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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)
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
- Using Workspaces
- Working with Bins and Projects in an Avid Shared Storage Environment
Using Tools
- Using the Tools Menu
- Using Tabs
- 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 Markers 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
- 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 Markers 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
- 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, XDCAM EX and HDCAM SR Media
- P2 Media
- AVCHD Media
- Canon XF Media
- GFCAM Media
- RED Media
- QuickTime Media
- 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 Markers
  - Suggested Uses for Markers
  - Adding Markers While Editing
  - Adding Markers On-the-Fly while Playing
  - Finding Markers
  - Editing Marker Information
  - Copying Markers from Source Clips
  - Marking an Area Using Markers
  - Moving to the Previous or Next Marker
  - Deleting Markers
  - Using the Markers Window
  - Viewing Markers in the Markers Window
  - Working in the Markers Window
  - Exporting and Importing Markers
  - Creating a Marker Text (.txt) File
  - Copying and Pasting Markers Using the Markers Window
  - Printing the Contents of the Markers Window
  - Disabling the Marker 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
- Purchasing and Activating PhraseFind
- Understanding PhraseFind
  - Selecting a Language
- Using PhraseFind
- The Results Window
- Filtering Your Find 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 Markers
  - 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
  - Modifying 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 Volume and Pan Values
  - Identifying Sample Rates by Color
  - Using Audio Meters in the Timeline
  - Adjusting Volume
- Displaying Audio Formats in Bins
- Working with Surround Sound Audio
  - Surround Mixing
  - Surround Monitoring
  - Assigning Surround Sound Mix Output
  - Setting Up the Analog Audio Output for Surround Sound Audio (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 Volume Staging and an Audio Editing Workflow
- Using Clip Volume and Pan Mode
  - Adjusting Clip Volume and Pan for Audio Tracks
  - Surround Sound Pan Controls
  - Using the Pan Grid for Surround Panning
  - Using the Advanced Panner for Surround Sound Panning
  - Using the Center Percentage and LFE Controls
  - Audio Mixer Fast Menu: Clip Volume and Pan Mode
  - Bypassing Existing Volume Settings
  - Adjusting Volume While Playing a Clip Volume 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 Volume and Pan Automation
  - Using Volume and Pan Automation in the Timeline
  - Volume and Pan Automation Mode
  - Understanding Volume or Pan Automation Recording
  - Using the Audio Mixer Tool for Volume and Pan Automation
  - Audio Mixer Tool Fast Menu: Volume and Pan Automation 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 Multichannel 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
- Configuring an External Controller
- Configuring External Controller Settings
- Using an External Fader Controller or Mixer to Record Volume Automation
- 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)
- Setting the IP Address
- Configuring EuControl Settings
- Artist Series Controller Button Mappings
- Customizing Avid Artist Series Controls
- Moving Through Footage with Artist Series Controllers
- Volume Automation and Pan on Artist Series Controllers
- Recording Volume Automation and Pan with Artist Series Controllers
- Using the Latch Mode Feature on Artist Series Controllers
- Using the Artist Series Controller for Editing Media
- Controller Application Sets
Using Audio Plug-Ins
- Real-Time AudioSuite Plug-Ins
- Avid AudioSuite Plug-Ins
- Working with Dolby E Surround Sound 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 XDCAM OP1a Media
- 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
  - Ancillary Data and AMA
  - 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
- Dos and Don’ts for Editors Working with Avid Interplay
- Checklist for Editors Working with Interplay
- Working with Interplay and Remote Assets
- Administrator Settings for Avid Editing Clients
- Using the Interplay Window
- Connecting to the Avid Interplay Database
- Creating Avid Editing Projects in an Interplay Environment
- Connecting to Avid Shared Storage and Mounting Workspaces
  - Mounting Workspaces on an Avid Unity MediaNetwork System
  - Mounting Workspaces on an Avid ISIS System
- Editing with Remote Assets
- Managing Remote Assets with the Interplay Window
- Finding Remote Assets
- Capturing Media to Interplay Folders
- Performing a Send-to-Playback as a Background Process from an Avid Editing Application
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
- 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
The Avid Marketplace
- Avid Marketplace Media Libraries
- Avid Marketplace Media Libraries Quick Start
- Creating a User Sign In and Password
- Licensing Options
- About the Stock Footage Clips
- Searching through Stock Footage
- Downloading Stock Footage Clips to Your Avid Bin
- Purchasing Your Stock Footage
- Downloading your High Resolution Stock Footage
- Relinking High Resolution Media to Your Sequence
- Avid Marketplace Plug-ins
- Purchasing and Downloading a Plug-in from the Avid Marketplace
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
  - Composer Settings
- Controller Settings
- Correction Settings
- Deck Configuration Settings
- Deck Settings
- Deck Preferences Settings
- Desktop Play Delay
- Dynamic Relink Settings
- Effect Editor Settings
- E-mail 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
- Passthrough Mix Tool
- PortServer Settings
- Remote Play and Capture Settings
- Render Settings
- S3D 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 Linking 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 in High-Resolution Projects
- Delivery Methods for Film & Video
- Workflow: Film Reel Editing
- 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
- Workflow: File-based Editing with MetaFuze
- Checklist: Film to File Editing in Media Composer (via MetaFuze)
- Workflow: File-based Editing with AMA
- Checklist: File-based Editing in Media Composer via AMA
- 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
- Outputting a Sequence
- 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
Open I/O Support
Index

Checklist: Film to File Editing in Media Composer (via MetaFuze)

1447

Step 3: Conform AFE for high-res finishing in Avid DS

On Avid DS, you can conform the AFE and connect to the original DPX or ARRI files.

In the case of DPX files, necessary information such as KeyKode

™

(key number) and timecode is

inserted as metadata into the DPX file during the scanning process. If the DPX files do not

contain the timecode information, an ALE is required to make the necessary correspondence to

the associated DPX files. The ALE is usually supplied by the film-scanning facility or output by

Avid MetaFuze.

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, 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. When editing

high-resolution projects where real-time playback is not achievable, you can use the proxy mode

to apply effects and view the results in HD 4:2:2 or HD 4:4:4.

Step 4: Output to tape or file

In Media Composer, you can output any SD or HD formats as required.

In Avid DS, for a film out, you can output the final sequence to master as a series of DPX or

Cineon

™

images (with an appropriate LUT) for recording to film.

For detailed steps on this workflow, see “Checklist: Film to File Editing in Media Composer (via

MetaFuze)” on page 1447.

Checklist: Film to File Editing in Media Composer

(via MetaFuze)

The following checklist explains how to edit high-resolution files that cannot be read directly by

Media Composer.

Step Refer to this section



Install and use Avid MetaFuze to transcode your

high-resolution media into MXF files.

Refer to the Avid MetaFuze section of

the Supporting Applications Guide for

the Avid Media Composer family.