive HFS+ format Cannot be used as a media drive for Symphony. For compatibility information, see the Avid Drive Striping Tables. Project Files, OMF Files, and AAF Files (including embedded media) Server-based network None None. External 1394 (FireWire) drive or USB2 drive HFS+ format Size of the disk.
Transferring Project and Media Files Between Avid Editing Systems Transferring Files Between Windows Systems The following table shows the available methods for transferring files between Windows systems. Method Requirements Restrictions All Files (can be used as media drives) External SCSI drive None For compatibility information, see the Avid Drive Striping Tables, which are available by searching for “drive striping” on the Avid Customer Support Knowledge Base.
24 Conforming and Transferring Projects Transferring Files Between Macintosh and Windows Systems The following table shows the available methods for transferring files between Macintosh and Windows systems. Method Requirements Restrictions All Files (can be used as media drives) Macintosh external drive (SCSI or Fibre Channel) HFS+ format and an See “Nonshared Storage Issues for Cross-Platform application that enables Collaboration” on page 1077.
Transferring Project and Media Files Between Avid Editing Systems Method Requirements Restrictions FTP Network access and FTP software on both systems For more information on using Fetch on Macintosh systems, see www.fetchsoftworks.com. DigiDelivery Installation of None. See the DigiDelivery product page on www.avid.com. DigiDelivery hardware and software Transferring Audio Files You might need to transfer audio separately from video.
24 Conforming and Transferring Projects For information on importing into and exporting from an audio application, see the documentation for the audio application. n DigiTranslator v2.0 is required on the Pro Tools system for import and export of OMF and AAF files. For information about working with Sound Designer II audio files, see “Transferring and Working with Sound Designer II Audio Files from Macintosh Systems” on page 1074.
Transferring Project and Media Files Between Avid Editing Systems You can also share bins and projects in an Avid Unity environment that does not use Avid Interplay. See “Sharing Bins and Projects in an Avid Unity Environment” in the Help and in the Avid Unity documentation. Transferring Project Files and Media Files Using Nonshared Storage You can use removable nonshared storage devices to transfer media files between Avid editing applications.
24 Conforming and Transferring Projects 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.
Transferring Project and Media Files Between Avid Editing Systems 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.
24 Conforming and Transferring Projects 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.
25 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.
25 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.
25 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.
25 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 shared-storage network. If you are working in an Avid shared-storage workgroup, your Avid system administrator needs to configure your system for proper access to the Avid shared-storage workspaces.
Connecting to the Avid Interplay Database 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.
25 Working with Avid Interplay from an Avid Editing System 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 To log in and open the Interplay Window: 1. If your Interplay User settings are not configured to log in when you start a project, do the following: a. In the Settings list, double-click Interplay User. b. Click Login to establish the connection to the Interplay database. 2. In the Interplay Login dialog box, type your password, and click OK.
25 Working with Avid Interplay from an Avid Editing System Verifying the Interplay Checkin Folder To ensure that the objects that you check in are checked in to the correct Interplay folder, you can choose to display a message box that asks you to verify the directory path for the current project. You can choose to show this message box after logging into Interplay. You can also choose to show this message the first time you check in from a project.
Editing with Remote Assets When the message is displayed after login, click OK to accept the directory path, or click Change Setting to open the Interplay Folder Settings dialog box. - On first checkin: If this setting is selected, a message box asks you to confirm the directory path the first time you check in from a project.
25 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 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. Click “Update anyway” to overwrite the local version with the version on the database, or click “Keep local modifications” to preserve the local version.
25 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 4. Select the assets you want to use and drag them to a bin. The Avid assets are checked out from the Interplay database. A link is created to the asset, and the bin displays the assets you checked out. Checking Avid Assets In to the Interplay Database The process of adding Avid assets to the Interplay database or updating Avid assets already in the database is called checking in.
25 Working with Avid Interplay from an Avid Editing System Method Description Force a check-in of selected items If you want to make sure items are checked into the database (including items that have not been modified and items that do not exist in the database), select the items, right-click, and select Check In To Interplay. Select assets and This command also forces a checkin of all selected items.
Editing with Remote Assets The message box is shown the first time you check in from a project. See “Verifying the Interplay Checkin Folder” on page 1088. To add Avid assets from your bin to the Interplay database using drag and drop: 1. Open the bin that contains your clips or sequences. 2. Log in to the Interplay database if you have not already done so. For more information, see “Connecting to the Avid Interplay Database” on page 1084. 3. Select Tools > Interplay Window. 4.
25 Working with Avid Interplay from an Avid Editing System Automatically Checking In Avid Assets You can automatically check in media assets by setting the appropriate option in the Avid Interplay Administrator.
Editing with Remote Assets n If an Interplay folder contains assets that are not contained in its corresponding bin, the Update Bin from Interplay command does not add these assets to the bin. To update remote assets: 1. Open the bin that contains the local copies of your remote assets. 2. To update all items in a bin, select the bin and do one of the following: t Select Bin > Update Bin from Interplay. t Click the Bin fast menu, and select Update Bin from Interplay. 3.
25 Working with Avid Interplay from an Avid Editing System 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. Understanding In-Progress Clips If your Avid editing application is part of a workgroup environment managed by Avid Interplay, you can edit using in-progress clips.
Editing with Remote Assets Editing with In-Progress Clips The following procedure outlines the basic steps for editing using an in-progress clip when you use the Interplay Window to access the Interplay database. To edit using an in-progress clip: 1. Open your Avid editing application, open a project, and open the Interplay Window. 2. In the Interplay Window, navigate to the folder that holds the clip that you want to use for editing.
25 Working with Avid Interplay from an Avid Editing System Limitations When Working With In-Progress Clips During the Frame Chase capture process the final length of the clip is unknown until the capture is complete and the clip information is updated. Because of this, there are some limitations when you work with in-progress clips.
Managing Remote Assets with the Interplay Window 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.
25 Working with Avid Interplay from an Avid Editing System Avid assets available for your project. The Research panel shows you the contents of the selected folders and the results of media searches. You can use the Layout button to customize the display of the Media Directory panel and the Research panel, see “Modifying the Appearance of the Interplay Window” on page 1107. You can load clips and sequences from the Interplay Window, which keeps track of your assets in tabbed windows.
Managing Remote Assets with the Interplay Window Reservation icons on folders in the Media Directory panel Only the owner of a reservation or the Administrator can remove the reservation or delete or move the contents of a reserved folder. Since folders can have reservations set by multiple users with multiple end dates, you might not be able to move or delete the asset even if you placed a reservation on it.
25 Working with Avid Interplay from an Avid Editing System 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 383. 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.
Managing Remote Assets with the Interplay Window c Because a duplicated clip points to the same media as the original clip, be careful when deleting duplicated clips that you do not unintentionally delete media. If you have delete access control within your workgroup, you can delete Avid assets in the Interplay Window and in bins. You can also delete copies of the assets (links). Users without delete access cannot delete assets or perform any tasks that require delete privileges.
25 Working with Avid Interplay from an Avid Editing System c The duplicated clip refers to the original media; be careful not to delete media accidentally if you delete the duplicated clip. 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.
Managing Remote Assets with the Interplay Window A shortcut above an Interplay database name in the Media Directory panel To remove a shortcut to an Interplay folder or a catalog: t Right-click the folder in the Media Directory panel, and select Delete Shortcut. The shortcut is removed.
25 Working with Avid Interplay from an Avid Editing System 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.
Managing Remote Assets with the Interplay Window 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 1117. • Create new column headings in the Research panel.
25 Working with Avid Interplay from an Avid Editing System 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.
Managing Remote Assets with the Interplay Window 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.
25 Working with Avid Interplay from an Avid Editing System 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. 6. Select values for additional assets.
Managing Remote Assets with the Interplay Window 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.
25 Working with Avid Interplay from an Avid Editing System Media Objects in the Interplay Window The following table describes the media objects that you can display in the Interplay Window.
Managing Remote Assets with the Interplay Window 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.
25 Working with Avid Interplay from an Avid Editing System 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. The folder is selected in the directory tree and the contents of the folder are displayed in a tab in the Research panel, with the selected asset highlighted.
Managing Remote Assets with the Interplay Window 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. The versions appear in the Merged Value text box in the order in which you select them. 2.
25 Working with Avid Interplay from an Avid Editing System 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.
Managing Remote Assets with the Interplay Window To open multiple folders in the Interplay Window: 1. Click the active tab in the Research panel, and then click the Pin button. The contents of the folder are saved as a tab in the Research panel. 2. In the Media Directory panel, click a new folder. The folder opens as a new tab in the Research panel.
25 Working with Avid Interplay from an Avid Editing System 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. To change the font from the Directory panel context menu: 1.
Finding Remote Assets The most common method of finding remote assets is to perform a search based on attributes. The Interplay Window searches for the attributes associated with Avid assets. Each attribute can define statistical information (such as the date) or descriptive information (such as clip name). The search function lets you search by a date, a word, or a few characters.
25 Working with Avid Interplay from an Avid Editing System 2. In the Text field, type a search term. You can specify words or characters for your search. Search terms are not case-sensitive and apply to all searchable text attributes of the Avid assets in your search. 3. Expand the Text Fields field and select the kinds of text fields to search in 4. Expand the Search In field and navigate to the folder you want to search.
Finding Remote Assets Search Attributes for the Interplay Window The following table describes the search attributes available in the Media Search tab in the Interplay Window.
25 Working with Avid Interplay from an Avid Editing System Keeping Search Results in the Interplay Window If you want to keep the results of your search when you perform another search, you must “pin” the search tab to keep it open before you start a new one. To keep your search results: t Click the Pin button. The search is kept open as a tab in the Research panel.
Connecting to Avid Shared Storage and Mounting Workspaces 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 229. 5. Click the Interplay Folders selection button. 6. Click the Bin menu, and select an open Interplay folder. 7. Start capturing as usual.
25 Working with Avid Interplay from an Avid Editing System 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.
Connecting to Avid Shared Storage and Mounting Workspaces 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.
25 Working with Avid Interplay from an Avid Editing System To connect to the Avid 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 > AvidISIS > ClientManager. t (Windows) Click the Client Manager icon in the Windows taskbar. t (Windows) Right-click the Client Manager icon and select ISIS Client Manager.
Connecting to Avid Shared Storage and Mounting Workspaces t (Windows) If your ISIS system is configured to use the Windows user name and password for your local system, select OS Login. By default, the Username and Password text boxes are inactive when you select this option.
25 Working with Avid Interplay from an Avid Editing System A Workspaces list in the Avid ISIS Client Manager. Top to bottom: the Menu panel, the Workspaces list, the Sort menu, and the Filter menu. 3. In the Workspaces list, select the workspace you want to mount. 4. Click the Mount button. The Client Manager mounts the selected workspace on your client and the Mount button changes to green. The Workspaces list displays the drive the workspace is mounted to.
Connecting to Avid Shared Storage and Mounting Workspaces To connect to the Avid 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 > AvidISIS > ClientManager. t (Windows) Click the Client Manager icon in the Windows taskbar. t (Windows) Right-click the Client Manager icon and select ISIS Client Manager.
25 Working with Avid Interplay from an Avid Editing System t (Windows) If your ISIS system is configured to use the Windows user name and password for your local system, select OS Login. By default, the Username and Password text boxes are inactive when you select this option. t (Macintosh) Type your Avid ISIS account name in the Username text box, and type your password in the Password text box. 4. Click the Connect button.
Dos and Don’ts for Editors Working with Avid Interplay To mount multiple Avid ISIS workspaces on your system: 1. Open the Client Manager. The Workspaces list opens. The Online field displays a green ball for workspaces that are already mounted. You can filter the Workspaces list by Workspace name. 2. Do one of the following: t Select multiple non-contiguous workspaces with Control+click.
25 Working with Avid Interplay from an Avid Editing System The main purpose of the Interplay server is to provide a central database of all the Avid and non-Avid assets that you use during your production process. This database is used as the central “share point” for material in use in your facility. It is also used by media managers as the primary tool for deletion of material from shared storage. If you do not log in to Interplay and check in your work, Interplay has no way of tracking your work.
Dos and Don’ts for Editors Working with Avid Interplay n • Check in your sequence to Interplay at regular intervals, and particularly before you finish your editing session, either by using the correct Interplay Folder setting or by dragging-and-dropping to the correct folder. • Depending on your facility’s workflow, check in your bin to Interplay at regular intervals and particularly before you finish your editing session.
