5.5

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Table Of Contents

Title Page
Contents
Using This Guide
- Symbols and Conventions
- If You Need Help
- Accessing the Goodies Folder
- Avid Training Services
Editing Overview
- Editing Workflow
- Starting a Project
- Preparing to Edit
- Editing a Sequence
- Outputting a Sequence
Starting a Project
- Turning on Your Equipment
- Working with the Desktop
- Starting Your Avid Editing Application (Windows)
- Starting Your Avid Editing Application (Macintosh)
- Working with Projects
- Creating a New Project
- Setting Project-Naming Conventions
- Opening and Closing Projects
- Deleting a Project
- Quitting and Turning Off Equipment
- Changing Project and User Names
- Backing Up Your Project Information
- Avid Attic Folder
  - Retrieving Files from the Avid Attic Folder (Windows)
  - Retrieving Files from the Avid Attic Folder (Macintosh)
- Using Toolsets
Working with the Project Window
- Overview of the Project Window
- Controlling Project Window Display
- Using the Bins Tab
- Using the Settings Tab
- Using the Format Tab
- Working with Color Spaces in HD Projects
- Changing the Project Color Space for an HD Project
- Using the Usage Tab
- Using the Info Tab
- Managing Bins and Memory
- Understanding User Profiles
- Managing User Profiles
- Customizing the Avid User Interface
  - Changing Interface Component Colors
  - Changing Font and Point Size
- User-Customized Workspaces
- Working with Bins and Projects in an Avid Shared Storage Environment
Using Tools
- Using the Tools Menu
- Using a Deck Controller
- Deck Controller Window Reference
- The Command Palette
- Using the Avid Calculator
- Using The Console Window
- Using the Hardware Tool
- External Controllers as Editing Control Surfaces
Logging
- Using Avid Log Exchange to Prepare Log Files for Import
- Avid Log Specifications
- Creating an Avid Log
- Double-Checking Log Files
- Transferring Bins from MediaLog
- Logging Directly into a Bin
- Understanding the Pulldown Phase
- Setting the Pulldown Phase
- Film-Related Log Information
Preparing for Capture
- Logging and Shot Logs
- Importing Shot Log Files
- Preparing the Hardware for Capture
  - Getting Information About Striped Drives
  - Establishing Sync for Audio-Only Input
- Selecting Settings for Capture
- Configuring Decks
  - Configuring a Deck or Multiple Decks
  - Deleting Deck Configuration Elements
- Understanding Timecode
- Connecting a DV Device
- Setting Up the Capture Tool
- Preparing to Capture Audio
- Preparing to Capture Video
- Capture Preparations Check List
Capturing Media
- Capturing and Logging at the Same Time
  - Naming Clips and Adding Comments in the Capture Tool
  - Capturing by Setting Both Marks
  - Capturing by Setting Only One Mark
  - Capturing On-the-Fly
  - Preparing to Autocapture
  - Autocapturing
  - Capturing from a Non-Avid-Controlled Deck
  - Capturing with Time-of-Day Timecode
- Capturing Directly from a DV Device
  - Capturing DV 25 Media
  - Selecting the DV 25 Software Codec
  - Capturing DV 50, DVCPRO HD, or HDV Media
  - Selecting a DV Device
  - Understanding DV Capture Offset
  - Capturing DV Material with Offset
- Frame Chase Capture
  - Understanding Frame Chase Capture
  - Enabling Frame Chase Capture
  - Requirements and Guidelines for Frame Chase Capture
- Batch Capturing from Logged Clips
  - Preparing to Batch Capture
  - Batch Capturing Clips
- Recapturing and Decomposing
  - Understanding Recapturing
  - Understanding Decompose and Expert Decompose
  - Decomposing Sequences
  - Using Expert Decompose
  - Recapturing a Sequence Without Using Decompose
- Alternate Source Capture
- Using Capture Function Keys
- Handling Errors During the Capture Process
- Creating Subclips While Capturing
- Adding Locators On-the-Fly While Capturing
- Naming a New Tape from the Keyboard While Capturing
- Controlling Decks from the Keyboard
- Ejecting Tapes with a Button or Key
- Using Dolby E Media
  - Selecting Dolby E Safe Settings
  - Capturing Media with Dolby E Information
- Delaying Audio During Capture
- Live Capturing with External Timecode
- Capturing to the Timeline
- Capturing Video Without Pulldown into a 24p NTSC Project
- Remote Play, Capture, and Punch-In
  - Selecting Remote Play and Capture Settings
  - Enabling Remote Capture
  - Enabling Remote Play
  - Setting up Your System for Remote Punch-In
  - Using Serial Drivers with Remote Play and Capture (Windows XP Only)
- Relinking Clips by Key Number
- Modifying the Pulldown Phase After Capturing
- DV and HDV Scene Extraction
- Using the Panasonic VariCam
Importing Files
- Preparing to Import Files
- Creating and Modifying Import Settings
- Importing Media Files
- Importing with Multichannel Audio
- Importing Audio Files from a Music CD
- Adjusting Gain Before Importing Audio Files
- Sample Rate Conversion and Audio Import
- Setting Sample Rate Conversion Options Before Importing Audio Files
- Photoshop Graphics Import
  - Support for Multilayered Photoshop Graphics Import
  - Importing Photoshop Files
- Digital Bars and Tone
- Importing Color Bars and Other Test Patterns
- Importing Editcam Files
- Setting XDCAM Import Options
- Importing XDCAM Media
- Importing XDCAM EX Media
- Automatically Importing Proxy Media from an XDCAM Device
- Importing Proxy Media from an XDCAM Disk
- Copying XDCAM Proxy Media to a Local Drive or a Server
- Manually Importing XDCAM Media from the XDCAM Disk
- Importing Essence Marks as Locators in XDCAM Media
- Editing XDCAM Proxy Media
- Batch Importing High-Resolution XDCAM Media from the XDCAM Disk
- Editing and Finishing High-Resolution XDCAM Media
- Importing P2 Clips and Media
- Importing Sequences from Pro Tools through Interplay
- Using the Drag-and-Drop Method to Import Files
- Reimporting Files
- Batch Import Dialog Box
Working with Bins
- Object Icons in Bins
- Bin Views
- Bin Procedures
- Working with Bin Columns
- Modifying Clip Information
- Working with Film Information in Bins
- Working with the SuperBin
- Creating a Storyboard
- Setting the Bin Display
- Sifting Clips and Sequences
  - Understanding Sifting Timecodes or Keycode Ranges
  - Sifting Timecodes or Keycode Ranges
- Working with Restricted Material
- Printing Bins
File Based Media - AMA
- XDCAM and XDCAM EX Media
- P2 Media
- Canon XF Media
- GFCAM Media
- RED Media
- QuickTime Media
  - Supported QuickTime AMA Codecs and Resolutions
- MXF Media
  - MXF Media and AMA
  - MXF Formats and Resolutions
- The Avid Media Access (AMA) Workflow
- Workflows for Editing with AMA
Managing Media Files
- Working with Media Files in an Avid Interplay Environment
- Using Avid Editing Systems in an Avid LANshare Workgroup
- Viewing Media with a 100Base-T Connection to Avid ISIS
- Understanding Drive Mounting
- Mounting and Unmounting Drives
- Using the Media Tool
- Consolidating Media
- Using the Consolidate Command
- Using the Transcode Command
- Loading the Media Database
- Refreshing Media Directories
- Deleting Unreferenced Clips and Media
- Backing Up Media Files
- Finding a Related Media File
- Relinking Media Files
- Unlinking Media Files
- Archiving and Restoring Media Files to Videotape
  - Archiving Media Files
  - Restoring an Archive from Videotape
- Sequence and Clip Information Summary
  - Creating a Summary of Effects and Source Information
  - Summary Information Options
Viewing and Marking Footage
- Viewing Methods