25 Working with Avid Interplay from an Avid Editing System • Don’t share projects: that is, do not work on a project which is already being used by another editor • Don’t ignore the contents of your UIAA folder. If you do, you will be taking up valuable shared storage space. 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.
26 Using Interplay Transfer to Export Media Avid Interplay Transfer lets you transfer Avid assets to and from another workgroup, send finished sequences to a configured playback device, and capture media from a configured ingest device. You can also use Interplay Transfer in a standalone environment (an environment other than Avid shared storage) to move Avid assets between workstations. When you use Interplay Transfer in a workgroup environment, you can use several types of transfers.
26 Using Interplay Transfer to Export Media Depending on your workflow and workgroup environment, you might need to install one of the Interplay Transfer support software products. If your workflow requires auto transferring of assets, you need to install the Avid Interplay Auto Media Services service that includes the Auto Transfer service. If you want to monitor transfers from a standalone system on your network, you should install the Avid Interplay Media Services and Transfer Status software.
Setting Transfer Settings in the Avid Editing Application 4. In the Standalone/Incoming Requests area, do one of the following: t Select “Refuse All Requests,” if you do not want to receive files from another workgroup. t Select “User Dialog To Accept/Refuse,” and one of the following methods for accepting transfers: - Wait for User Action (No Timeout) — You receive a message request for a transfer. You must click OK for the transfer to occur.
26 Using Interplay Transfer to Export Media - In the Timeout (seconds) text box, type the amount of time you want to set for the timeout. 5. In the Status Window area, do the following: a. In the text box, type the number of seconds you want the status window to update. b. (Option) Select “Bring up window if error occurs” if you want errors to display. 6.
Setting Transfer Settings in the Avid Editing Application 10. In the Other Workgroups area, click Add. The Add Workgroup To List dialog box opens. If you want to edit the names of any of the Interplay Transfer servers or workstations listed in the Other Workgroups area, select the name, click Edit, and make the changes. 11.
26 Using Interplay Transfer to Export Media Send to Playback with Multichannel Audio Tracks This section describes a best practice for sending a sequence containing multichannel audio tracks to playback when using Direct Out mode. For information on sending multichannel audio to playback using Multiple Mixes, see “Mapping Audio Tracks to Output Channels” on page 1142. When using Direct Out mode, keep the multichannel audio tracks at the bottom of your audio tracks.
Setting Transfer Settings in the Avid Editing Application The Transfer Settings dialog box opens. 3. Click the Settings tab. 4. In the Output Audio Mix area, select Multiple Mixes, and then click Edit. The Multiple Mix Editor dialog box opens.
26 Using Interplay Transfer to Export Media 5. Click the Format buttons to cycle through the available options until you find the appropriate format: Option Description Mono tracks Maps audio tracks to mono channels, with any assigned stereo tracks mixed down to a mono channel. Stereo track Maps audio tracks to a single stereo channel, using the pan information on the input tracks to generate stereo output. 6.
Setting Transfer Settings in the Avid Editing Application 8. Repeat steps 5 through 8 to map additional audio tracks to output channels. 9. When you finish assigning tracks to output channels, click OK to save your mixdown sequence. The Multiple Mix Editor closes. 10. In the Transfer Settings dialog box, click OK. To save a custom map of output audio channels as a settings template: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click Transfer. 3. Select Edit > Duplicate.
26 Using Interplay Transfer to Export Media You can select this new setting whenever you send a sequence to playback using Interplay Transfer. Transferring Avid Assets from an Avid Editing Application If Interplay Transfer is properly installed and enabled on your Avid editing system, it starts automatically whenever you start the Avid editing application. When you complete a sequence, you can transfer it from the Avid editing application to any other connected workgroup or to a playback device.
Transferring Avid Assets to a Playback Device Transferring Avid Assets to a Playback Device In a broadcast environment, you can transfer a finished sequence to a configured playback device. For information about configuring the playback device for transfers, see the Avid Interplay Transfer Setup and User’s Guide. To send a finished sequence to a playback device: 1. (Option) If you want to use a Transfer setting template, select the custom Transfer setting in the Settings tab in the Project window.
26 Using Interplay Transfer to Export Media 5. Click OK. The sequence is sent to the Interplay Transfer server, which then sends it to the selected playback device. You can now work on another project while the transfer is taking place. For information on monitoring the transfer of assets, see “Monitoring Transfers from Within the Avid Editing Application” on page 1148.
Monitoring Transfers from Within the Avid Editing Application 2. Right-click the status of a particular transfer to display the status options. See “Transfer Status Window Options” on page 1149. A plus sign in the PWT column indicates the clip or sequence has been set to a high priority. Transfer Status Window Options The following table lists the status options available when you right-click a transfer displayed in the Transfer Status window during a transfer.
26 Using Interplay Transfer to Export Media To sort a transfer status column: 1. From the Transfer Status window or Interplay Transfer tab, right-click the column to display the Sort options. 2. Select either Sort, Sort Reversed, or No Sort. Sort lists the information in alphabetical order.
27 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.
27 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 create and store multiple resolutions of the same media. These can be acquired in several ways. You can configure a workgroup to ingest both high and low-res media simultaneously. You can also first create master clips with high-res media, and if your hardware permits it, you can re-capture these clips as low-res proxies.
27 Using MultiRez and Dynamic Relink Batch Capturing Media at a Different Resolution Batch capturing lets you create different resolutions of media through the same process that the original media was captured from hardware. To perform a batch capture, you must have a master clip containing either a clip log or previously captured media. n You can only create one new resolution at a time using batch capture.
Acquiring Media at Multiple Resolutions 7. Click OK. If you have not loaded a tape, your Avid editing application prompts you to load the original tape. 8. Load the tape into the tape deck, and click Mounted. A dialog box opens. 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.
27 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.
Understanding How Clips are Associated with Multiple Resolutions Your Avid editing application imports the files and creates media in the resolution you specified. The original media file is preserved, and the master clip is now associated with an additional resolution. Understanding How Clips are Associated with Multiple Resolutions In a MultiRez environment, relinking is source based.
27 Using MultiRez and Dynamic Relink Later, if you recapture a clip at a different resolution, make sure to select the tape name originally associated with that clip. If you select the original name and use the original tape, your Avid editing application associates the new media with the original master clip. In an Avid Interplay environment, this source-based association is the basis for dynamic relink.
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 1186. n You can batch capture the clip in additional resolutions; there is no limitation to the number of media files associated with a clip.
27 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 affinity resolutions or affinity media. The affinity model applies when you are deleting clips and media from a bin. For more information, see “Deleting MultiRez Clips and Media from a Bin” on page 1190. Partial Clips, Multiple Resolutions MultiRez also supports association of clips that share only part of a timecode span. For example, after capturing a clip at 15:1s, you might need to recapture only part of the clip at 1:1.
27 Using MultiRez and Dynamic Relink You can also create partially online files through archiving, consolidation, and transcoding a subclip. For more information, see “Working with Partially Online Files” on page 1191. Understanding Dynamic Relink Dynamic relink is a feature that lets you select which media you want to use when you are working in a MultiRez environment. Typically, you use low-res media for offline editing and high-res media for a final master.
Understanding 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.
27 Using MultiRez and Dynamic Relink Left: clip associated with working and target resolutions. Top right: sequence with clip in working resolution (15:1s). Bottom right: sequence with clip in target resolution (1:1). n To display the clip resolution for each clip in the Timeline, click the Timeline Fast Menu button and select Clip Text > Clip Resolutions.
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 example, for 25p Film projects, select 1080p/25. The following illustration shows the Project selection for a 25p Film project used in this example. 2. (Film only) If your source media is film-based, check the Film box and select the Film Type.
27 Using MultiRez and Dynamic Relink High-res and low-res media both online (filled circles) for the clip in the bin 3. Open the Dynamic Relink dialog box and set the working resolution to the low-res proxy. The following illustration shows the Dynamic Relink values used in this example to link to the low-res media.
Workflow: Editing a Film or HD Project using MultiRez 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. 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.
27 Using MultiRez and Dynamic Relink The high-res media is now offline (empty circle in the bin) 5. (Skip this step if the administrator did not archive the high-res media) When you are finished editing the sequence, restore the portions of high-res material used in the sequence from the archive. The following illustration shows the bin after the partial restore operation is completed.
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.
27 Using MultiRez and Dynamic Relink 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 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. t Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink Settings. Enabling Dynamic Relink To enable dynamic relink: 1. Do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink.
27 Using MultiRez and Dynamic Relink To apply working and target settings: 1. Do one of the following: t In the Settings list in the Project window, double-click Dynamic Relink. t Right-click the MultiRez button at the bottom of the Timeline and select Dynamic Relink Settings. 2. Select Enable Dynamic Relink. 3. Click the Working Settings tab, and then select your working settings. For information on available settings, see “Dynamic Relink Settings” on page 1256. 4.
Using the Dynamic Relink Settings Dialog Box 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. If it cannot find this resolution for a particular clip, it should display a “Media Offline” slide. Specific parameters are also set for audio: 44.1 kHz and 16-bit.
27 Using MultiRez and Dynamic Relink Similarly, for audio, your Avid editing application should use media with a sample rate less than or equal to 44.1 kHz/16 bit. If your Avid editing application finds no match for this rule, it should use the closest media that is available.
Using the Dynamic Relink Settings Dialog Box Top to bottom: Relink to offline media if no match is found, specific format and video resolution to match, specific audio sample rate and bit depth to match 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.
27 Using MultiRez and Dynamic Relink In this case, you override the working settings, render effects, and output the digital cut. (When you use the Send To Playback command, your Avid editing application automatically links clips to media in the target resolution.) For information on establishing target settings, see “Applying Working and Target Settings for Dynamic Relink” on page 1171. c Render effects only when you have linked to the target settings. This should be done as the last step before output.
Relinking in Frame Chase Editing c If you do not enable dynamic relink for mixed rate clips, a send-to-playback operation fails when your Avid editing application cannot match a mixed frame rate clip with the project frame rate. Dynamic relink performs the following actions when working with mixed frame rate clips: • Clips with the same frame rate as the project relink to source media based on the settings in the Dynamic Relink settings dialog box.
27 Using MultiRez and Dynamic Relink Using the Relink Dialog Box in an Avid Interplay Environment Relinking through the Relink dialog box is different from dynamic relink. In an Avid Interplay environment, relinking through the Relink dialog box is limited to non-master clips (subclips and sequences). You can relink these only through source timecode and tape. Other options are unavailable. Relinking through the Relink dialog box is clip-based.
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 466. 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.
27 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 1182.
27 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).
27 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.
27 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 Your Avid editing application creates the list of headings from the resolutions that are compatible with the current project format. This list varies by project format and model. For example, if you are working in a 30i NTSC project, the list includes all resolutions that are compatible with 30i NTSC and 1080i/59.94 formats. These headings appear at the bottom of the Bin Column Selection list. You need to select which columns you want to appear in the Text tab of the bin.
27 Using MultiRez and Dynamic Relink Empty circle Offline or Not Available The following illustration shows three different icons in a bin. The following bin columns display special behavior when you are using MultiRez and dynamic relink: • Video format: This column displays the resolution of the media files to which the clips in the Timeline are currently linked, so it changes, depending on which resolution is currently displayed, either working or target.
Understanding Options for Deleting MultiRez Clips and Media For example, if you transcode a clip from DV 25 to 15:1s, and create a new master clip, both resolutions are associated with the original clip in the bin. However, if you select the original clip (DV 25) for deletion, you see only DV 25 listed in the Delete dialog box. For clips that were batch captured, captured in a dual-ingest configuration, or transcoded without a new clip, you see both resolutions listed in the Delete dialog box.
27 Using MultiRez and Dynamic Relink Type of Clip Resolutions Displayed for Deletion Clip created through dual ingest All associated resolutions Clip created through batch capture or batch import All associated resolutions Transcoded clip, one clip All associated resolutions Transcoded clip, multiple clips Original resolution only Clips that share timecode and source Original resolution only Deleting MultiRez Clips and Media from a Bin For more information on your options when deleting MultiRez c
Working with Partially Online Files 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.
27 Using MultiRez and Dynamic Relink 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.
Working with Partially Online Files 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.
27 Using MultiRez and Dynamic Relink 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.
Quality Matching n • 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.
27 Using MultiRez and Dynamic Relink 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.
Quality Matching 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 1194). 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.