- Customizing the Composer Window and Monitors
  - Resizing the Composer Window and Monitors
  - Displaying Tracking Information
  - Tracking Format Options
- Using the Info Window
- Using the Timecode Window
- Playing Video to the Client Monitor
- Activating and Deactivating the Client Monitor Display
- Selecting the Video Display Settings
- Playing Video to a Full-Screen Monitor
- Adjusting the Play Delay Offset
- Using the Tool Palette
- Playing Selected Clips in a Loop
- Loading and Clearing Footage
  - Loading Clips or Sequences into Monitors
  - Switching Between Loaded Clips
  - Clearing Clips from Monitors
- Controlling Playback
  - Using Position Bars and Position Indicators
  - Playback Control Buttons
  - Stepping Forward and Backward by Field
  - Playback Control Using the Keyboard
  - Playing Footage with the J-K-L Keys (Three-Button Play)
- Playing Back to a DV Device
- Video Quality Options for Playback
- Setting the Video Quality for Playback
- Marking and Subcataloging Footage
  - Marking IN and OUT Points
  - Marking an Entire Clip or Segment
  - Creating Subclips
  - Creating Subsequences
  - Subclips and Audio Sync for 24p and 25p Projects
  - Marking Audio Clips
- Using Locators
  - Suggested Uses for Locators
  - Adding Locators While Editing
  - Adding Locators On-the-Fly while Playing
  - Finding Locators
  - Editing Locator Information
  - Copying Locators from Source Clips
  - Marking an Area Using Locators
  - Moving to the Previous or Next Locator
  - Deleting Locators
  - Using the Locators Window
  - Viewing Locators in the Locators Window
  - Working in the Locators Window
  - Exporting and Importing Locators
  - Creating a Locator Text (.txt) File
  - Copying and Pasting Locators Using the Locators Window
  - Printing the Contents of the Locators Window
  - Disabling the Locator Edit Window
- Finding Frames, Clips, and Bins
  - Using Timecode to Find a Frame
  - Searching for a Clip or Sequence with Text Find
  - Using Match Frame
  - Performing a Reverse Match Frame
  - Selecting Tracks for Matching Frames
  - Finding a Bin
  - Locating a Master Clip from a Subclip in a Sequence
  - Finding a Frame
- Sequence and Clip Information Summary
  - Creating a Summary of Effects and Source Information
  - Summary Information Options
PhraseFind
- Selecting your Language
- Starting an Audio (Phonetic) Find
- The Results Window
- Filtering Your Results
- Find Window Attributes
Creating and Editing Sequences
- Entering Source/Record Mode
- Creating a New Sequence
  - Changing the Name and Timecode for a Sequence
  - Track Display for New Sequences
  - User Preferences for Creating Tracks
  - Adding Filler
- Making a First Edit
- Creating an Instant Rough Cut
- Undoing or Redoing Edits
- Editing Additional Clips into the Sequence
  - Performing an Insert or Splice-in Edit
  - Performing an Overwrite Edit
  - Performing a Replace Edit
  - Enabling Single-Mark Editing
- Mixing Frame Rates and Field Motion Types
  - How Your Avid Editing Application Handles Mixed Rate Clips
  - Viewing Mixed Rate Clips in the Timeline
  - Viewing and Adjusting Motion Adapter Parameters
  - Modifying the Field Motion Attribute for a Clip
  - Considerations When Working with Mixed Rate Clips
- Mixing Frame Sizes and Aspect Ratios
  - How Your Avid Editing Application Reformats Clips in Sequences
  - Changing the Aspect Ratio for a Project
  - Modifying the Reformat Attribute for a Clip
  - Reformatting Options Reference
- Refreshing Sequences to Use Current Clip Attributes
- Lifting, Extracting, and Copying Material
  - Using the Avid Clipboard
- Adding Comments to Sequence Clips
- Playing Back a Sequence
  - Playback Performance Tips
  - Playing a Limited Duration of a Sequence
- Understanding Sync Breaks
- Fixing Sync Breaks
- Understanding Sync Lock
  - Syncing with Tail Leader
  - Syncing with Locators
  - Using Add Edit When Trimming
- Ganging Footage in Monitors
- Sync Point Editing
- Autosyncing Clips
  - Understanding Autosyncing
  - Creating an Autosynced Subclip
- Understanding AutoSequence
- Adding Audio or Video to Original Videotape Using AutoSequence
- Resyncing Subframe Audio
- Resyncing Audio for a Selected Subclip
- Working with Phantom Marks
- Creating Video and Audio Leaders
- Using MetaSync to Synchronize Metadata
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 Script Window
- Indicating Off-Screen Dialog in a Script
- Using Color Indicators in the Script Window
- Script Marks
- Finding Clips and Script
- Editing From the Script Window
  - Assembling a Rough Cut From the Script Window
  - Splicing a Script Range
Using the Timeline
- Customizing Timeline Views
- Navigating in the Timeline
- Working with Segments
- Working with Multiple Tracks
- In to Out Highlighting in the Timeline
- Editing in Heads or Heads Tails View
- Performing a Quick Edit Using the Top and Tail Commands
- Working with Add Edits (Match Frames)
- Dupe Detection
- Editing with the Film Track
- Tracking Color Frame Shifts
- Finding Black Holes and Flash Frames
- Printing the Timeline
Working with Trim Edits
- Trimming with the Timeline Palette
- Understanding Trim Displays
- Setting Small Trim Display
- Trim Settings Overview
- Timeline Trim States
- Selecting Trim Sides
  - Selecting Video Tracks for Trimming
  - Selecting Additional Transitions
  - Soloing Audio while Trimming
- Overwrite Trimming
- Ripple Trimming
- Dual-Roller Trimming
- Refining Trims
- Reviewing Trim Edits
- Trimming On-the-Fly
- Using Dual-Image Playback During Trims
- Trimming During a Playback Loop
- Creating Overlap Edits
- Extending an Edit
- Maintaining Sync While Trimming
- Slipping or Sliding Segments
  - Selecting Segments for Slip or Slide Trimming
  - Performing a Slip or Slide Trim
- Trimming in Two Directions
- Using the Transition Corner Display
Working with Audio
- Overview of Audio Tools
  - Accessing Audio Effect Tools
  - Using Audio Timecode
- Working with Multichannel Audio Tracks
- Displaying Track Formats in Bins
- The Track Control Panel
  - Using the Track Control Panel
  - Soloing Audio Tracks
  - Making Tracks Inactive
- Using Audio Scrub
  - Selecting Tracks for Audio Scrubbing
  - Performing Smooth Audio Scrub
  - Adjusting Digital Scrub Parameters
  - Performing Digital Audio Scrub
- Audio Displays in the Timeline
  - Displaying Audio Waveforms
  - Displaying Gain and Automation Pan Values
  - Identifying Sample Rates by Color
  - Using Audio Meters in the Timeline
  - Adjusting Volume
- Displaying Audio Formats in Bins
- 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)
  - Setting Up the Audio Output with HDMI (Avid Nitris DX and Avid Mojo DX Only)
- Adjusting the Play Buffer Size for Audio (Software-only Models)
- Using the Audio Mixer Tool
  - Accessing the Audio Mixer and Audio Mixer Modes
  - Audio Mixer Tool Controls
  - Resizing the Audio Mixer Tool
  - Track Selection in the Audio Mixer Tool and in the Timeline
  - Using the Track Solo and Track Mute Buttons
  - Interpreting Position Indicator Lights
- Rendering and Unrendering Order for Audio Effects
- Audio Gain Staging and an Audio Editing Workflow
- Using Clip Gain and Pan Mode
  - Adjusting Clip Gain and Pan for Audio Tracks
  - Audio Mixer Fast Menu: Clip Gain and Pan Mode
  - Bypassing Existing Volume Settings
  - Adjusting Volume While Playing a Clip Gain Effect
  - Improving Response Time When Adjusting Volume