27 Using MultiRez and Dynamic Relink 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 88.2 kHz/16 bit 32 kHz/24 bit 48 kHz/24 bit 32 kHz/16 bit Example of Quality Matching This example is typical of a newsroom offline session. In this workflow, clips are usually captured simultaneously in MPEG-2 and DV 25, but sometimes the MPEG-2 clips are not available.
Quality Matching Answer: Yes, there is more than one. 4. Query: Do any of these media files match the media family (MPEG-2)? Answer: Yes, one media file matches all the criteria. Your Avid editing application links the clip to that media file. What if the MPEG-2 media doesn’t exist? Your Avid editing application looks for the next most compressed media, finds one media file in DV 25 that matches the criteria, and links to it.
27 Using MultiRez and Dynamic Relink 1200
28 MultiCamera Editing The Avid MultiCamera editing features let you incorporate multiple camera angle sources into the nonlinear editing process.
28 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.
28 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 The basic features of Full-Monitor display: • Provides source-oriented control of multicamera material. You can switch camera angles, cue, and mark material without affecting the sequence. • Provides the same Source monitor controls that are available when you edit other clips in Source/Record mode. • Provides the same MultiCamera editing features that are available in Quad Split Source view, Nine Split Source view, and MultiCamera mode.
28 MultiCamera Editing Quad Split Source view, with the four camera angle views in the Source monitor and the sequence or linecut in the Record monitor. The location of the Group Menu icon is highlighted. The basic features of Quad Split Source view: 1206 • Provides source-oriented control of multicamera material. You can switch camera angles, play back (one camera angle at a time), cue, and mark material without affecting the sequence.
MultiCamera Displays Nine Split Source View After loading a group clip into the Source monitor, you enter Nine Split Source view by clicking the Nine Split button located in the Command palette in the MCam tab. The Source monitor splits into nine camera angles of the group clip. A Group Menu icon appears in the second row of information above the Source and Record monitors. Nine Split Source view, with the nine camera angle views in the Source monitor and the sequence or linecut in the Record monitor.
28 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.
28 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 513.
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.
28 MultiCamera Editing t Press a number key on the numeric keypad to switch to a new camera angle. For Quad Split display, the following table describes the key mappings: Keys Position in Split Display Keys Position in Split Display 7 Upper left 4 or 1 Lower left 8 or 9 Upper right 2, 3, 5, or 6 Lower right For Nine-Split display, each of the nine keys 1 through 9 maps to a position in the split display based on its location on the keypad.
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.
28 MultiCamera Editing 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. You can select the Audio Follow Video option from the Group menu to instruct the system to switch both audio and video for each camera angle or selective camera style. The Group Menu icon changes to green when you select the Audio Follow Video option.
MultiCamera Editing Techniques To select an additional clip from the group to appear in one of the multi-split displays: 1. Press the Ctrl key to activate the display of clip names in the multi-split displays. 2. Ctrl+click the multi-split display where you want to show the new clip. The clips in the group are listed in the Multi-angle View menu. Select additional angles from the Multi-angle View menu 3. Select the clip you want to display from the Multi-angle View menu.
28 MultiCamera Editing To commit multicamera edits: 1. Select the sequence you want to affect. 2. Right-click the sequence and select Commit Multicam Edits. Your Avid editing application duplicates the sequence, and then replaces each grouped clip in the duplicate sequence with its selected clip. The original sequence is unaffected and still contains the grouped clips.
29 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.
29 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 • Transfer Settings • Video
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 1223 and “Understanding User Profiles” on page 92. The following illustration shows the Settings tab in the Project window.
29 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 1227.
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.
29 Settings 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. The following table describes the different Settings display groups. Option Description Active Settings Displays currently active settings. All Settings Displays all settings available. Base Settings Displays Project, User, and Site settings only. Does not display views.
Working with Settings 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. Click the Settings tab in the Project window. The Settings list appears. 2. Click the User Selection menu, and select another name.
29 Settings 4. Name your settings to indicate their functions. For more information, see “Naming Settings” on page 1224. Naming Settings You can give settings custom names to differentiate among copies or to indicate a specific use. To enter a custom setting name: 1. Click the Settings tab in the Project window. The Settings list appears. 2. Click the Custom setting name column to the right of the setting name. Custom setting name column in the Project window 3.
Working with Settings Deleting Settings You can delete settings from the Settings list in the Project window at any time. For example, you might choose to delete one or more versions of a particular setting, or you might want to delete all but a few settings for transfer into another Settings window. c You cannot undo a deletion. You can, however, restore the default settings or copy settings from other files.
29 Settings Copying Settings Between Settings Files You can copy selected settings: • Between existing settings files. • Into a new settings file for use in other projects. • Into the Settings folder to establish standard system settings for all new projects and users. For more information, see “Using Site Settings” on page 1227. • To change one type of setting to another type. You can also transfer settings files to another Avid system. To copy settings between setting files: 1.
Working with Settings 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. Do one of the following t Click Add to add the new settings to the project without affecting the project’s current settings. t Click Replace to replace the current version of each setting with the new settings.
29 Settings Options for Moving User Settings Files You might want to move user settings information from one location to another on your system, or from one system to another. The easiest and most reliable way to do this is to take advantage of user profiles. When you import a user profile, your Avid editing application finds all the necessary files and copies them to the correct location. For more information about using and creating User Profiles, see “Understanding User Profiles” on page 92.
Summary of Settings Setting Name Description Reference Topic Composer Configures the display and behavior of buttons and information in the Playback, Source, and Record monitors. “Composer Settings” on page 1247 Controller Settings Sets the default controller, port selection, and custom “Controller Settings” on page 1250 controller buttons. Correction Sets options for the Color Correction tool. “Correction Settings” on page 1251 Deck Configuration Configures channels and decks into your system.
29 Settings Setting Name Description Reference Topic Interplay Folder Lets you specify a project directory on the asset manager to use for checking in media objects. “Interplay Folder Settings” on page 1300 Interplay Server Lets you specify the Avid Interplay Server location on “Interplay Server Settings” on the network. page 1301 Interplay User Lets you set the preference for accessing Avid asset manager.
AMA Settings Setting Name Description Reference Topic Timecode Window Displays various timecodes in an adjustable window. Appears in the Settings list to facilitate copying settings. For more information, see “Using the Timecode Window” on page 494. Timeline Sets general Timeline preferences. “Timeline Settings” on page 1313 Trim Customizes the Trim mode environment. “Trim Settings” on page 1317 Video Display Sets options for video input, desktop video, Client monitor use, and effects preview.
29 Settings Option Description Display editor headframe When this option is selected, your Avid editing application displays your Avid editing application’s headframe or frame icon in Frame view. AMA Settings: Volume Mounting Tab Option Description Enable AMA Volume Management Enables AMA linking of file-based media from supported third-party devices and drives. You must quit and restart your Avid editing application for the changes to take effect.
Audio Project Settings Option Description Play Buffer Size in Defines the size of the host audio play buffer during playback and digital cut. Use this Samples (Software-only option if you experience performance problems with playback to the host audio Models) device. n Avid recommends the default value for this option. Changing this parameter might cause audio or video underruns, dropped frames, or increased noise in the audio output.
29 Settings Audio Projects Settings: Main Tab Option Description Sample Rate Defines the audio sample rate for the entire system for playing and recording. The broadcast standard for most high-end video postproduction houses is 48 kHz. Select the rate based on the requirements of your facility. For information on changing the sample rate for individual sequences and audio clips, see “Changing the Audio Sample Rate for Sequences and Audio Clips” on page 794.
Audio Project Settings Option Description Convert Sample Rates Controls whether or not your Avid editing application performs on-the-fly sample rate When Playing conversion of segments that do not match the rate defined in Sample Rate. • Never: Your Avid editing application does not perform sample rate conversion (segments play as silence). • Always: Your Avid editing application attempts to perform a sample rate conversion.
29 Settings Option Description Sample Rate Conversion Controls sample rate conversion: • When needed: Your Avid editing application automatically converts incoming audio sample rates to match the project sample rate. • Never: Your Avid editing application does not perform sample rate conversion. For more information, see “Selecting the Audio Sample Rate and Controlling Audio Sample Rate Conversion” on page 202.
Audio Project Settings Option Description Mix Mode Selection button Controls how your system interprets audio values during playback: Stereo Mix Tracks • Stereo: Mixes the currently monitored audio tracks into a stereo pair. Depending on your Avid input/output hardware, you can customize the mix using the Stereo Mix Tracks option. • Mono: Pans all the currently monitored tracks to center and ignores pan effects.
29 Settings Option Description Output type option tab: Analog Turns analog output on or off. Output type option tab: SD SDI This option is available depending on your Avid input/output hardware. Use the On or Off option to control whether to embed the audio with the video in SDI output.
Audio Project Settings Option Description Sync Mode Sync ensures that the audio sample clock is always in sync with the video clock for audio input and output. This prevents long-term drift between audio and video. When you are working with video and digital audio simultaneously, set your digital audio equipment to the same video reference signal as your video equipment.
29 Settings Option Description 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. • Linear –6dB: Uses a linear gradient to maintain a consistent amplitude through the midpoint of the dissolve. Bin Settings Option Description Auto-Save interval n minutes Defines the interval between attempts to auto-save project files.
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.
29 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.
29 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.
29 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 289. • 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.
29 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 567.
29 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.
29 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 Settings Option Description 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 1253. Delete Click to delete a deck or DV device.
29 Settings Option Description Show Filters the devices that display in the Device menu: • All Devices: Displays all devices by manufacturer and model. • Decks: Displays only decks by manufacturer and model. • Transcoders: Displays only transcoders by manufacturer and model. Preroll Defines how many seconds the tape rolls before capture or digital cut starts. The default is based on the type of videotape recorder (VTR).
Deck Preferences Settings Option Description Allow assemble edit & When this option is selected, you can use the assemble-edit and crash-record crash record for digital cut features in the Digital Cut tool, along with the assemble-editing and manual recording capabilities of your record deck. Select this option to record frame-accurate digital cuts quickly and without striping entire tapes in advance while using the assemble edit feature. Select this option also if you want to operate the deck manually.
29 Settings Dynamic Relink Settings Dynamic Relink is available only on Avid editing systems that have the Avid Interplay Media Indexer installed. Dialog Box Area Option Top area Enable Dynamic Relink Turns the dynamic relink feature on or off. When this option is selected, your Avid editing application performs a dynamic relink whenever you load clips into the source monitor or the Timeline. When this option is deselected, no settings are 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.
29 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.
Effect Editor 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”.
29 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.
Email 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.
29 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.
Export 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. You can also export LongGOP QuickTime Reference movies with this option. For more information, see “Exporting QuickTime Movies” on page 975. HDV When this option is selected, your Avid editing application creates a transport stream.
29 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.
Export 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.
29 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.
Export 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 785. 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.
29 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.
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 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.
29 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.
Export 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.
29 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.
Export 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.
29 Settings 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. Available for use with MXF media files. Meridien-based systems cannot use this format.
Export Settings Export Settings: DV Stream Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1264. Format Options Opens the DV Export Settings dialog box, which lets you select the DV format, video format, and audio format options you want. If you select DV as the DV format, you can choose to provide locked or unlocked audio. For compatibility with DV cameras that require unlocked audio, deselect Locked.
29 Settings Option Description Video and Audio, Video Only, Audio Only Defines whether your Avid editing application exports video only, audio only, or both. 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. Use Audio Only, for example, if you want to use or enhance audio in a third-party application or you want to use the audio in a multimedia project.
Export Settings Export Settings: Windows Media (Windows Only) Windows Media Legacy Template The following table describes options available when you select Windows Media Legacy Template 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 1264. Version Lets you select one of the available (v8, v7, or v4) Windows Media versions.
29 Settings Option Description Pixel Aspect Ratio When this option is selected, your Avid editing application scales the video. This lets you control the display format without modifying the source file. Uncompressed When this option is selected, your Avid editing application creates a high-quality export in which no picture information is lost. This option does not compress the file and can result in very large files. Codec (not available when you select Uncompressed.
Export Settings Option Description Quality Choose Constrained or Unconstrained. Choose Constrained when playing either locally or on a device that has a constrained reading speed, such as a CD or DVD player. Bit Rate Defines the size of the data stream in megabits per second. 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.
29 Settings Option Description Codec (not available Select one of the following codecs: when you select • Windows Media Audio 9.1: This codec provides improvement in compression over Uncompressed.) the Windows Media 8 Audio codec and supports VBR audio encoding. • ACELP.net: In some instances, the Sipro Labs ACELP codec appears in the list of codecs, for example, if you import a profile that was created by using Windows Media Encoder version 7.1.