  - Modifying How Your Avid Editing Application Interprets Pan
  - Using the Center Pan Command
  - Isolating Clip Portions for Audio Adjustment
- Using Automation Gain and Pan
  - Using Automation Gain and Pan in the Timeline
  - Automation Gain and Pan Mode
  - Understanding Automation Gain or Automation Pan Recording
  - Using the Audio Mixer Tool for Automation Gain and Pan
  - Audio Mixer Tool Fast Menu: Automation Gain and Pan Mode
  - Using Keyboard Shortcuts with Audio Keyframes
- Using Live Mix Mode
  - Entering Live Mix Mode
  - Using Live Mix Mode with an External Controller
  - Using Live Mix Mode Without an External Controller
  - Switching Between Live Mix Mode and Other Audio Mixer Modes
  - Audio Mixer Tool Fast Menu: Live Mix Mode
  - Live Mix Mode Example
- Fading and Dipping Audio
- Audio Sample Rate Conversion
- Changing the Audio Sample Rate for Sequences and Audio Clips
- Mixing Down Audio Tracks
- Splitting Stereo Tracks to Mono Tracks
- Using the Audio EQ Tool
  - Audio EQ Tool Features
  - Applying Audio EQ Effects
  - Saving Audio EQ Effects
  - Removing Audio EQ Effects with the Fast Menu
  - Removing Audio EQ Effects with the Remove Effect Button
  - Audio EQ Examples
  - Using Audio EQ Templates
  - Adjusting EQ While Playing an Audio Effect
- Recording Voice-Over Narration
  - Audio Punch-in Tool Features
  - Audio Punch-in Tool Scenarios
  - Recording Voice-Over Narration Using Audio Punch-in
  - Monitoring Previously Recorded Tracks While Recording Voice-Over Narration
  - Using Peak Hold While Recording Voice-Over Narration
Using External Audio Devices
- Using an External Fader Controller or Mixer to Record Automation Gain
- Adjusting the Volume or Pan of Individual Keyframes
- Using the 002 and the Command|8
- Using Mbox Family Audio Devices
  - Configuring the Mbox Device
  - Setting Up the Mbox Pro for Passthrough Monitoring (Windows Only)
- Configuring USB-to-MIDI Software for External Controllers
- Avid Pro Tools|HD Native Hardware Configuration for Avid Editing Systems
  - Configuring the ASIO Driver (Windows)
  - Configuring the CoreAudio Driver (Macintosh)
- Using a GPI Device with the Audio Punch-In Tool
Using Avid Artist Series Controllers
- Installing EuControl Software
- Configuring Avid Artist Series Controller Settings
- Configuring Ethernet Connections (Macintosh)
- Configuring EuControl Settings (Macintosh)
- Artist Series Controller Button Mappings
- Customizing Avid Artist Series Controls
- Moving Through Footage with Artist Series Controllers
- Automation Gain and Pan on Artist Series Controllers
- Recording Automation Gain and Pan with Artist Series Controllers
- Using the Latch Mode Feature on Artist Series Controllers
Using Audio Plug-Ins
- Real-Time AudioSuite Plug-Ins
- Avid AudioSuite Plug-Ins
- Core Avid Audio Plug-Ins
Exporting Frames, Clips, or Sequences
- Understanding Export
- Preparing to Export a Sequence
- Exporting With the Send To Templates
- Send To Templates Reference
- Creating a Custom Send To Template for Exporting to Third-Party Applications
- Exporting With the Export Command or the Drag-and-Drop Method
- Customizing Export Settings
- Guidelines for Exporting OMFI and AAF Files
- Exporting Projects and Bins Using AFE Files (Windows Only)
  - Exporting the AFE File to Avid DS
- Exporting QuickTime Movies
- Installing or Copying the Avid Codecs for QuickTime on Other Systems
- Exporting from a Third-Party QuickTime or AVI Application
- Exporting as Windows Media (Windows Only)
- Creating a Custom Profile for Windows Media Export (Windows Only)
- Exporting Media to XDCAM Devices
- Exporting to XDCAM
- Exporting Your Clip or Sequence to a P2 Card
- Exporting as Windows Media Using a VC1 Resolution
- Using Avid Interplay Media Services
Generating Output
- Preparing for Output: Overview
- Selecting the Device for Output
- Selecting the Sync Source for Output
  - Sync Options for HD Formats
  - Using LTC Timecode for Output
  - Adding LTC Out During Preroll
  - LTC Output During Digital Scrub (When Using Nitris DX only)
- Selecting a Video Output Signal
- Calibrating for Video Output
  - Using the Factory Preset Buttons in the Video Output Tool
  - Basic Video Output Calibration
  - Using Test Patterns
  - Calibrating the System with Passthrough Signals
  - Luminance Settings for Video Output
  - Adjusting Phase Controls
- Preparing for Converting HD Formats
  - Crossconversion and Downconversion Formats
  - Considerations for Crossconversion and Downconversion
- Preparing for Audio Output
  - Setting the Calibration Tone
  - Calibrating Global Output Levels
  - Setting Audio Output Options
  - Enabling 16-Channel Audio Output
  - Embedded Audio and Output Sample Rate Conversion
  - Using an XLR Adapter for Consumer-Level Analog Output
- Preparing Record Tapes
  - Striping Record Tapes (Recording Black with Timecode)
  - Recording Bars and Tone
- Enabling Assemble-Edit Recording
- Using ExpertRender to Prepare Effects for a Digital Cut
- Using the Digital Cut Tool
  - Selecting a Deck in the Digital Cut Tool
  - Previewing a Digital Cut
  - Recording a Digital Cut to Tape (Remote Mode)
  - Crash Recording Through Remote Deck Control
  - Recording a Digital Cut to Tape (Local Mode)
- Output Mode Resolution Options
- Outputting DV 50 and DVCPRO HD Media Directly to a DV Device
- Selecting Output and Timecode Formats for 23.976p, 24p, and 25p Projects
- Selecting Output Formats for 23.976p, 24p, and 25p Projects
- Output Format Reference for 23.976p, 24p, and 25p Projects
- Selecting the Timecode Format for Output
- Outputting Drop-Frame and Non-Drop-Frame Timecode Simultaneously for Downstream Encoding
- Indicating the Destination Timecode Rate
- Selecting the Video Pulldown Cadence
- Performing an Insert Edit with Pulldown
- Digital Cuts and Audio
- Changing the Default Pulldown Phase for Sequences
- Understanding DV Digital Cut Delay
- Delaying the Sequence for a Digital Cut
- Using EDL Manager
- Using FilmScribe
- Understanding Matchback
- Vertical Blanking Information
  - Vertical Blanking Interval Line Ranges
  - Displaying and Preserving Vertical Blanking Information
  - Editing a Sequence with Vertical Blanking Information
  - Effects of Preserving Vertical Blanking Information on Compressed Video Quality
  - Comparison with Vertical Blanking Information on Meridien Systems
- Preserving HD Closed Captioning and Ancillary Data
  - Data Track Method
  - Adding a Data Track
  - Moving from Legacy Method to Data Track Method
  - Ancillary Data and Avid Editing Functions
  - Legacy Method
  - Controlling Ancillary Data through a Settings Window - Data Track Method
  - Controlling Ancillary Data through a Settings Window - Legacy Method
  - Controlling Ancillary Data with a Console Command (Legacy Method only)
  - Capturing Ancillary Data with a Data Track
  - Performing a Data Mixdown
  - Exporting a Sequence with Data Tracks
Conforming and Transferring Projects
- Understanding Conforming
- Preparations for Conforming
- Conforming Workflow
- Transferring Project and Media Files Between Avid Editing Systems
Working with Avid Interplay from an Avid Editing System
- Working with Interplay and Remote Assets
- Administrator Settings for Avid Editing Clients
- Using the Interplay Window
- Connecting to the Avid Interplay Database
- Editing with Remote Assets
- Managing Remote Assets with the Interplay Window