Export Settings Export Settings: Audio Option Description Use Marks, Use Enabled Tracks See “Use Marks and Use Enabled Tracks Options” on page 1264. Mono Stereo Use this option to export audio tracks in either mono or stereo. Sample Rate Defines an audio sample rate, either Project rate, 32 kHz, 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz. You can use this option if your sequence has a mix of sample rates and you need to create a single sample rate.
29 Settings Option Description Graphic Format Defines a graphic format for export. The Format Options button lets you set export parameters. For more information on available graphic formats, see “Export Settings: Graphic Format” on page 1282. Width x Height Defines the size of the clip. Click the Fast Menu button, and select from a list of standard dimensions. The Size to Fit suboption sizes to fit the specified width and height.
Export Settings Format Options and Other Notes (if applicable) Cineon™ Blackpoint (Windows) or Black Point (Macintosh): Lets you adjust a film exposure value that corresponds to filming a 2% black card. Values can be between 0 and 1022. The default value of 0 is adequate for most uses. Whitepoint (Windows) or White Point (Macintosh): Lets you adjust a film exposure value that corresponds to filming a 90% white card. Values can be between 1 and 1023.
29 Settings Format Options and Other Notes (if applicable) PICT Create MacBinary header: This option, available on Windows only, creates a file with a MacBinary header. MacBinary is a file format for representing all the information in a Macintosh file in one binary file. It is a compact file format, useful for storing a Macintosh file on a non-Macintosh system for later retrieval. Use a file expander utility to decode a MacBinary file once it is back on a Macintosh system.
Export Settings Format Options and Other Notes (if applicable) Wavefront® Format Type: Defines one of two output file formats supported by Wavefront (either RLA or RLB). Color Depth: The 8 bits suboption saves 8-bit files. The 16 bits suboption saves 16-bit files. The Automatic suboption saves the image in the same depth as the original loaded image. Gamma: Defines an adjustment to correct for gamma differences between Macintosh and Windows output display.
29 Settings Option Description Target XDCAM Disk Defines the connected XDCAM disk to which you want to export. Video Format Defines a video format. You can upconvert or downconvert. Sample Bit Depth Defines the audio sample bit depth, either 16 bit or 24 bit. 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.
Full Screen Playback Settings Option Description Audio Transfer Rate (PAL only) Defines the transfer rate for audio in 24p PAL film projects. The choices are: • Film Rate (100%): For 24-fps film footage transferred MOS to 25 fps by speeding up film with the audio coming in separately at 100% of the actual speed. • Video Rate (100%+): For 24-fps film footage transferred to 25 fps by speeding up the film with the audio synchronized to the video picture.
29 Settings Option Description Full Screen This option is selected by default. When this option is deselected, the video displays with as little scaling as possible. Your Avid editing application tries to display the image at its native height, and then matches the width to the height using the Aspect Ratio selection from above.
General Settings Option Description Stereo View Controls which view of stereoscopic material displays in the full-screen display: • Off: Displays both the left and right images, vertically squeezed, with the left image over the right image. This is the default view. • Left: Displays the left image. • Right: Displays the right image. • Stereo (Checkerboard): Displays both the left and the right images for stereo viewing.
29 Settings Option Description Effect Apertures Controls the number of horizontal lines of an image that your Avid editing application uses to create an effect. NTSC Has Setup • DV25: Select this option when you are using DV media exclusively. For more information, see “Setting Effect Aperture Options” in the Help. • ITU 601 (default): Select this option when you are using uncompressed media or mixed resolutions. This option allows systems using NTSC-EIAJ to use the correct color mapping.
Grid 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.
29 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.
Import 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.
29 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.
Import 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.
29 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.
Import Settings Import Settings: Audio Tab Option Description Multichannel Audio Allows you to map source audio channels to multichannel or mono tracks in your imported clips. Click Edit to open the Set Multichannel Audio dialog box and specify mono or audio tracks for a maximum of 16 audio channels. For more information, see “Importing with Multichannel Audio” on page 300. Convert source sample Controls sample rate conversion during audio import.
29 Settings Option Description Autodetect Broadcast Wave Monophonic Groups When this option is selected, your Avid editing application imports multichannel, monophonic BWF files as a single master clip. This lets you import an eight-track recording, for example, as an eight-track master clip with sequential file names based on the track order (filename_1.wav is associated with track A1, filename_2.wav is associated with track A2).
Interface 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.
29 Settings Option Description Windows Standard Alt Key Switches between standard Windows and Avid application Alt key behavior. Behavior (Windows only) When this option is selected, pressing and holding the Alt key together with another key works as a keyboard shortcut for certain Windows actions (for example, opening menus). When this option is deselected, pressing and releasing the Alt key and then pressing another key works as the Windows keyboard shortcut.
Interplay Folder, Interplay Server, and Interplay User Settings Option Description Set Lets you navigate to a directory on the Interplay Server and set a new default Interplay Root Folder. Append project to directory path Automatically adds the name of your project to the directory path specified in the Interplay Root Folder text box. Verify directory path On login: A message box asks you to confirm the directory path after you log in to Interplay.
29 Settings Keyboard Settings The following illustration displays the default keyboard settings. To view the name of a button in the Keyboard settings window, move the mouse pointer over the button. To get help for the button, right-click and select What’s This? For information on mapping buttons, see “Mapping User-Selectable Buttons” on page 115. When you open the Keyboard palette from the Settings list and select Map Foreign Keyboard, you can map user-selectable buttons to the keyboard.
Media Creation Settings Option Description Promote Title Tool Controls whether your Avid editing application promotes classic Title Tool titles to titles to Marquee Marquee when you open the title for editing from a bin or from within a sequence: Backup Title on Promote • Yes: Your Avid editing application always promotes a Title Tool title to a Marquee title. For more information, see “Promoting Title Tool Titles to Marquee” in the Marquee Help.
29 Settings Option Description On indexing failure Determines how your Avid editing application reports indexing failure messages. For information on using the Console, see “Using The Console Window” on page 118. Media Creation Settings: Common Options in Capture, Titles, Import, Mixdown & Transcode, Motion Effects, and Render Tabs Option Description Video Resolution Select a resolution.
Media Creation Settings Option Description Ancillary Data Mode Setting (Avid Nitris DX or Avid Mojo DX) This option varies depending on your Avid input/output hardware: or (Avid Nitris DX or Avid Mojo DX only) Choose between SMPTE 436M or Legacy. To capture to a data track, select SMPTE 436M or to capture ancillary data to a DNxHD video file, select Legacy Ancillary Data Enabled (Avid Adrenaline only) (Avid Adrenaline only) Select this to turn on or off the ancillary data option for all slots.
29 Settings 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. Option Description Media Services are available Ensures that you are connected to the Media Services Broker.
PortServer Settings PortServer Settings Option Description Auto-connect to LANshare at Launch Your Avid editing application recognizes LANshare workspaces when it starts. Connect/Disconnect Starts or terminates the connection. 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.
29 Settings Option Description Inhibit preloading when cueing by single frame. This option is only available with Remote Play and Remote Punch-In. Avid recommends that you do not inhibit preloading under normal circumstances. Preloading occurs by default in your Avid editing application. It improves playback performance by preparing the digital media for playback each time you cue a new frame.
Render Settings Option Description Motion Effects Render Using Determines the processing method when your Avid editing application renders existing motion effects. The following options are available: • Original Preference: Effects render as whatever type they were when originally created. • Duplicated Field: Displays a single field in the effect. For two-field media, this drops one field of the image, resulting in a lower quality image.
29 Settings Option Description Timewarps Render Determines the processing method when your Avid editing application render or rerenders Using Timewarp effects. The Original Preference, Duplicated Field, Both Fields, Interpolated Field, and VTR-Style options are the same as those for Motion Effects Render Using (see the preceding descriptions). The Blended Interpolated and Blended VTR options are also available. These options add pixel blending to the Interpolated Field or VTR-Style techniques.
Script Settings Option Description Units buttons Define the units of measurement for the three types of safe color values. The following options are available for the Luminance and RGB Gamut menus: • 8 Bit: Measures the adjustment on a scale from 0 to 255. n The RGB value for a color in the Color Correction tool is not identical to the RGB value for the same color in a graphics application such as Adobe Photoshop.
29 Settings Option Description Interpolate Position When this option is selected, you can click in a take line within a script, and the image in the Source monitor updates to the approximate position in the take where you have clicked. If you deselect this option, the Source monitor does not respond when you click in a take line. Hold Slates Onscreen When this option is selected, slates stay on the screen when you scroll through a script in the Script window.
Timeline Settings Timeline Settings Timeline Settings: Display Tab Option Description Show Toolbar When this option is selected, the Timeline top toolbar displays. Show Marked Region When this option is selected, the region from the IN point to the OUT point is highlighted in the Timeline. This option modifies the behavior of the Replace Edit function. When this option is selected, Replace Edit obeys IN and OUT marks in the Timeline.
29 Settings Option Description Movement During Play Select one option to control the movement of the Timeline while you play a sequence: • Page — moves the Timeline section by section as the position indicator reaches the end of the visible Timeline. • Scroll — moves the Timeline while keeping the position indicator stationary. • None — keeps the Timeline stationary as the position indicator moves, even after the indicator goes beyond the end of the visible Timeline.
Transfer Settings Option Description Default Segment Tool Specifies which segment tool — Segment Insert or Segment Overwrite — is enabled by default when you select segments for segment editing with no segment tools active on the Timeline palette. New Sequences Defines the number of video and audio tracks that display in the Timeline for new sequences. You can select a maximum of 24 video tracks and 24 audio tracks.
29 Settings Option Description Send to Playback • Highlight mixed-resolution items — This option allows you to identify any mixed-resolution sequences before you try to send them to playback. Output Audio Mix • Direct channel output — Select this option if you do not want to perform a mixdown on audio tracks before sending them to playback. • Stereo Output — Select this option to mix all the tracks to a stereo pair, using pan controls to split the tracks.
Trim Settings Option Description Other Workgroups Click Add to open the Add Workgroup to List dialog box. • In a workgroup environment, type the name of the other Interplay Transfer server in the Server text box, and type the name of the your workgroup in the Workgroup text box. • In a standalone environment, in the Server text box, type the computer name of other workstation, and in the Workgroup text box, type the name you want to see in the Transfer menu.
29 Settings Option Description Arrows at selected transitions When this option is selected, your Avid editing application replaces the standard trim rollers with arrows at selected transitions in the Timeline. Render On-the-Fly When this option is selected, your Avid editing application displays the results of effects as soon as you create them. This might slow down the editing of the sequence.
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 516.
29 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 (Continued) 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.
29 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 992. 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.
29 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 Option Description Manually Update This Workspace When this option is selected, your Avid editing application saves the workspace in its current arrangement when you click Save Workspace Now (which appears only after you select this option). Future changes to the arrangement of the tool windows are disregarded unless you return to the Workspace Settings dialog box and click Save Workspace Now again.
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30 File Format Specifications This chapter contains specifications and notes that are useful when you are importing or exporting specific file formats.
30 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 306. Duotone files are loaded as grayscale. Multichannel (greater than four channels) files and CMYK files are not supported. PICT (.
30 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.
30 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.
30 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.
30 File Format Specifications 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. data Information to include in the bin column. [CR/LF] (carriage return/line feed) Terminates the data. For example, the keyword/value pair uSCENE=1A[CR/LF] displays “1A” in the Scene column of the bin into which you import it.
Working with BWF Files In these examples, 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. For basic information on importing audio files, see “Importing Media Files” on page 296.
30 File Format Specifications 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. Currently, some BWF files use the format 2009/10/03 as the Shoot Date while some ALE files use 2009-10-03.
Field Ordering in Graphic Imports and Exports 7. Click Open. The file imports and a new master clip appears in the bin with all audio tracks associated with the new master clip. n Your Avid editing application might skip some audio track labels (A1, A2, A3) because there is no file for that track. For more information about importing, see “Importing Files” on page 293. Field Ordering in Graphic Imports and Exports Graphic images consist of one or more image files, each of which contains a full frame.
30 File Format Specifications • Lower field is first: The lower field in the frame (even-numbered lines) occurs temporally first, as shown in the following illustration. This arrangement is termed “lower field first” (or “upper field second”). .2 .1 .1 .2 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.
Field Ordering in Graphic Imports and Exports n When you export to DVD for TV playback, Avid recommends that you transcode any clips that do not match the field ordering of the majority of the clips. If you do not do this, the field ordering is reversed during playback. Spatial Field Relationship on Export The default export operation is automatically carried out as shown in the preceding table. The fields are properly interleaved in the export frames (one frame per file).
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31 Resolutions and Storage Requirements This chapter describes the different resolutions available in your Avid editing application and lists their specifications.
31 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 1356).
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 1332.
31 Resolutions and Storage Requirements 1346 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.
31 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.
31 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.
31 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.
31 Resolutions and Storage Requirements Project Edit Rate Resolution Name MB/Sec Raster Size 1080i 59.
Support for Uncompressed HD Media Project Edit Rate Resolution Name MB/Sec Raster Size 1080i 59.
31 Resolutions and Storage Requirements 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.
Estimating Drive Space Requirements Single-field resolutions work with smaller amounts of original image data than two-field or progressive resolutions. They use only half the image width of two-field resolutions, and they use only one of the two fields in the standard video signal. For example, there is a 2:1 resolution for both single-field and two-field resolutions. In both cases, the image data is compressed to one-half of its original size.
31 Resolutions and Storage Requirements If your needs are greater than your drive space, select a lower resolution and recalculate. The information in the storage tables is approximate, so it’s a good idea to slightly overestimate the amount of drive space you require. Storage Requirements The following topics provide estimated drive space requirements for the various resolutions.
Storage Requirements Project Format Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media (GB) Drive Space Needed for 10 Minutes of Media (GB) Drive Space Needed for 30 Minutes of Media (GB) Resolution Bits 1:1 10-bit HD 1:1 HD DNxHD 110 X DNxHD 110 DNxHD 70 DVCPRO HD XDCAM HD 50 10 8 10 8 8 8 8 720p/29.97 0.27 0.34 1.30 1.30 2.05 2.60 2.67 4.00 3.12 0.83 0.83 0.53 0.41 0.37 39.5 31.7 8.3 8.3 5.3 4.13 3.75 118.6 95.0 24.8 24.8 15.8 12.4 11.
31 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 RGB HD 1:1 10-bit HD 1:1 HD DNxHD 185 X DNxHD 185 DNxHD 120 DNxHD 36 10 10 8 10 8 8 8 1080p/25 0.08 0.14 0.17 0.78 0.78 1.18 3.97 12.44 7.24 5.79 1.28 1.28 0.85 0.25 124.4 72.4 57.9 12.8 12.8 8.5 2.5 373.2 217.3 173.8 38.4 38.4 25.4 7.
Storage Requirements Resolution 4:1s 2:1s 20:1 10:1 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 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 9.9 101 MB 1.01 GB 3.03 GB 4 9.4 106 MB 1.06 GB 3.18 GB 8 7.9 127 MB 1.27 GB 3.81 GB 0 5.
31 Resolutions and Storage Requirements Resolution 3:1 2:1 1:1 SD (Uncompressed) 1:1 10b SD (10-bit Uncompressed) 1362 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 8 6.2 161 MB 1.61 GB 4.83 GB 0 2.9 344 MB 3.44 GB 10.32 GB 1 2.9 349 MB 3.49 GB 10.47 GB 2 2.8 354 MB 3.54 GB 10.62 GB 3 2.8 360 MB 3.60 GB 10.80 GB 4 2.7 365 MB 3.65 GB 10.95 GB 8 2.
Storage Requirements Resolution 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 0.6 1.55 GB 15.5 GB 46.5 GB 8 0.6 1.58 GB 15.8 GB 47.4 GB Estimated Storage Requirements: JFIF Progressive Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 35:1 0 36.4 (NTSC) 30.3 (PAL) 27.5 MB 33.0 MB 275 MB 330 MB 824 MB 990 MB 1 30.5 (NTSC) 26.
31 Resolutions and Storage Requirements Resolution 14:1 3:1 1364 Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 4 18.0 (NTSC) 16.0 (PAL) 55.6 MB 62.4 MB 557 MB 624 MB 1.67 GB 1.87 GB 8 13.0 (NTSC) 12.0 (PAL) 76.8 MB 83.6 MB 768 MB 836 MB 2.30 GB 2.51 GB 0 14.6 (NTSC) 12.1 (PAL) 68.5 MB 82.6 MB 685 MB 826 MB 2.05 GB 2.48 GB 1 13.6 (NTSC) 11.4 (PAL) 73.8 MB 87.9 MB 738 MB 879 MB 2.21 GB 2.64 GB 2 12.6 (NTSC) 10.7 (PAL) 79.1 MB 93.
Storage Requirements Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 2:1 0 2.4 (NTSC) 2.0 (PAL) 417 MB 500 MB 4.17 GB 5.00 GB 12.5 GB 15.0 GB 1 2.4 (NTSC) 2.0 (PAL) 422 MB 505 MB 4.22 GB 5.05 GB 12.7 GB 15.2 GB 2 2.3 (NTSC) 2.0 (PAL) 427 MB 510 MB 4.27 GB 5.11 GB 12.8 GB 15.3 GB 3 2.3 (NTSC) 1.9 (PAL) 433 MB 516 MB 4.33 GB 5.16 GB 13.0 GB 15.5 GB 4 2.3 (NTSC) 1.9 (PAL) 438 MB 521 MB 4.38 GB 5.21 GB 13.1 GB 15.6 GB 8 2.2 (NTSC) 1.
31 Resolutions and Storage Requirements Resolution Audio Tracks Minutes Per Gigabyte Drive Space Needed for 1 Minute of Media 3 0.8 (NTSC) 0.7 (PAL) 1.28 GB 1.46 GB 12.8 GB 14.6 GB 38.4 GB 43.8 GB 4 0.8 (NTSC) 0.7 (PAL) 1.28 GB 1.46 GB 12.8 GB 14.6 GB 38.4 GB 43.8 GB 8 0.8 (NTSC) 0.7 (PAL) 1.30 GB 1.49 GB 13.0 GB 14.9 GB 39.0 GB 44.
Considerations for Managing Storage Considerations for Managing Storage Maximizing Drive Space If your media drive space is limited or you are capturing a large amount of source material, follow these suggestions to maximize your usage of the media drive space: n • Capture only the audio channels required for the edit. • Log in advance. Batch capture only the footage required for the edit. • Capture at a lower resolution for editing.
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32 Working with Stereoscopic Material This chapter provides information on working with stereoscopic material.
32 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.
32 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.
32 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 513.
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33 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.
33 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.
33 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 In Avid DS, you can scan and import files directly from the folders containing the raw file footage. This allows you to refine the look using the established offline settings. You can open a 4K RGB sequence, switch into proxy mode, then grade and output to HDCAMSR 4:4:4 for screenings. For final film out, you can then go back to full resolution 4K and render out .DPX or Cineon images with the proper LUT (look-up table) for the film recorder.
33 Working in High-Resolution Projects Step " Refer to this section Use the ALE to batch capture the footage in an offline “Selecting a Project Format during resolution. Capture” on page 1403. . " Use the low-res media to edit at 24/25/23.976 fps. “Viewing Video Dailies” on page 1392. “Displaying 24p and 25p Media” on page 1405. " If a retransfer is needed, use Avid FilmScribe to create an OCN (original camera negative) pull list for another telecine process of the footage used in the final edit.
Transferring Film to Tape Step " Refer to this section Transfer the project information to the Symphony system. If you are using an Avid shared storage system, the project links to the existing media. If you are not using Avid shared storage, transfer the media for reference. " (Option) For HD projects being output at 1080p, you “Changing the Project Format” on should open the 24p project and change its format to page 1406. 1080p/23.976.
33 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, 8, and 12 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.
33 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 n For more information on the film-tape-film-tape option, see “Relinking Clips by Key Number” on page 284. After you perform the final telecine operation, you can capture at a finishing resolution, such as 1:1 (uncompressed).
33 Working in High-Resolution Projects If you transfer sound along with picture, your Avid editing application captures audio at the slowed-down speed. Then during editing and playback, your Avid editing application speeds up the play rate by 0.1 percent to play in sync with the 24-fps video. Audio plays at 44100 Hz (44.1 kHz) or 48000 Hz (48 kHz). Transferring Film to Video Film runs at 24 fps, and NTSC video runs at 30 fps.
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 BWF file-based recorder. You need to synchronize the sound with the picture and make sure they are in sync in your Avid editing application. You can take one of three basic paths: • 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.
33 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 1391.
33 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.
33 Working in High-Resolution Projects DPX ARI 1 Avid MetaFuze 4 HD 4:4:4 HD 4:2:2 NTSC PAL QuickTime 4 DPX CINEON (2K, 4K) MXF CG TIF 2 AFE R3D Avid Media Composer 3 Avid DS Step 1: Offline editing with low-res media 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 to a lower SD or HD resolution.
Checklist: Editing Digital Film Footage in Media Composer n The transcoded MXF file used in Media Composer is not required for the finishing process but it could be imported onto a separate video track in Avid DS and used as part of the conform check process. Depending on your system configuration, many high-resolution formats are playable in real time—for a specific list of these formats, see the Avid DS support web at www.avid.com.
33 Working in High-Resolution Projects Step " Refer to this section (Optional) Place your RED media on a shared “Copying RED Files to a FireWire or Network Drive” on page 406. storage device such as Avid ISIS. n " " To get realtime playback of this media from your shared storage, you will require a 10GB ethernet connection. For a list of performance expectations refer to the Readme document for your Avid editing application. " Link to the source files.
Checklist: Editing Digital Film Footage in Media Composer Step " Refer to this section If you are not using AMA-linked clips, you should first make a copy of the sequence, move it to its own bin, decompose it (with handles as desired), select ALL master clips, and export as ALE with appropriate columns visible in the bin. n " If you are working with high-res files, do not use the option to extend handles beyond the master clip edges. Output the final sequence.
33 Working in High-Resolution Projects Step Refer to this section If your high-resolution media is on a shared storage device where Avid DS also has access, Avid DS automatically relinks to the files. For the complete workflow on finishing high-resolution files in Avid DS, refer to the Avid High-Resolution Workflow and Color Management Guide.
HD Workflow: Video-Based Television 1080i/59.94 HD 1 HD VTR 7 30i NTSC SD Avid Media Composer 2 33 5 6 4 9 OMFI/AAF 10 8 Avid Pro Tools 1080i/59.94 HD 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.
33 Working in High-Resolution Projects 5. If you started the project in a different format, change the project format to the corresponding HD online format — see “Changing the Project Format” on page 1406. 6. Duplicate the final sequence, and then modify the format of the sequence to create a new sequence in the corresponding HD format — see “Changing the Sequence Format” on page 1408. 7. Decompose the new HD sequence and batch capture from the source tape. 8. (Option) Import the final audio mix. 9.
Creating a Film-Based Project To create a new film-based project: 1. Start your Avid editing application. 2. In the Select Project dialog box, select the folder in which you want to create the project: Private, Shared, or External. 3. Click New Project. 4. Type the name of your new project in the text box. 5. Click the Format menu and select the most appropriate project type.
33 Working in High-Resolution Projects Format Source Output 1080p/25 High-resolution files coming from digital film cameras such Film, as RED, or HD-video originated production (shot at 25 fps). HD Broadcast, This is the most commonly used HD project in PAL-based PAL Broadcast countries. 1080i/59.94 High-resolution interlaced files (shot at 59.94 fps). HD Broadcast, NTSC Broadcast 1080i/50 High-resolution interlaced files (shot at 50 fps).
Creating a Film-Based Project 8. Click OK. Your Avid editing application creates the new project files and folder, and then returns to the Select Project dialog box. The project name is highlighted in the Projects list. 9. Double-click the project name in the Projects list to open the project or click OK with the project name highlighted. The Project window, the Composer window, and the Timeline open with the User settings loaded.
33 Working in High-Resolution Projects Selecting a Project Format during Output Before you output your sequences, make sure you select the correct project format. The following table explains how the Avid system handles the digitized media during the output process. Project Format Source footage SD 24 fps For NTSC and PAL, the system reinserts the pulldown or re-creates the speedup. 25 fps For NTSC, the system inserts 2:3 pulldown and slows down the audio by 4%. No adjustment is needed for PAL. 23.
Editing with High-Resolution Media When film reel footage is transferred from tape, you can capture it at any SD or HD resolution. The resolution at which you capture depends on the hardware capabilities of your system and the amount of storage space that you have available for the media. Some Avid editing applications let you capture HD-RGB 4:4:4 format, which provides superior quality for editing and applying effects.