- Finding Remote Assets
- Capturing Media to Interplay Folders
- Connecting to Avid Shared Storage and Mounting Workspaces
- Dos and Don’ts for Editors Working with Avid Interplay
Using Interplay Transfer to Export Media
- Installing the Interplay Transfer Client Software
- Setting Transfer Settings in the Avid Editing Application
  - Send to Playback with Multichannel Audio Tracks
  - Mapping Audio Tracks to Output Channels
- Transferring Avid Assets from an Avid Editing Application
- Transferring Avid Assets to a Playback Device
  - Transcoding of Mixed Resolution Clips During a Send to Playback
- Monitoring Transfers from Within the Avid Editing Application
Using MultiRez and Dynamic Relink
- Understanding MultiRez and Proxy Editing
- Acquiring Media at Multiple Resolutions
  - Batch Capturing Media at a Different Resolution
  - Batch Importing File-Based Media at Different Resolutions
- Understanding How Clips are Associated with Multiple Resolutions
- Options for Clip and Media Association
- Understanding Dynamic Relink
- Workflow: Editing a Film or HD Project using MultiRez
- Considerations When Working with Dynamic Relink
- Using the Dynamic Relink Settings Dialog Box
- Relinking in Frame Chase Editing
- Using the Relink Dialog Box in an Avid Interplay Environment
- Displaying Whether Media Is Available for Dynamic Relinking
- MultiRez Button Menu
- MultiRez Bin Headings
- Understanding Options for Deleting MultiRez Clips and Media
- Deleting MultiRez Clips and Media from a Bin
- Working with Partially Online Files
- Quality Matching
  - Quality Matching Reference
  - Example of Quality Matching
MultiCamera Editing
- Understanding Grouping and Multigrouping Clips
- Creating Group Clips
- Creating Multigroup Clips
- MultiCamera Displays
  - Real-time Playback in MultiCamera Mode
  - Limitations on Playback of MultiCamera Media
- MultiCamera Editing Techniques
- Selective Camera Cutting
Settings
- Understanding Settings
- Working with Settings
  - Viewing and Modifying Settings
  - Filtering the Settings List
  - Switching to Another Set of User Settings
  - Duplicating Settings
  - Naming Settings
  - Selecting Among Multiple Settings
  - Deleting Settings
  - Restoring Default Settings
  - Copying Settings Between Settings Files
  - Using Site Settings
- Options for Moving User Settings Files
- Summary of Settings
- AMA Settings
- Audio Settings
- Audio Project Settings
- Bin Settings
- Capture Settings
- Communication (Serial) Ports Tool Settings
- Composer Settings
- Controller Settings
- Correction Settings
- Deck Configuration Settings
- Deck Settings
- Deck Preferences Settings
- Dynamic Relink Settings
- Effect Editor Settings
- Email Settings
- Export Settings
  - Common Export Settings
  - Export Settings: OMFI, AAF, and AFE
  - Export Settings: QuickTime Reference Options
  - Export Settings: QuickTime Movie Export Options
  - Export Settings: QuickTime Movie Settings
  - Export Settings: QuickTime Compression Settings
  - Export Settings: HDV
  - Export Settings: DV Stream
  - Export Settings: AVI Through QuickTime
  - Export Settings: AVI Video Compression
  - Export Settings: Windows Media (Windows Only)
  - Export Settings: Audio
  - Export Settings: Graphic
  - Export Settings: Graphic Format
  - Export Settings: P2
  - Export Settings: XDCAM
- Film and 24P Settings
- Full Screen Playback Settings
- General Settings
- Grid 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
- Transfer Settings
- Trim Settings
- Video Display Settings
- Video Input Tool Settings
- Video Output Tool Settings
- Video Satellite Settings
- Workspace Settings
File Format Specifications
- Specifications for Graphics (Image) Files