33 Working in High-Resolution Projects Displaying Media While Editing When you click the Play button while editing a clip or a sequence (sometimes referred to as Edit Play), the system separates (interlaces) the progressive frames into fields and does the following: • n On the Source, Record, Playback, or pop-up monitor, your Avid editing application displays the footage at 23.976 fps, 24 fps, or 25 fps, depending on your project and editing preference.
Editing with High-Resolution Media For details, see “Offline Formats for HD” on page 1056. The Format tab in the Project window lets you change the format of the project to another format that shares the same frame rate. On systems with supported Avid input/output hardware, you can also change the raster dimension to improve performance as you edit HD projects. When you change the project format, the following changes take place: • The hardware changes to support input and output for the new project.
33 Working in High-Resolution Projects Changing the Sequence Format When your Avid editing application creates a sequence, it uses the format of the current project. You may not always need to change the edit rate of the sequence. For example, you can change an NTSC 30i sequence to 1080i/59.94 or to 720p/59.94. In other cases, you do change the edit rate, and the modified sequence uses motion adapter effects and contains other adjustments necessary to allow the sequence to play at the new edit rate.
Editing with High-Resolution Media Converting a 23.976p NTSC Sequence to 720p/23.976 Because the source edit rates are different for these formats, you cannot simply change the project and sequence format. The following sequence is based on source material shot or transferred to 720p/23.976 and edited offline in a 23.976p NTSC project. To convert a 23.976p NTSC sequence to 720p/23.976: 1. In the 23.976p NTSC project, duplicate the final sequence and move it to a new bin. 2. Decompose the sequence. 3.
33 Working in High-Resolution Projects Working with RED Media Avid Media Access (AMA) is a plug-in architecture that allows you to link directly to clips on a storage device without importing the media directly on your system. AMA allows you to be more productive by browsing and editing directly from the storage device or volume. To link to RED media, you need the RED AMA plug-in installed on your system.
Editing with Low-Res RED Media To transcode your RED Media: 1. Create a rough cut of your sequence by linking to the RED clips via AMA. 2. When you are ready to transcode, you can speed up the transcode process by setting a lower R3D Source Quality Setting. Select Tools > Media Creation. 3. Select the Mixdown & Transcode tab of the Media Creation setting. 4. Set the video playback quality from the R3D Source Quality (Debayer) menu to Quarter or Eighth.
33 Working in High-Resolution Projects This may differ depending on how the version is appended to your transcoded clips. 4. Set any other options as necessary. 5. If you would like to change the any Source Settings to achieve the look or quality to you want, you can do so at the clip level, and refresh the sequence to apply the changes at the sequence level. 6. When you are ready for final output, right-click the sequence and transcode to the online resolution including handles.
Color Management with RED Media Color Management with RED Media Avid's RED workflow allows you to work with RED .rsx files and .rlx files to manage a clip's color. You may also make non-destructive, custom color adjustments to the R3D clip. These adjustments can be made at any stage of the process—see “Adjusting RED Source Settings” on page 407.
33 Working in High-Resolution Projects You can also use HDV in other project types, but Avid editing applications are more efficient and perform better with the dedicated HDV project types. The other project types you can use include: n • PAL 25i • NTSC 30i You cannot capture or export native HDV in the non-HDV project types. Understanding HDV HDV is a low-cost prosumer format that lets you record HD video onto standard DV videocassettes.
HDV Workflow improves the performance of 1080 HDV editing. This resolution matches the 1080i HDV raster size, reducing artifacts that would come from repeated compressions when rendering effects and graphics. 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.
33 Working in High-Resolution Projects 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.
Playing Back HDV Media 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.
33 Working in High-Resolution Projects 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 1420).
Outputting HDV 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.
33 Working in High-Resolution Projects The transport stream file is created (or saved, if you used an existing transport stream). 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.
Outputting HDV See “Exporting With the Export Command or the Drag-and-Drop Method” on page 965 or “Exporting With the Send To Templates” on page 958. 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.
33 Working in High-Resolution Projects 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.
Raster Dimensions 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.
33 Working in High-Resolution Projects • HDV 1080i MXF • XDCAM HD 35Mbits MXF You can open an existing HD project (for example, a 1080i 50 HDV project) created either with an earlier version of an Avid editing application or with a version that does not support Raster Dimension selection. You can also create a new project using Raster Dimension selection that has the same size used in an existing project. Use the following guidelines when switching between existing and new project types.
Raster Sizes Availability of Raster Dimensions for Full Quality Playback Project type 1280 x 720 960 x 720 1920 x 1080 1440 x 1080 1280 x 1080 720p 23.976 Yes (standard) Yes No No No 720p 25 Yes (standard) Yes No No No 720p 29.97 Yes (standard) No No No No 720p 50 Yes (standard) Yes No No No 720p 59.94 Yes (standard) Yes No No No 1080p 23.976 No No Yes (standard) Yes No 1080p 24 No No Yes (standard) No No 1080p 25 No No Yes (standard) No No 1080p 29.
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34 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.
34 Dual Link HD RGB Support 3. Select the RGB resolution. 4. See “Capturing Media” on page 229 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. Use the HD-SDI B IN and OUT connectors for dual ingest HD-RGB capture and output on Avid Media Composer or Avid Symphony connected to a Nitris DX. 2. Click the Format tab in the Project window. 3. Click the Color Space menu and select RGB. 4.
35 International Character Support (ICS) in Avid Editing Applications This chapter provides information on international character support (ICS) in your Avid editing application.
35 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 1437.
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.
35 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.
35 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.
35 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.
35 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.
35 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.
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36 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.
36 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 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. t To map a shifted function, press and hold the Shift key on your keyboard, click the function in the Command palette, and drag it to the button in the MCS3 Controller Settings dialog box whose function you want to program.
36 Using the MCS3 Controller Option Description 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. 4x speed The jog speed does not exceed four times the recorded speed. To customize the maximum shuttle speed: t Click the Maximum Shuttle Speed menu in the MCS3 Controller Settings dialog box, and select an option. Option Description 1x The recorded frames per second.
Default MCS3 Button Mappings 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). You cannot map these buttons to other functions. Default Function Buttons Each function button is labeled with an F or W followed by a number.
36 Using the MCS3 Controller MCS3 Button Command Palette Function W6 Mark OUT W7 Go to OUT Moving Through Footage with the MCS3 Controller The jog/shuttle wheel controls how you move through footage. You toggle between Jog and Shuttle modes by pressing the wheel. When the two red arrow lights above the wheel are on, you are in Shuttle mode. Jog Mode Jog mode allows for frame-by-frame positioning, depending on how fast you turn the wheel right (clockwise) or left (counterclockwise).
Using the MCS3 for Editing Footage For information on editing footage by using the MCS3, see “Using the MCS3 for Editing Footage” on page 1449. Using the MCS3 for Editing Footage To use the MCS3 controller for editing footage: 1. Ensure that the MCS3 Controller Settings dialog box is closed. 2. Open one of the following windows: - Capture tool - Digital Cut tool - Deck Controller - Timeline The MCS3 controls the active window. 3.
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37 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.
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ABCDEFGHIJKLMNOPQRSTUVWXYZ Index Numerics 1 Pass encoding 1277 1:1 video defined 1343 1394 capturing HDV through 1416 capturing through 240, 241 connecting devices 187 1394 button playback to DV device with 512 selecting DV device with 241 selecting output device with 988 setting video quality with 516 16:9 display format (Composer settings) 1247 16:9 format 166, 1383 16-channel audio enabling 1007 2 Pass encoding 1277 2:3 pulldown transferring film to video with 1388 23.
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Add Channel button (Deck Configuration dialog box) 181 Add Comments command (Clip Name menu) 590 Add Control Key button (Command palette, Other tab) 113 Add Deck button (Deck Configuration dialog box) 181 Add Dissolve button See Quick Transition button Add Edit button 777 for maintaining sync 599 for MultiCamera editing 1213 Add Edit function for maintaining sync 599 using 700 Add Filler at Start command (Clip menu) 564 Add Keyframe button commands 1259 Add Locator button
ABCDEFGHIJKLMNOPQRSTUVWXYZ AIR Enhancer RTAS plug-in 893 AIR Ensemble RTAS plug-in 894 AIR Filter Gate RTAS plug-in 895 AIR Flanger RTAS plug-in 896 AIR Frequency Shifter RTAS plug-in 898 AIR Fuzz-Wah RTAS plug-in 899 AIR Kill EQ RTAS plug-in 900 AIR Lo Fi RTAS plug-in 900 AIR Multi-Chorus RTAS plug-in 903 AIR Multi-Delay RTAS plug-in 904 AIR Non-Linear Reverb RTAS plug-in 905 AIR Phaser RTAS plug-in 906 AIR Reverb RTAS plug-in 908 AIR Spring Reverb RTAS plug-in 910 AIR Stereo Width RTAS plug-in 911 AIR Tal
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ connecting to 1084 logging in 1084 remote assets 1079 settings for 444 using 444 using drag-and-drop method to check in assets 1093 using menu command to check in assets 1093 Asset types, selecting 1113 Attic folder described 80 See Avid Attic folder Attributes searching remote assets for 1123 Audio 16-channel output 1007 5.
ABCDEFGHIJKLMNOPQRSTUVWXYZ sync, on output 989 time compression 879 timecode for shoots 1383 tools, accessing 738 tracks, adjusting in Audio Mixer tool 770 tracks, soloing 744 transfer options 1389 transferring to Digidesign Pro Tools 1073 using leader to maintain sync 597 voice-over 810 volume, adjusting in Audio Mixer tool 770 volume, adjusting in Timeline 778 waveform plots 750 Audio Data commands (Timeline Fast menu) 750, 778, 782 Audio effects rendering order 767 Audio EQ 777 Audio EQ (Equalization) ad
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ using a GPI device with 842 Audio Punch-in tool using 813 audio sample clock 1233 Audio sample rate options 1233 Audio settings described 1232 Audio Settings dialog box adjusting digital scrub parameters 748 Audio Source Tape TC Rate (Film and 24p Settings dialog box) 178 Audio timecode 739 Audio tone media creating 209 Audio tool Calibrate mode 212, 213 checking input levels 208 described 207 digital scale 208 input levels, adjusting 208 opening 207 volume unit scale 208
ABCDEFGHIJKLMNOPQRSTUVWXYZ by Media Indexer 1303 Automatic opening of projects 57 Automation Gain and Pan 777 adjusting gain with sliders 778 Audio Mixer Fast menu commands 783 Audio Mixer tool sliders 782 controls in Audio Mixer tool, described 780 deleting keyframes in 778 enabling and adding keyframes in 778 fader controller or mixer, testing 835 keyboard shortcuts 784 moving keyframes in 778 recording 781 Track Solo and Track Mute buttons 766 Automounting workspaces ISIS v1.5 and earlier 1127 ISIS v2.
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Services 985 Avid Interplay Transcode Services 985 Avid Interplay Transfer using 444 Avid Interplay Window See Interplay Window Avid logs See also Shot log files See Shot log files clip data in 134 creating 129 custom Titles in 131 data entries in 134 formatting guidelines 129 global Titles in 130 importing ASCII file format 138 sample created with text editor 137 specifications 129 standard Titles in 131 Avid MCXpress for Windows NT importing files from 1334 Avid Media Ac
ABCDEFGHIJKLMNOPQRSTUVWXYZ Best-light transfers defined 1383 BF Essential Clip Remover AudioSuite plug-in 915 Big Trim mode described 710 switching with Small Trim mode 712 Bin columns copying information 360 Field Motion 577 Bin display 378 Bin editing in Segment mode 682 using the keyboard 682 Bin Fast menu described 345 Loop Selected Clips command 501 opening 345 Bin headings modifying data in 362 setting audio format in 742, 757 Bin settings Auto-Save options 1240 Avid Attic files setting 1240 backup op
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Bins tab (Project window) 75 Bit depth defined 1327 Black burst generator using with Digi 002 822 Black burst sync for output 989 HD formats 989 Black holes 706 Black level adjusting for input 220 adjusting for output 994 Black segment See Filler Blank button (Command palette, Other tab) 113 Blue bar See Position indicator Blue-only feature 994 BMP file format additional export options 1282 import specifications for 1328 Bomb Factory BF76 AudioSuite plug-in 916 Brief view
ABCDEFGHIJKLMNOPQRSTUVWXYZ Calibrate command (Peak Hold Menu button) 212, 213, 213, 213 Calibrate Hardware Sliders command (Audio Mixer Tool Fast menu) 783 Calibrating global output levels for audio 1003 phase controls 999 video input 220 video output using test patterns 997 video output, basic procedures 994 video output, methods described 992 calibrating audio 213 calibrating audio output 213 Calibration tone audio output 1002 creating media for 209 CamCutter files importing 314 Camera roll keypunch 1383
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ preparing decks 191 preparing for video input 218 resolution selection 197 setting custom preroll 201 setting only one mark 234 settings for 169 single video frame (General Capture Settings) 1241 source track selection 193 storage guidelines 1358 sync requirements 166 tape selection 192 targeting bins 198 targeting drives for 198 to multiple media files 177 to the Timeline 276 using time-of-day timecode 239 video transferred without pulldown 278 while logging 230 with exte
ABCDEFGHIJKLMNOPQRSTUVWXYZ assigning source colors 352 for MultiRez 1181 in a workgroup environment 351 viewing in bins 352 Clip data in Avid logs 134 Clip Frames command (Timeline Fast menu) 648 Clip Gain and Pan mode (Audio Mixer tool) 769 Clip Gain effect, adjusting volume while playing 774 Clip Info dialog box 561 Clip information displaying in the Info window 493 displaying, in a Script window 617 summary 479, 545 clip information effect summary 479, 545 Clip Name menu clearing clips with 504 switching
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ SuperBin 375 the Script window 617 Codec DV25 software 1241 Codecs Avid for QuickTime 975 Avid for use with other applications 979 copying Avid 977 DV 1268, 1270 DV25 240 Color assigning local colors in the Timeline 654 assigning source color in bins 352 changing in interface 96 frame shifts 705 Color bars adjusting video levels for tapes without 227 in Dupe Detection 701 recording bars and tone 1009 types of 220 Color column adding to bins 352 Color correction settings 12
ABCDEFGHIJKLMNOPQRSTUVWXYZ MultiCam tab 1247 Phantom Marks 1247 Second Row of Buttons 1247 Second Row of Info 1247 setting Color Framing options 705 Single Mark Editing 1247 Single-Mark Editing option 571 Stop at Head Frames 1247 Stop at Locators 1247 Stop at Tail Frames 1247 Sync Point Editing option 1247 Tick Marks in Position Bars 1247 Undo Only Record Events 567, 1247 Window tab 1247 Composer window customizing 487 resizing 488 Compression defined 1343 in relation to drive space 1343 in relation to imag
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Panasonic P2 files 392, 396 RED files 406 remote assets 1104, 1115 segments in Timeline 681 text from the Info window 493 text in the Script window 620 to Clipboard 587 Copying XDCAM files 322 Core AudioSuite plug-ins 885 CoreAudio driver configuration 840 Correction Mode settings Features tab 1251 Correction settings AutoCorrect tab 1251 described 1251 Crash recording 1019 Create Subclip icon (Composer window) 519 Create Subsequence icon (Composer window) 521 Creating a f
ABCDEFGHIJKLMNOPQRSTUVWXYZ pausing while logging 146 Deck Configuration settings Add Channel options 181 adjusting 181 Deck settings 1253 deleting elements in 186 described 1252 Deck controller 111 in Digital Cut tool 1014 Deck Preferences dialog box enabling assemble-edit recording 1010 Deck Preferences settings described 1254 for assemble-edit recording 1010 Deck Selection menu (Capture tool) 191 Deck Selection menu (Digital Cut tool) 1014 Deck settings described 1253 Fast Cue option 1253 options 1253 Pre
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Desktop Play Delay dialog box 499 Destination bins selecting 198 Destination drives selecting 198 Destination timecode rate 1029 Details command (View menu in Windows Explorer) 66 Device Code option (Remote Play and Capture settings) 1307 Device commands (Special menu) 241, 512, 988 Devices for transferring files 1069 Dialog in the lined script 611 Dialog boxes Add Scene/Page 622 Archive to Videotape 475 audio export settings 1281 Change Scene/Page 622 Controller Settings
ABCDEFGHIJKLMNOPQRSTUVWXYZ Disabling SuperBin 375 Disabling available resolutions 171 Displaying audio pan and gain automation 749 audio waveforms 750 bin column headings 362 changing fonts 1119 column headings (Interplay Window) 1109 locator comments 529 sync breaks 593 take numbers in slates 630 tracking information 489 Displaying 24p and 25p media during a digital cut 1405 while editing 1405 Displaying film columns 153 Dissolve effects audio 791 Skip Existing Transition Effects option 791 Dissolve Icons
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ duplicating clips and sequences with 346 duplicating settings 1223 Duplicating assets when dragging from the Interplay Window 1091 clips and sequences 346 settings 1223 Duration tracking 490 DV capturing 241 capturing, overview 240 devices, connecting 187 devices, selecting 241 devices, selecting for output 988 DV 25 software codec 240 DV 25, capturing 240 playing back 512 DV audio pattern 1233 DV capture offset described 242 DV Codec 1268, 1270 DV digital cut delay descri
ABCDEFGHIJKLMNOPQRSTUVWXYZ single-mark 571 Splice-in 569 undoing or redoing 567 EDL (edit decision list) creating 1034 described 1034 Effect Editor Settings described 1259 Effect templates using with mixed rate clips 579 Effects Audio EQ 798 finding information about 479, 545 location 479, 545 nesting described 684 rendering AudioSuite plug-in 878 rendering, for digital cut 1011 Ejecting drives See Unmounting drives Ejecting tapes with a button or key 270 Embedded audio and sample rate conversion 1007 Empty
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Video Compression options 1069 video compression options 1276 Windows Media Export options 1277 XDCAM 1285 Export Settings dialog box 969 Export Settings dialog box options 1262 Export settings, video compression options 1276 Exporting AAF files 970 audio tracks 1281 AVI files 1275 bins as AFE files 973 clips 965 data track 1052 DV Stream files 1262 frames 965 from a third-party QuickTime or AVI application 979 graphic files 1281 OMFI files 970 preparing sequences for 957
ABCDEFGHIJKLMNOPQRSTUVWXYZ FaderMaster Professional fader controller connecting 834 described 817 recording audio gain 820 Fading audio 791 Fading audio 1233 Fast command (Vertical Scroll Speed menu in Mouse Settings dialog box) 40 Fast Cue option (Deck settings) 1253 Fast Forward button described 507 moving between audio keyframes with 784 Fast Forward options (Composer settings) 1247 Fast menus Settings display in the Project window 1221 Field dominance described 1341 Field dominance, Import Settings opti
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Filter Automation Pan command (Audio Mixer Tool Fast menu) 783 Filtering drives 173 search results 555 Filtering drives 110 Filtering results 554 Final Cut Pro importing shot logs from 122 Find 552 Find Bin button 543, 544 in the Script window 641 Find Black Holes command (Clip menu) 706 Find command (Edit menu) 538, 622 Find Flash Frames command (Clip menu) 706 Find Frame button 544 Find Next Mismatched or Unavailable Clip command (MultiRez menu in Timeline) 1185 Find Scr
ABCDEFGHIJKLMNOPQRSTUVWXYZ Frame count numbers 373 tracking with ink numbers and file names 358, 358 Frame offset 536 Frame rates mixing and matching 572 Frame view (bin display) arranging 341 described 341 in the Media tool 448 Frame-accurate recording 1009 Frame-based counting 373 Frame-by-frame movement in Timeline 670 Frames aligning in bins 341 changing frame identifying a clip 341 changing size in bins 341 changing size in Research panel (Interplay Window) 1109 enlarging or reducing in Research panel
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ exporting 1281 field ordering in 1339 import specifications 1327 preparing for import of 1327 recommended field settings 1340 Grid Safe Action setting 1291 Safe Title setting 1291 Grid settings Coordinates tab 1291 described 1291 Display tab 1291 Group clips command (Bin menu) 1202 creating 1202 dialog box options 1202 Video Quality settings 1210 Group menu 1213 Grouped clips frame rate limitations 579 Grouping procedures 1202 Guidelines for film-to-tape transfers 1383 for
ABCDEFGHIJKLMNOPQRSTUVWXYZ Home key 509 House sync for output 989 Hue slider adjusting for video input 220 adjusting for video output 994 I ICS choosing a locale for (Macintosh) 1430 choosing a locale for (Windows) 1429 recommendations and restrictions 1438 using to display and input characters 1429 IEEE 1394 command (Device submenu of Special menu) 512, 516, 988 IEEE-1394 capturing through 240, 241 connecting devices 187 IFF file format import specifications for 1328 Ignore Track Selectors options (Compos
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ In-progress clips capturing, overview 245 duration 245 editing overview 1098 editing workflow 1099 limitations 1100 sending sequences to playback 1098 Input audio 204 Input Gain 1233 Input Level slider 1233 Insert edits 569 Insert-edit recording 1009 with pulldown 1030 Installing Avid Codecs for QuickTime 977 Installing AudioSuite plug-ins 874 Interactive screenings in Script window 642 Interface settings described 1299 General tab 1299 Interface settings (Appearance tab)
ABCDEFGHIJKLMNOPQRSTUVWXYZ ITU-R 292M video standards 1343 ITU-R 601 video standards 1343 J JFIF interlaced media specifications 1348 storage requirements 1360 JFIF progressive media specifications 1349 storage requirements 1363 J-K-L keys audio scrub with 747 changing representative frame in bin 341 playing and shuttling footage with 510 trimming on-the-fly with 724 JL Cooper Media Control Station3 1443 Jog mode Avid Artist Series controller 861 MCS3 controller 1448 Jog speed MCS3 controller 1443 JPEG fil
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ See LTC (longitudinal timecode) Linecut option (MultiCamera) 1212 Lined script 611 Link Toolset dialog box 69 Linking toolsets and workspaces 69 Linking clips to script 625 Linking clips to script with ScriptSync 637 Live Mix mode 785 Audio Mixer Tool controls 788 Audio Mixer tool Fast menu commands 789 entering 786 example 790 external controllers 786 switching to other Audio Mixer modes 788 Load Filler command (Clip Name menu) 564 Load Media Database command (File menu)
ABCDEFGHIJKLMNOPQRSTUVWXYZ LTC (longitudinal timecode) capturing with 274 establishing sync for output 990 output for 24p and 25p projects 1028 output for downstream encoding 1029 reading user bits in 739 Luminance settings adjusting for video input 220 adjusting for video output 998 table of 998 video input 220 M Macintosh Dock, using 39 Macintosh systems limitations with NTFS drives 1077 Maintaining synchronized sound 1389 Make New using template 963 Make Subclip button 519 Managing media files 443 Mappi
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ MCS3 controller 1443 Mbox audio devices compared 831 configuring 832 passthrough monitoring 833 MCS3 controller 1443 MCS-3000X fader controller connecting 834 described 817 recording audio gain 820 Media importing from P2 card 328, 328 Media creation restricting resolutions for 171 Media Creation command (Tools menu) 169, 173, 296, 330 Media Creation dialog box setting file format for import 296 Media Creation settings ancillary data 1048, 1049 Capture tab 1304 described 1
ABCDEFGHIJKLMNOPQRSTUVWXYZ Custom Sift (Bin menu) 379 Delete (Edit menu) columns 356 Delete Take (Script menu) 627 Duplicate (Edit menu) 1223 Enlarge Frame (Edit menu) 627 Export (File menu) 973 Find (Edit menu) 622 Find Black Holes (Clip menu) 706 Find Flash Frames (Clip menu) 706 Get Bin Info (File menu) 118 Get Position Info (File menu) 118 Go To Page (Script menu) 622 Go To Scene (Script menu) 622 Group Clips (Bin menu) 1202 Hardware (Tools menu) 120 Home (Windows menu) 658 Left Margin (Script menu) 617