- Specifications for Animation Files
- Specifications for Importing OMFI Files
- Working with BWF Files
- Field Ordering in Graphic Imports and Exports
Resolutions and Storage Requirements
- Compression and Avid Editing Applications
- Monitor Display Resolutions
- Resolution Specifications
- Support for Uncompressed HD Media
- Mixing Resolutions
- Resolution Groups and Image Quality
- Estimating Drive Space Requirements
- Storage Requirements
- Considerations for Managing Storage
Working with Stereoscopic Material
- Understanding the Stereoscopic Workflow
- Acquiring Stereoscopic Files
- Setting Up Your System For Viewing Stereoscopic Material in Three Dimensions
- Displaying Stereoscopic Material
- Considerations When Working with Stereoscopic Material
Working in High-Resolution Projects
- Delivery Methods for Film & Video
- Film Workflows: Editing Footage from Film Reel
- Checklist: Editing Film Reel Footage in Media Composer
- Transferring Film to Tape
  - Transfer of 24-fps Film to NTSC Video
  - Transfer of 24-fps Film to PAL Video
  - Viewing Video Dailies
- Film Workflows: Editing Footage from Digital Files
- Checklist: Editing Digital Film Footage in Media Composer
- HD Workflow: Video-Based Television
- Producing Graphics for Broadcast
- Creating a Film-Based Project
  - Selecting a Project Format during Capture
  - Selecting a Project Format during Output
- Editing with High-Resolution Media
  - Displaying 24p and 25p Media
  - Changing the Project Format
  - Changing the Sequence Format
  - Converting a 23.976p NTSC Sequence to 720p/23.976
  - Editing at 60 fps
- Working with RED Media
- Editing with Low-Res RED Media
- Color Management with RED Media
- Working with HDV
- Understanding HDV
- HDV Workflow
- Capturing and Importing HDV
- Playing Back HDV Media
- Outputting HDV
  - Long-GOP Splicing for HDV Encoding
  - Exporting to an HDV Device
  - Outputting HDV through Avid Input/Output Hardware
  - Exporting an HDV Transport Stream
  - Exporting HDV as Windows Media
  - Finishing HDV on Avid DS
- Raster Dimensions
- Raster Sizes
Dual Link HD RGB Support
- HD RGB Capture
- HD RGB Playback to High Resolution Monitor
- HD RGB Digital Cut
International Character Support (ICS) in Avid Editing Applications
- Choosing a Locale on an English Language Operating System
- Using a Local Language Operating System (Windows Only)
- Non-English Character Support (Macintosh)
- Non-English Character Support (Windows)
- Using Foreign Keyboard Mapping (Windows)
- Considerations for International Character Support
Using the MCS3 Controller
- Configuring MCS3 Settings
- Default MCS3 Button Mappings
- Moving Through Footage with the MCS3 Controller
- Using the MCS3 for Editing Footage
- Troubleshooting the MCS3 Controller
Setting Up the Matrox MX02 Mini
- Numerics
- A
- B
- C
- D
- E
- F
- G
- H
- I
- J
- K
- L
- M
- N
- O
- P
- Q
- R
- S
- T
- U
- V
- W
- X
- Y
- Z
Index

Working with Partially Online Files

1191

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.

Consolidating and Transcoding a Portion of a Clip

You might create a partial clips if you consolidate and transcode a portion of a clip in a

sequence. For example, if you use a portion of a DV 25 clip in a sequence and consolidate

and transcode the sequence to a low resolution, your Avid editing application creates a new

master clip in the low resolution. The new master clip is associated with both resolutions.

The following illustration shows an example with DV 25 clip and 15:1s media.

Top to bottom: original DV25 clip, portion of DV25 clip edited into a sequence, and new clip created in 15:1s by

consolidating and transcoding the sequence. Only part of the original clip is available in 15:1s.