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ settings 1221 the pulldown phase after capturing 287 Monitor resolutions NTSC, PAL, HD 1344 Monitoring audio output global levels 1002 icons (Track Selector panel) 688 tracks 688 Monitors Capture in Progress slide 245 clearing clips from 504 displaying sequence information using 493 ganging footage in 599 hiding video in 488 loading footage 502 resizing 488 resizing Record 488 Mono option (audio) 795 More Detail command (Timeline Fast menu) 648 Motion Adapter effect adjust
ABCDEFGHIJKLMNOPQRSTUVWXYZ bin and column headings for 1186 clip coloring for 1181 deleting clips 1190 described 1151 examples 1181 partially online clips, consolidating and deleting original media 1193 partially online clips, restoring from an archive 1164, 1194 partially online clips, viewing source in Timeline 1192 quality matching 1194 Send to Playback command with 1180 Multirez clip coloring examples 1182 MultiRez button (Timeline) enabling dynamic relink 1171 showing available media 1180 summary of ri
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ luminance values 998 transferring 24-fps film to 1387 waveform values 220 NTSC Has Setup option 178 NTSC Has Setup option (General Settings dialog box) 992 NTSC-EIAJ format setting 178 video output calibration 992 waveform values 220 Numeric keypad support for multicamera editing 1211 O Offline editing detecting color-frame shifts during 705 detecting duplicate frames during 701 SD formats for HD masters 1056 Offline items selecting in bins 354 Off-screen dialog in the li
ABCDEFGHIJKLMNOPQRSTUVWXYZ optical 1233 options 987 preparing for 987 rendering effects before 1011 selecting analog video signal 992 selecting device for 988 video calibration for NTSC-EIAJ 992 video, adjusting luminance settings 998 video, basic calibration 994 video, calibrating 992 Output formats for 24p and 25p projects 1024 Output Gain 1233 Output timecodes displaying in bins 360 Output to DV Device command (Video Quality menu) 512 Overlap edits audio 521 creating 726 using extend edits 727 Override W
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ digital audio scrub 749 Phantom marks 606 Phantom Marks options (Composer settings) 1247 Phase controls adjusting for output 999 PhaseScope AudioSuite plug-in 938 Phonetic indexing using to link clips with script 637 Phonetic search 551, 552 Photo CD file format import specifications for 1328 Photoshop file format additional export options for 1282 import specifications for 1329 Photoshop files importing multilayered 306 importing single-layer 310 PhraseFind 551, 552 selec
ABCDEFGHIJKLMNOPQRSTUVWXYZ in Timeline 667 using 505 Position indicator lights (Automation Gain and Pan) 766 Postroll in Trim mode playback loop 723 Power schemes (Windows) 188 Preferences fonts 1119 Premultiplied alpha 1327 Preparing for batch capturing 248 for importing files 294 for output 987 for video input 218 hardware before capturing 166 record tapes 1009 sequences for export 957 shot log files with MediaLog 139 shot log files with text editors 138 Preroll custom for capturing 201 custom for digital
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ exporting as AFE files 973 files, restoring from backup 64 film, capturing digital audio 197 opening 57 opening automatically 57 Raster Type selection 54 relinking media files for 473 remote assets 1079 removing shortcuts in Interplay Window 1106 restricted characters in names 54 saving 64 shared, opening 105 sharing on Avid Unity 103 startup 57 types 53 video, using script integration in 613 workgroup project settings 1079 Projects folder See Avid Projects folder Promotin
ABCDEFGHIJKLMNOPQRSTUVWXYZ R Raster sizes 1424 Raster types described 1423 DVCPro HD 1423 HDV 1423 raster sizes 1424 Standard 1423 XDCAM HD 1423 Ratcheting play speed 510 Read Audio Timecode command (Special menu) 739 Read Audio Timecode dialog box 739 Real Time Update option 1259 Realtime Encoding command (Video Quality menu) 512 Rearranging clips in bin Frame view 341 clips in bin Script view 343 Recapturing See also Autocapturing See also Batch capturing See also Capturing master clips and subclips 252
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ selected clips 472 Remote assets See also Interplay Window accessing assets 1097 automatically checking in to asset manager 1096 Avid assets 1079 capturing to asset manager 1124 checking in all open bins 1093 checking in bin contents 1093 checking in to asset manager 1093 checking out assets by updating 1096 checking out from asset manager 1090 checking out from Interplay database 1092 copying 1104, 1115 deleting 1104 finding 1120 moving 1104, 1115 permissions 1104 reserva
ABCDEFGHIJKLMNOPQRSTUVWXYZ described 1101 displaying multiple tabs 1118 hiding columns 1109 Media Search tab 1121 modifying the display 1107 moving columns 1109 sorting columns 1109 Research Panel tabs 1118 Reservations 1101, 1102 Reset Peak button (Audio tool) 208 Resizing Audio Mixer tool 765 Capture tool 248 Composer window 488 Record monitors 488 slates in the Script window 627 Source and Record monitors 488 Resolution groups image quality and 1356 Resolution Tracking command (Clip Color submenu in Time
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ AIR Talkbox 912 AIR Vintage Filter 914 Runup option (Remote Play and Capture settings) 1307 RY Gain slider adjusting for video input 220 adjusting for video output 994 S Safe Action option (Grid settings) 1291 Safe Colors defining units of measurement for 1310 Safe Colors settings described 1310 Safe Title option (Grid settings) 1291 Sample Plot command (Timeline Fast menu) 753 Sample rate audio, converting during capture 202 changing conversion quality 1233 converting 12
ABCDEFGHIJKLMNOPQRSTUVWXYZ described 1311 using 617 Script Settings dialog box 617 Script text changing font of 620 cutting, copying, and pasting 620 removing 620 selecting 620 Script view (bin display) adding text 343 described 343 in the Media tool 448 playing clips in 343 Script window adding color indicators 633 adding page and scene numbers 622 adding takes 630 adjusting margins 617 adjusting take lines 630 changing fonts 620 changing scene or page numbers 622 cutting, copying, and pasting text in 620
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ in the Timeline 682 marking segments 680, 682 Segment Drag Sync Locks option 677 using 659, 671 workflow 659, 671 Segment Mode buttons 672 Segments copying and pasting in Timeline 681 cutting from Timeline 681 deleting in Segment mode 679 lassoing 672 marking 519 marking in Segment mode 680, 682 moving in sync 677 selecting 672 Select All command (Edit menu) 250 Select All Tracks command (Edit menu) 685 Select Media Relatives command (Bin menu) 354 Select Offline Items com
ABCDEFGHIJKLMNOPQRSTUVWXYZ making the first edit in 565 marking IN and OUT points in 516 modifying formats 1176 moving 346 moving in and out of SuperBin 375 output options for 987 playback loop in 591 playback performance tips for 592 playing 591 playing using buttons 507 preparing for export 957 recapturing 252 recapturing without Decompose 261 refreshing Motion Adapter effects 586 renaming 561 replacing grouped clips 1215 reviewing 591 rough cut 566 searching for 538 searching remote assets 1123 selecting
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ interface (Appearance tab) 95 Interplay Folder 1300 Interplay Server 1300 Interplay User 1300 location of 50 Marquee Title 1302 Media Creation 1303 Media Files Capture 177 Media Services 985, 1306 modifying 1221 Mouse 40, 1306 moving between settings files 1226 moving between systems 1075 multiple, working with 1218 OMFI export 1265 opening 81 overview of 1218 PortServer 1307 project described 1218 Remote Play and Capture 1307 renaming 1224 Render 1308 restoring defaults 1
ABCDEFGHIJKLMNOPQRSTUVWXYZ Shutting down the system 62 Shuttle mode, MCS3 controller 1448 Shuttle ring Avid Artist Series controller 861 Shuttle speed, MCS3 controller 1443 Shuttling J-K-L key method 510 Sifting clips and sequences 379 Signal Generator AudioSuite plug-in 946 Signal sequences GPI 843 Single Mark Editing option (Composer settings) 1247 Single track monitoring See Solo track monitoring Single/Dual Drive Mode button (Capture tool) 198 Single-field step 507 Single-mark editing 571 Single-Mark Ed
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Sound timecode logging additional 159 Source and Record monitors resizing 488 Source colors assigning in bins 352 displaying in Timeline 650 Source material displaying in the Timeline 663 loading into monitors 502 Source monitor described 487 Source settings RED 407, 411 Source tapes selecting for capturing 192 Source tracks selecting for capturing 193 Source/Record Editing command (Toolsets menu) 488 Source/Record mode customizing window settings 487 entering 560 slipping
ABCDEFGHIJKLMNOPQRSTUVWXYZ DV resolutions 1366 JFIF interlaced 1360 JFIF progressive 1363 MPEG resolutions 1366 Storing 24p and 25p media 1405 Story body changing fonts 1119 Storyboard creating from a bin 377 Storyboard editing from the Script window 643 Stream Limit video display setting 1318 Striped drives capturing 166 online information for 167 Striping record tapes 1009 Subcataloging footage 516 Subclip status (Capture tool) 267 Subclips See also Clips See also Master clips audio sync for 24p and 25p 5
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Sync Point Editing (SPE) 600 Sync Point Editing option (Composer settings) 1247 Sync Selection dialog box 602 Synchronized sound maintaining 1389 Synchronizing video and audio subclips 601 Sync-locked tracks 596 System information displaying 118 System memory usage 91 T Tail button 699 Tail command performing a quick edit with 699 Takes (script integration) adding 630 adjusting lines in 630 applying color indicators 633 applying off-screen indicators to 632 changing repre
ABCDEFGHIJKLMNOPQRSTUVWXYZ Time Shift AudioSuite plug-in 949 Timecode breaks, capturing across 175 changing 561 default starting 1289 display options for 24p and 25p projects 360 drop-frame and non-drop-frame described 186 entering 159 entering additional 159 external, capturing with 274 finding frames with 536 formats for entering SMPTE standard 536 indicating the destination rate 1029 logging drop-frame and non-drop-frame 141 selecting format for output 1028 time-of-day, capturing with 239 Timecode window
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ Time-of-Day Information, using to log 289 Time-of-day timecode capturing with 239 external source 274 Time-remaining display (Capture tool) 198 Timewarp effect field-stepping in draft qualities 579 Tips logging 141 playback performance 592 Title tool backing up titles when promoting to Marquee 1302 Toggle Source/Record in Timeline button (Timeline) 589, 663 tone generator calibrating audio 213 Tone media creating 209 recording to tape 1009 Tool palette displaying text labe
ABCDEFGHIJKLMNOPQRSTUVWXYZ preferences for creating and enabling 563 selecting 685 selecting for audio scrub 746 selecting for audio scrub (soloing) 744 selecting for capturing 193 setting up for a new sequence 563 soloing 688 soloing, advantages of 687 sync locking 691 trimming with sync-locked 728 Training services 27 Transcode RED clip 415 Transcoding mixed-rate clips 579 options for 459 procedure for 459 Transcoding HDV 1418 Transfer settings in an Avid editing application 1138 Transferring audio files
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ described 1317 Render On-the-Fly option 1317 Trim Mode options 1317 Trimming adding filler during 728 basic procedure 722 during a playback loop 725 maintaining sync during 728 on-the-fly 724 reviewing 723 selecting sides 714, 724 single roller trim 718, 720 Timeline palette 710 trim states 713 two heads or tails 717 video tracks 716 with sync-locked tracks 728 Troubleshooting 26 vertical blanking interval information problems 1040 Turning off equipment 62 Turnover points
ABCDEFGHIJKLMNOPQRSTUVWXYZ User settings described 1218 linking with workspaces 101 selecting a user from 1223 Users folder See Avid Users folder User-selectable buttons Add Locator 526 V Variable-speed play 510 Varicam support for Panasonic camera 291 VBI (Vertical Blanking Interval) 1037, 1320 preserving information 992 VC1 (Windows Media option) 984, 1351 Vectorscope monitor using 220 Vertical Blanking Interval and effects 1040 and video quality 1040 line ranges in 1037 preserving information 1037, 1320
Index ABCDEFGHIJKLMNOPQRSTUVWXYZ mixing 1356 specifications 1345 storage in minutes per gigabyte 1358 storage requirements for 1357 Video test patterns 997 Videotape archiving media files with 474 capturing bars and tone from 312 guidelines for naming 141 restoring media files from 478 Videotape decks See Decks Videotapes See Tapes View Name dialog box (bin) 340 View Type command (Timeline Fast menu) 698 View, bin customizing 340 saving 340 types of 340 View, Timeline Heads and Heads Tails 698 Viewing bin
ABCDEFGHIJKLMNOPQRSTUVWXYZ film scene 372 film source 1379 GFCAM 439, 440 graphics for HDTV 1400 MXF 442 outputting a sequence 34 Panasonic P2 437, 438 preparing to edit 31 QuickTime 440 script integration 613 Segment mode 659, 671 Sony XDCAM 317 Sony XDCAM and XDCAM EX 434 Sony XDCAM low-resolution 436 starting a project 30 video-based HDTV 1398 Workgroup environment working with Avid Interplay 444 working with media files 444 Workgroup settings 1084 Workgroups configuring Interplay Server settings 1084 co
Index 1512 ABCDEFGHIJKLMNOPQRSTUVWXYZ
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